digitaldrummer november 2013 lr

Edition 16 NOVEMBER 2013

SD1000 review Doctor Smith e-Kicks tested

Miller’stale

The global electronic drumming e-zine

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©2013 Avedis Zildjian Com

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I WAS RECENTLY asked to speak at a dealers’conference on the rise of electronic percussion andpassed on the observation of one dealer that were it notfor e-drums, they would be selling very few percussionproducts.

This has been helped by the increased competition at theentry-level end, with a number of new products nowavailable – like the Simmons SD1000 reviewed thismonth.

Both my research for the presentation and mydiscussions with dealers afterwards showed thatelectronic percussion is still a mystery to many in theretail market. It’s a range they have to carry because thedistributors are pushing it and customers are apparentlyasking for it, but it’s not something they know muchabout. And it shows.

One of the stories I tend to share with industry people isa local, established and seemingly professional musicstore which had a “do not touch” sign on a newelectronic drum kit. Clearly, that’s exactly the wrong wayto go about selling e-drums. It tells the customer that thekit is so fragile that they can’t test it out.

There is, unfortunately, a lack of insight on the shop floor,and very few retailers have staff who understand – letalone show any enthusiasm for – electronic percussion.Sure, we can argue about who is to blame – the shopowners, the distributors or the individual sales people.But regardless of who is at fault, there are a few lessonsthat all music retailers should learn if they stock e-drums:

1. Make your floor stock enticing for testing: ensureit is plugged in, powered up and connected to the bestheadphones you can afford.

2. Make sure the kit is properly set up: ensureeverything is connected to the right inputs and outputsand the correct pad settings are selected.

3. Protect against user abuse: at the very least,back up all the settings and do a factory reset andrestore at the start of each day to ensure the kit is backto its optimal settings.

4. Provide enough stock for customers to compareproducts. You can’t expect someone to make a $5,000investment without being able to put the product head-to-head against its rivals.

5. Consider the after-sales needs of customers. Thecustomer relationship doesn’t end when they take thebox out the door. They’ll need replacement heads, cables,additional triggers and possibly even warranty support.

Hopefully, our retail readers will take some notice ofthese tips. And to help raise standards, perhapsdrummers can make sure they pass them on – togetherwith any of your own tips – to your ‘friendly’ music store.

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Editor & Publisher

Allan Leibowitz

Sub-Editor

Solana da Silva

Contributors

Scott Holder

Jeremy Hoyle

Adam Manning

E. Doctor Smith

Cover Photo

Russ Miller

Design and layout

‘talking business’

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Edition 16 November 2013

Quality or quantityMost modules now have 100 or so kits or patches. Howmany of those do you actually use and would you preferto have fewer but higher quality kits?

Beginning in a big wayScott Holder was surprised when he had his firstencounter with the new entry-level Simmons SD1000.Handy advanceRoland recently updated its hand percussion range withthe launch of the HPD-20 Handsonic. Adam Manning wasamong the first to get his hands on the new instrument.Best foot forwardLately, there have been a few new e-kick debuts,prompting digitalDrummer to line ‘em up and test ‘emout. Just for kicksThere’s some debate over the origin of the bass drumpedal, but there’s no doubt that the Ludwig DrumCompany received the first patent for the type of designswe use today. Ludwig has come a long way since 1909,and no drum kit today is complete without a bass pedal.digitalDrummer canvassed a number of pro drummers

GEAR

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TALKING-POINT

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Profile: Russ MillerRuss Miller has played on multiple Grammy award-winningrecordings with combined sales of over 26million copies.But, he’s also an e-drum inventor and has collaborated withYamaha and, more recently, on Zildjian’s Gen 16 line.

How I use e-drumsNot only is he a great drummer, but E. Doctor Smith is alsoa bit of an inventor. However, when he saw the Zendrum,he gave up on his own invention and showed his genius onthe new instrument.

Tweaking the TD-30Last edition included some tips on tweaking the Roland TD-30. This month, Jeremy Hoyle digs into the module foroptimal performance.

It’s so logicalThe eagerly awaited upgrade of Apple’s Logic DAW hasproduced a powerful program which is very easy to use, asAllan Leibowitz discovered.

Some delights for your stocking‘Tis the season to be drumming, and here are some of theproducts that have crossed the digitalDrummer desk andwhich would be great additions to your holiday shoppinglist.

My Monster KitNathan Reid, a writer and a producer in West Hartford, CT,has turned to Diamond Electronic Drums for his studio kit.

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ACCESSORIES


VST

PERFORMANCE

profile

TWEAKING

gear

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Quality or quantity?Most modules now have 100 or so kits or patches. Howmany of those do you actually use and would you prefer tohave fewer but higher quality kits? Here’s some of the chatfrom the digitalDrummer Facebook Group.

Michael Amann: It's always cool to say you have them. I use about five.But you can buy custom kits from V Expressions; they are excellent.

Rob Duggan: I use about six in the module, all of my own making. Pre-programmed kits to me are usually rubbish. I prefer to build my ownpersonal library. In fact, I would prefer a blank bank and just a library ofvoices to build custom kits. In all my years of playing live and recording, Ihave never once used a factory preset. Not once. 10 HIGH quality kitswould suffice me. And then a FULL editing capability on those 10 kits. Plusan extensive sound library of 10 or so different voices for each kit piece.That would be cool!

Jeremy Hoyle: I don't use any of my TD-30's patches. I use about sevenkits I've either built myself or bought from V Expressions Ltd. All areapproximations of recorded kits from bands whose sound I like. The factorypresets are at least 50% rubbish. Unusable for anything other thanshowing module features no-one uses because they're outdated and stillhanging around from 20 years ago. If you have a TD-30 and don't/can't getinto the details of creating sound modifications, you're missing out on100% of this module's strengths. Fine, if you like the presets, you're justvery much in the minority.

Alan Ratcliffe: Huge amounts of patch storage are simple these days, so Idon't see it as an either-or choice. As with any gear, presets are nevergoing to compare to a patch tweaked for your precise purposes, but are agood starting point for a custom kit.

Dave Chetwynd: I use about five patches and tweak them. It's nice tohave a start point to return to regarding the applied effects chain as thathas a dramatic effect on the patch. I would like to see Vex packs on discsor gifted as purchase vouchers with every Roland kit sold. Those guys dida lot of hard work and deserve it. For sure, lose the trash patches - butwho decides what is good and bad, because one man’s trash is anotherman’s gold.

--TALKING-POINT--


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Sören Köstel: There is a "base kit" with my "best of" from the module/Vexsounds and from this I create a kit for every song by exchanginginstruments, tweaking mixer settings, muting instruments and letting padstrigger a sound or effect on a sampler via MIDI.

Steve Monti: I wish the companies would put similar pro apps likeSuperior Drummer/BFD into the units that we could chop and change.Hard discs are so cheap now so memory surely wouldn't be a problem. Icould certainly do without a lot of the daft presets in my TD-30. Why dothese companies still bother with 909s and 808s - we all have thosesamples many times over!

Daniel Reid: Basically, when I had my TDW-20s, I started with Vex ...tweaked to my own ears .... copied them and changed a few instruments tosuit the song or feel I was looking for. I ditched my TD-30 (before Vex hadthe offerings that they provide at the moment) for the 2box after demoingthem for a year side by side in their stock configurations. The 2box won outbecause of sound quality and cost effectiveness. Even the stock audio wasbetter IMHO than the offerings from the TD-30 (not that the 30 sucks oranything...it's a great piece of gear). The 2box just suited what I wanted outof my kit better than the TD-30. Now with the limitless VST applications forit, it would take a complete overhaul of the Roland flagship to get me toswitch back.

Join the discussion. Add your comments here.

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http://www.billyblastdrums.com


--Gear--

Beginningin a big way

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THE OPTIONS FOR entry-level e-drum kitshave never been better and as more comeonto the market, we’re seeing featurestypically found on intermediate kits being“squeezed” into a beginner’s kit … or at least abeginner’s price point.

Earlier this year, Simmons released theSD1000, its first significant updated e-drumoffering since the SD9K kit came out in 2008.With an introductory-level MSRP of $699, ithas what you would expect from a kit at thatprice: rubber pads, a static HH and twocymbals (ride and crash). What makes it moreof an intermediate kit is a fantastic looking rackand a module with a fair amount oftweakability, full MIDI functionality (not justMIDI Out) and an extensive range of built-insounds.

Approaching this review, I had been playingnothing but another introductory-level kit forover six months. As a result, I inevitably spenta lot of time comparing how the two played,how they sounded, and how each differed interms of what it meant to be a “beginner’s” kit.

The basicsIt’s a standard five-piece kit: three toms, onesnare, hi-hat, a kick, a crash and a ride. Itincludes a pair of sticks, but you need toprovide a kick pedal and throne. All areconnected via a wiring harness similar to thaton the Roland TD-9. The length of each cableis sufficient to allow for a decent margin of padand cymbal placement. The harness alsocontains two additional cables for optionalpads labeled Tom 4 and Crash 2, although likemost modules, you can assign anything to theadditional pads.

Simmons states its previous pads are notcompatible with the SD1000 module. Ofcourse, I couldn’t resist plugging in a cross-

section from my collection. Most worked well,including a Roland CY-14, Hart DynamicAcupads, even a Yamaha XP100SD snareprovided two-zone capability. What this meansis that you can expand or “upgrade” the kitpast the rubber snare and toms down the road.One thing that isn’t cross-compatible is the HHcontroller.

Set-up took around 90 minutes. The three-sided rack comes with two sides alreadyattached and all clamps mounted. Theinstructions were clear. When completelyassembled, it’s not as lightweight as theYamaha DTX-450 we recently reviewed, butstill far lighter than my usual gear. It alsocomes with memory locks, so tearing downand setting up is easy.

The initial highlight is the rack. No hiddenwiring, but it has a low profile, the plasticclamps are robust and have perfectly designedwing nuts. They also clamp down tightly, thus Inever had any slippage. It just looks awesome.

The moduleThe box is feather light and connects to thedrum pads via the cable harness. Eight of the10 pad inputs are dual-zone, the kick and hi-hat being single zone. With MIDIIN/OUT/THROUGH plus MIDI/USB, themodule is fully functional, exceptionally so,given the overall price of the kit.

Navigation is about what you’d expect fromany intermediate module these days.

The module comes with 515 voices (or soundsor instruments), a robust number, especiallyconsidering most are not gimmicky sounds.The emphasis here is on drums, notnecessarily percussion, “boingy sounds”, etc.,although there’s a decent enough selection ofpercussion sounds to make most drummers


Scott Holder was surprised when he had hisfirst encounter with the new entry-levelSimmons SD1000.

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happy. I particularly liked the inclusion ofinstruments like Brush Toms, Rototoms and 95different kick drums. One glaring drawbackwas the extremely limited number of crashcymbals - just two. Moreover, the crashes aredesigned to be single-zone, thus, no edgevoices. Given the huge range of everythingelse fundamental to a five-piece drum kit, thelimited crash choices are odd.

There are 55 preset kits that cover everythingfrom rock/pop/metal to jazz, orchestral andeven some of the original Simmons e-drumsfor those looking for a specific retro feel. Youcan easily copy a kit into one of 44 open userkits for editing. You can save all this onto astandard SD card. What’s more, you can takea MIDI file from the SD card and load it ontothe module to be a user song.

Adjustable parameters are what you wouldexpect from any intermediate-level module. Forkits, these are gain, pan, pitch decay andreverb level, while individual triggers haveadjustments for sensitivity, threshold, curve,retrigger cancel, crosstalk, rim sensitivity and aspecific setting for the HH pedal, “splash”,which is helpful for heel chics/splashes.

Overall effects settings consist of seven presetreverb types which can also be combined witha four-band EQ.

There are 100 preset songs, 25 of which areloops, hits or tap patterns. Like kits, these canbe copied into 100 additional user songs forediting. It took me a little while to figure out thenavigation and saving sequence to get aloop/hit/tap assigned to a specific pad and thenun-assign the pad’s voice; the manual isn’t asclear as it could be on this.

The training part of the module involves thepreset songs in which you can mute the drumparts and play along, a nice feature; I spent anafternoon cycling through all the preset songsand found it addictive and helpful. You canrecord what you play by simply pressing twobuttons, and then the module waits to recordupon your first hit. You can then save that to auser kit for additional editing.

The sound engine is something entirely newfor Simmons - Variable Attack Response(VAR). Officially VAR “combines more internalmemory and intelligent sample triggeringacross four different velocity zones for each

trigger input”. What this means is that anygiven pad/voice, let’s use the snare as anexample, has four “hit levels”: light, medium,hard and slamming hard. The module has twosamples assigned to each of those “hit levels”(velocity zones) and the result is a variedsound.

External connections consist of MIDI IN andOUT, a MIDI/USB output, a 3.5 mm stereoinput and an L and R 6.3 mm output formixers/amps.

The robust MIDI connections mean you canset up almost anything and include theSD1000 in the MIDI chain. As I do with everypotential MIDI controller, I hooked this up to mycomputer running Toontrack’s EZDrummer. Notonly was it plug and play, you can change MIDInotes on the module side which provides a tonof flexibility in changing pad assignments to theVST sounds on the computer side. HHarticulation in VST was pretty good and I waspleasantly surprised by the cymbal swells.

The padsThe kick/tom pads and the HH controller areidentical pieces of hardware to those found onthe new KAT Percussion e-kits – albeit indifferent colours.

The upright kick (S1000KIKS) is rubber and abit softer than the snare/toms. The response isgood. It’s large enough for a double kick pedaland it’s stable. One complaint: there’s no wayto attach it to the floor or any way to make itcatch on a rug as there are no anchor bolts.Instead, there are four rubber knobs built ontothe bottom of the kick which I didn’t find at alluseful in stopping the entire rig from slidingaway from me whether I was on a floor or athrow rug.

While we’re still on the floor, the HH controller(S1000HHC1) is the only potential weak pointin the kit. It’s a big thing and reminds me of thevenerable Roland FD-7, but the Simmonscontroller is very stiff and there are no physicaladjustments to the pedal itself. This means thedistance travelled from fully open to fullyclosed is “a lot” by comparison with otherpedals I’ve used over the years.

The HH cymbal is single zone and does notchoke. HH articulation is what you wouldexpect from a module at this price point:


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open/closed, half-open, foot close, the closingHH sound and heel splash (or chic).

The snare (S1000PAD9D) is a two-zone, 9”rubber pad with a surprisingly soft rubber rim.With the VAR sample modeling on the module,the snare’s sounds are fairly dynamic and theactual pad is very responsive and, importantly,consistent across the entire pad surface andrim. I played along to one of the preset songswith extensive ghost notes. I muted the drumsand found the pad could easily replicate thepreset. By the time you read this, Simmons willhave made a change to the module which willallow the snare a third zone; in this case, across-stick sound. It will be laid out similar tothat of Yamaha’s newer snare pads in that onehalf will produce a rim hit, the other half willprovide cross-stick. A free firmware upgradewill be available for existing SD1000 users.

The 9” toms (S1000PAD9S) are single-zoneand similar to the snare in feel, with a raised,soft rim. The pads are responsive andthe sound variation is good.

Bounce and sticknoise were quicklyestimated bysetting up an oldRoland PD-7 anda Yamaha tompad from a DTX-450 kit. The soundis deeper than theYamaha pads andabout 2-3 dB louder.Bounce was about thesame as on the Yamaha.One thing I have noted isthat these newer rubber padsdo have some subtleimprovements over the old, rock-hard PD-7s. They are softerand while measuring

bounce didn’t show any real differences,playing the pads side-by-side did. TheSimmons pads, like the Yamaha pads, werebouncier - maybe not “mesh bouncy”, but theyjust felt better.

Stick noise on the cymbals was about what I’vetested on the Roland CY-8 and the AlesisDMPad ride; bounce was also about the same.

The crash/rides consist of one dual-zone(S1000CYM12DC) and one single-zone(S1000CYM12SC) 12” cymbal that chokes.They are offset-mounted, like Roland’s CY-5/8and Alesis’s DMPads, but are not wedge-mounted. Instead, there’s a circular ball mountthat attaches to the cymbal arm which has aflange that fits into the cymbal to preventrotation. How much swing you get depends onhow tight you screwin the wingnut.


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The ball mount end allows for some swing,unlike the other cymbals but still not much.That’s a limitation of any cymbal like this buthow important that is to any drummer isimpossible to say.

Both cymbals are quite responsive and chokeeasily. The single-zone pad actually is velocitysensitive or, in this case, it’s the VAR samplemodeling at work. You can hit the cymballightly and get what you’d expect, but thwack ithard in the centre and you get an entirelydifferent sound - almost to the point that youthink it’s a dual-zone pad. The actual dual-zonepad is used as the ride, giving you edge/bowhits. As you read this article, Simmons alreadyhas a three-zone ride cymbal for sale and itdoesn’t need a second cable taking up avaluable “extra” input on the module.

The HH cymbal is 10” and single-zone but theVAR sample modeling provides a surprisinglywide range of sounds.

As I said in my review of the Yamaha DTX-450,the big question for any kit involves thecymbals, namely how “realistic” they are,particularly the crash and HH. In that regard, Iwas pleasantly surprised with the SD1000.Both crash/ride cymbals produced subtle,realistic swells. The VAR sample modelinggave a good variety of sounds across theentire strike area of each cymbal. Even the

single-zone HH cymbal had varied sounds. Ijust wish there were a couple of more crashsounds to choose from. HH articulation, likewith every cymbal/controller combination, tookgetting used to and I wished the controller wasjust a little bit less stiff.

How does it play?I’ve been playing exclusively on a rubber pad-based kit for six months, so moving from one toanother was seamless. I like the fact thateverything is just a little bit bigger than whatyou normally see in a beginner’s kit. One thingI’ve learned is that rubber pads are differentnow than they were 10+ years ago. Putting theSimmons tom pads side by side with the padsfrom the Yamaha DTX450, a Roland PD-7 andeven my old Concept One pads shows that oldpads like the latter two are rock-hard whencompared to the newer designs. It’s a subtlething but it also helps explain why moving backand forth from this to mesh isn’t as jarring asone might think. It’s also easier on the handsand wrists.

The cymbals were a pleasant surprise and thewide variety of available kits and songs shouldnot only keep beginner drummers busy, butexperienced drummers engaged for a longtime. While everything was “a little bit bigger”,the kit didn’t feel big. It’s compact and the low-profile rack should make it fairly portable.

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How does it sound?Out of the box, the rock kits (or Maple) are a bitreverb-heavy. That’s not actually a bad thing,plus you can always dial that back.

I found the basic voices on the SD1000 wereon par with the TD-12, keeping in mind that the“sound engine” on the TD-12 and the Simmonsare many years apart. Not all kits on theSD1000 are created equal. As Allan foundwhen reviewing the KAT Percussion KT2 kit(August 2013), some kits excel and othersdon’t. I spent a lot of time practising on the 80sRock kit and found that over time, the cymbalssounded more and more like those on my oldexpanded TD-10; I haven’t had that thoughtafter playing six months on the DTX-450. Thatsaid, several of the rock kits and specialty kitsdo shine and you can always change cymbaltype and tweak the sound.

As mentioned, it is surprisingly good at cymbalswells. It didn’t have the seamless edge-to-bow flow that I can dial into the TD-12, but it’sfar better than the DTX450. The VAR samplemodeling is akin to Roland’s “positionalsensing” and I found the SD1000 sounding thesame in that sense, particularly when playingsnares and rides on it and the TD-12 (whichhas positional sensing).

The HH is really the only area where thebeginners/budget aspect of the kit shows.Sound quality is fine but only having a singlezone and a basic controller means the overallHH experience is exactly what you wouldexpect from a kit at this price.

OverallSimmons has come a long way with this kit interms of sounds, playability and customisation.Plus, it’s at a price that is downright amazing: Ican’t think of any other kit that offers this muchbang for the buck and the rack is gorgeous.

One of the biggest fears anybody has whenpurchasing a beginner's e-kit is the possibilityof “outgrowing” it, both in terms of thehardware and the module. That is not an issuewith the SD1000. Simmons has upgradeoptions (snare, ride) and if you want to move tomesh using non-Simmons gear, that’s alsoviable. If you are a VST player looking for avery good kit that doesn’t break the bank, theSD1000 would be perfect since it has plenty ofMIDI options. The downsides are the single-zone HH cymbal, limited crash cymbal soundsand the lack of effective anchoring on the kickpad unless you go the carpet scrap route.

SpecificationsDrum Sound Module: SD1000Max Polyphony: 64 voicesDrum Pads: 3 x 9” single-zone rubber; 1 x9” dual-zone rubberCymbals: 2 x 12” dual-zone, chokeable; 1x 10” Hi-HatKick: 1 x 9” upright rubberNo of kits: 55 (storage for 44 additionalUser kits)No of voices (instruments/sounds): 515Voices Parameters: Gain, Sensitivity,Threshold, Curve, Retrig Cancel,Crosstalk, Rim Sensitivity, HH SplashEffect Types: Reverb (8 preset types; 4-band EQ)Songs (Patterns): 110Click Tempo Range: 30-280 bpmPad Connection: ¼” to ¼” stereoInterfaces: MIDI In/Out/Through, MIDIUSBOutputs: 1 x 1⁄8” stereo (headphones), L/R¼” mono (TS unbalanced)Inputs: 10 ¼” stereo (for pads); 1 x 1⁄8”stereoStreet price: $680


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HandyHandyadvanceadvance

--Gear--


Roland recently updated its handpercussion range with the launch of theHPD-20 Handsonic. Adam Manningwas among the first to get his hands onthe new instrument.

FIRST

LOOK

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THE HPD-20 CONSISTS of 13 individualpercussive pads that give the user directaccess to tuned and untuned percussivesounds from all over the world. Striking thepads with hands or sticks allows the performerto directly access the desired sound. However,the instrument best responds to hand gesturessimilar to that of the conga/bongo technique.

Instrumentalists who have experienced thedramatic difference between weightedkeyboard actions in comparison to unweightedkeyboards will certainly understand when I sayit’s like playing a weighted keyboard – it works.Along with the feel, the user will also note theease of musical command that one can exhibitover the instrument, as intricate dynamicmarkings and musical articulations are easilyachieved when using the HPD-20.

The instrument’s playing surface and responsehave come a long way. This new instrumentprovides the user with more performancepossibilities than any other electronic handpercussion instrument on the market. While theinstrument can be utilised as a compactreplacement tool for traditional percussioninstruments, it’s on the modern electronicstage where it really comes to life.

Most of all, its new digital compatibility andperformance surfaces is where the instrumentshines over previous models.

Along with its new and improved musicalaptitude, the HPD-20 sports 850 ready-to-playsounds, with the additional capacity to importup to 500 of your own sounds via USB.

Additionally, performers can record their ownsounds/rhythms and save them to USB.

Upgrades aside, the true test is in performancemode, and Roland’s YouTube channelsabound with stunning examples of theHandsonic at work. Interestingly, one willobserve how the instrument is predominantlyused within an electronic musical context.

TC Spitfire, who is an electronic musicproducer, explains on the YouTube channelhow the instrument can be used in the studio.Spitfire claims that the HPD-20’s musicalexpression allows him to perform and recordpercussive tracks rather than using samples.He also sees this method of creating beats asfaster than trying to find samples.

Another demonstration by Tioneb provides adirect insight into the electronic performancecapabilities of the instrument in combinationwith a BOSS Loop pedal. This clip shows howa producer would approach the instrument inperformance through looping techniques.

The HPD-20 integrates seamlessly with themodern DJ rig and music softwareprogrammes - and this is where the instrumentcomes to life. If you are a young percussionist,this instrument will provide a direct way oftapping into the expanding performancemedium of today: DJing. This can be achievedby performing as a percussionist with a DJ inan attempt to provide a more interactive andrhythmical performance experience for theaudience. Alternatively, you can develop aconcept whereby both roles as a DJ/Drummer


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are performed simultaneously. Percussionistswho incorporate computers and a combinationof electronic percussion instruments into liveperformance often produce rewarding andinteresting results.

What Roland has produced with the new HPD-20 is a percussion instrument that’s useful inthe studio and on stage; furthermore, it’s aninstrument that will possibly inspire theyounger generation of percussionist/drummers.And it’s this generation of percussionist thatwill ultimately think of new ways of performingwith the instrument.

This instrument is a step in the right directionfor Roland and I’m quite interested to see howmusicians of the future will utilise it. Effectively,this instrument amalgamates various roles andskills, all of which will ultimately keep youngmusicians employed in the future.

In many ways, this instrument is the beginningof a new performance landscape for apercussionist/drummer/DJ and producer.

Adam Manning is a percussion teacherfrom Newcastle University, Australia and anelectronic percussion performer.

SpecificationsPad:10”, 13 sections, pressure-sensitiveKits: 200Instruments: 850Kit Chains:15 chains (50 steps per chain)User Instrument Number of User Instruments: Maximum 500(includes factory preloaded user instruments)Sound Length (total): 12 minutes in mono, 6minutes in stereoFile Format:WAV (44.1 kHz, 16 bits)EffectsMulti-Effects: 3 systems, 25 typesAmbience: 10 types3-band Kit EQQuick Rec Resolution: 480 ticks per quarter noteRecording Method: RealtimeMaximum Note Storage: approx. 30,000notesExport File Format:WAV (44.1 kHz, 16 bits)Controllers: D-BEAM,Realtime Modify knobDisplay: Graphic LCD 64 x 128 dotsConnectorsOUTPUT (L/MONO, R) jacks: 1⁄4-inch phonetypePHONES jack: Stereo 1⁄4-inch phone typeMIX IN jack: Stereo 1⁄4-inch phone typeTRIG IN jack: 1⁄4-inch TRS phone typeHH CTRL jack: 1⁄4-inch TRS phone typeFOOT SW jack: 1⁄4-inch TRS phone typeMIDI (IN, OUT) connectorsUSB COMPUTER port: USB Type B (Audio,MIDI)USB MEMORY port: USB Type ADC IN jackInterface: Hi-Speed USB (USB Audio, USBMIDI, USB Flash Memory)Street price: $900


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Lately, there have been a few newe-kick debuts, promptingdigitalDrummer to line ‘em up andtest ‘em out. Allan Leibowitzshares the results.

--Gear--


Best footforward

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Pintech K3 ErgokikDescription: Based on the Nimrod auxtrigger, the K3 consists of a 14cm tubemounted on an angled stand that attachesto a kick pedal base plate. The connectingplate is grooved, but it didn’t quite fit theDemon Drive and needed a bit of packing– a small piece of cardboard was sufficientto ensure a snug fit. The K3 ships with astylish bent-shaft, wooden ball beater.

Build quality: The Pintech trigger is solidlybuilt, with the same rubber sensorprotector arrangement as the Nimrod. Onecurious aspect of the design is the outputjack, which is positioned on the pedal side,rather than the outer edge.

Playability: The K3 feels good under thepedal. It has a decent amount of bounceand the rubber does a good job ofemulating an acoustic head. The trigger iswide enough to accommodate a doublepedal.

Triggering: On the TD-30, the K3triggered perfectly in almost any setting

with absolutely no need for tweaking. Thesame was true of the older TD-6.Triggering on the 2box was also perfect instock settings, and on almost any triggerconfiguration. The K3 took to the DTX 700like a duck to water, again triggeringperfectly in the stock trigger setting.

Noise level: 78-82 dB. Initially, I thoughtthe use of a softer beater would reduce thenoise, but it had little effect.

Price: $72

682Drums KTR-7E-kickDescription: This totally new productconsists of a 12.5cm rubber semicirclemounted on a rubber base which extendsto form the pedal linkage. At 7.5mm thick,the base attaches easily to the pedal. Thejack is located on the outside face.

Build quality: The KTR-7 is much like thePintech Ergokik in that it is based on aninner tube, but the rubber covering is muchthicker – at around 1cm. No beater issupplied.

The bulk of the e-kicks were tested with a RolandTD-30, a Roland TD-6, a Yamaha DTX 700 and a2box module, using the stock kick trigger settings. Apearl Demon Drive pedal was used for thosesolutions which required a separate kick pedal.Besides triggering, we measured acoustic noiselevels and monitored the playing action and alsoevaluated the build quality.Ho

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Playability: The KTR-7 feels natural, withjust the right amount of rebound. The strikesurface is wide enough to accommodatedouble pedals.

Triggering: Triggering was excellent onboth the Roland TD-30 and the TD-6, instock kick setting as well as other padsettings. On both the Yamaha and 2boxmodules, sensitivity needed to be raised abit – probably because of the insulatingproperty of the thick rubber housing.

Noise level: 78-81 dB – using a softbeater.

Price: $65

Hart Hammer KickInverted BeaterBass Drum TriggerDescription: At 15cm wide, the HartHammer Kick inverted beater bass drumtrigger was by far the heavyweight of thefield. Based on the Hammer aux trigger, itis solid and steady, easily fitting to the kickpedal with more than enough room for adouble beater arrangement. The pedalships with a soft beater, and extra beaterswere available for double-kick set-ups.

Build quality: The Hammer looksindestructible.

Playability: The Hammer feels natural,with a good amount of rebound. The strikesurface is wide enough to accommodatedouble pedals.

Triggering: Because of the amount ofrubber packed round the sensor, theHammer required a slight sensitivity boost

on all the modules except for the TD-6,which was far more accommodating. Oncedialled in, triggering was excellent on theTD-30, the DTX 700 and the 2box.

Noise level: 79-83 dB with the suppliedsoft beater.

Price: $99

Hansenfutz FutzPractice PedalDescription: The Hansenfutz Futz Pedalwas developed as a practice tool, but, forsome time, a Pintech sensor has beenadded to create an e-kick solution.

Build quality: The Futz pedal has recentlybeen revamped and although it is a plasticproduct, it seems well built and solid. ThePintech trigger addition is cased in plasticand also looks robust.

Playability: The playing technique isperfectly normal in this beaterless pedal.And, what’s more, you can adjust thetension, just as you can on a regular pedal.There’s even an optional spring for thosewho want to get a real workout.

Triggering: Triggering was a little on thehot side in stock settings on the TD-30 andthe 2box, and sensitivity needed to bedialled back slightly. There was no need fortweaking on either the DTX 700 or the TD-6. Once dialled in, responsiveness waseven and realistic.

Noise level: 78-82 dB. The noise levelwas low, but there is a distinctive clickwhich some may find irritating.

Price: $50 (Plus $27 for the Pintech RS-5trigger)


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Triggera KriggDescription: This beaterless trigger usesthe footboard to strike the trigger sensor,eliminating the need for a beater. Thestrike area is about 6cm x 5cm, andoverall, this is the most compact solutionon the market. I needed quite a bit ofpacking to attach the unit to the Pearl baseplate, but once in place, it was secure.

Build quality: There’s not much to theKrigg – a mounting plate and a horizontal

sensor. It’s well designed and neatlyassembled.

Playability: Because you’re using yournormal pedal, the feeling is very natural.There is a bit of a learning curve becausethe impact sensation is right under the foot– as opposed to at the end of the beater,but this soon feels normal.

Triggering: Triggering on the TD-30 andthe TD-9 was excellent in stock settings,while the 2box also needed absolutely noadjustment. The DTX 700 required just aslight sensitivity boost.

Noise level: 71-73 dB – by far the quietesttrigger in the test and without the click ofthe Futz. To quieten the Krigg even further,it is possible to attach a rubber pad underthe pedal, but this may reduce thetriggering somewhat.

Price: €48 ($65)

-reviews continue on page 22

www.AlternateMode.com

The Alternative eDrum Kit

ddnov2013v2_layout 3 4/10/13 2:23 PM

www.AlternateMode.com

The Alternative eDrum Kit

http://www.alternatemode.com/trapkat_ks.shtml

Alternate ModeeKICDescription: The eKIC is more elaboratethan the other e-kick solutions. It consistsof a base plate mounted on two feet, atrigger box (the latest box has an input aswell as an output for chaining pedals) anda separate sensor pad made of thenuBounce material used on the trapKATand drumKAT products. The eKIC can bebought with a pedal or as a stand-alone. Itneeded some packing to attach to thePearl pedal.

Build quality: The eKIC is well made andcleverly designed. The separation betweenthe sensor and the connector box shouldreduce the threat of damaged connectionsover time.

Playability: The nuBounce material has anexcellent, natural feel. The unit is, however,only suitable for a single pedal.

Triggering: Triggering was excellent onthe TD-30 and the TD-9 in stock kicksettings. On the 2box, it needed a veryslight sensitivity boost, and a tad moresensitivity on the DTX 700. Once dialled in,it had an excellent dynamic range.

Noise level: 77-81 dB. The nuBounce wascertainly a quieter playing surface thansome of the rubber products.

Price: $79 (incl beater and a cable). TheeKIC with pedal costs $145.

Yamaha KU100 Tested by Scott Holder

Description: It looks and feels like a hi-hatcontroller, most notably Yamaha’s HH65,but it is slightly lighter than the alreadylightweight HH65.

Build quality: It’s light and mostly plastic,so won’t feel substantial. However, everypiece of Yamaha e-drumming gear I’vetested has been rock solid, so there’s noreason to think the KU100 will be anydifferent.

Playability: This is a “soft” pedal with noway of changing the tension; thus, therebound or dead-stop “thunk” feeling youget when pressing down on a conventionalkick pedal was missing and disconcerting.Yes, I got used to it, but I still muchpreferred a conventional, upright kick.

Triggering: It triggered fine with a DTX400module, a Roland TD-12 (with slightlyincreased sensitivity settings) and anAlesis PercPad, but in order to get a bigaudio response, you have to really slamdown on the pedal with the ball of yourfoot.

Noise level: We didn’t test dB levels, butfound it to be significantly quieter than acouple of upright kick pedals.

Price: $65 (incl pedal and stereo cable)

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Just forkicksThere’s some debate over the origin of the bass drum pedal, butthere’s no doubt that the Ludwig Drum Company received thefirst patent for the type of designs we use today. Ludwig hascome a long way since 1909, and no drum kit today is completewithout a bass pedal.digitalDrummer canvassed a number of pro drummers abouttheir weapon of choice ... and here are their selections:

--GeAR--

PHOTO: JEREMY HOYLE


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Russ MillerMapex Falcon DoubleI have used the Mapex Falcon since 2010, after extensivelyauditioning a range of pedals. I have used it every day, on everysession and show and, other than a few (screw tightens) smalltweaks, I have had no issues. The thing I love about the pedal isthe incredible flexibility of the design. You can change hubs (fastor power), add weights to the beaters, have a strap/chain ordirect drive and it has a virtually unlimited (locking) springtension. Also, the footboards are a really good size. I use thisset-up: Primary pedal is a felt beater (Yamaha), the strap drivewith the “fast” hub and a medium to medium-low tension. Theslave beater is the Falcon beater with a 10g weight in it, thechain drive option and the “power” hub. This pedal has a mediumtension on it. I weight the slave beater and use the “power” hubto help even out the tones created by the left foot and the rightfoot. It helps my left foot (slave) pedal playing quite a bit.

Justin Schiada (my drum technician) and I hit it with a small amount of WD40 on thesprings, other moving parts, etc. periodically and that’s the maintenance!

Scott RockenfieldPearl Demon Direct Drive P-3000DI currently use the Pearl Demon Direct Drive P-3000Ddrum pedals. They are simply one of the best drum pedalsI have ever used. I use them on our current world tour andI hope to be using them soon in the recording studio.

The responsiveness of these pedals is exactly what I havebeen looking for. They give the utmost expression to myplaying and seem to make it very easy to get throughhours of playing each night with the least amount of effort.

The only adjustments I have made are the tension of thepedals and the height I prefer for the beater. Other thanthat, these pedals play perfectly right out of the box for me.I would seriously suggest these pedals to any drummerslooking for the smoothest and most durable pedals for theirplaying. They are simply the best pedals that I have evercome across in over 40 years of playing drums.

In October 2010, digitalDrummerincluded a special report on kick pedals.The feature contained reader reviews ofsome of the more popular products andan informative column on choosing theright pedal.To access the October 2010 edition, clickhere.


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

Stanton MooreDW 9000I use the DW 9000 pedals for just about everything. The singles and doubles are bothgreat. I like that they’re very smooth and sturdy. I like to use the DWSM 103 feltbeaters on just about everything. They give me a nice round tone.I use a double pedal to control my remote 26” bass drum and it works great! Here’s alittle trick Terry Bozzio taught me years ago: eliminating one of the universal jointswhen going to the remote pedal makes for a sturdier connection, but I had DW makeme a 24” linkage rod so I could eliminate both universal joints. This also put the 26”bass drum at the angle that I wanted. This little trick has made the remote bass drumsituation very sturdy and reliable.Sometimes, I like a more lightweight, portable option for jazz gigs or rehearsalsituations. I like the 6000 pedal for this (it has radius rods and can fold up) but I hadDW put a double chain on it. This makes the pedal feel a little sturdier whilemaintaining the lightweight portability. I also find myself playing rental and backline kitsat festivals and clinics. In this case, I take a 9000or 5000 pedal, adjust the springs to be as looseas I can get them without the pedal falling apart. Ilove my DW pedals, even if I have to leave homewithout them, a quick adjustment to the springsand I’m good to go!

Chester ThompsonDW 9000For the last few years, I have been using the DW 9000 single and double pedals. Ihave found them to be easy to adjust and fun to play. When I play the double pedal, Iuse a very different setting on the left pedal and it has never been a problem to setand later tweak it to feel great. Because I do quite a few clinics, it is important that Ican quickly get everything set up and ready to play without feeling I am fighting theequipment. The 9000 has consistently been great in that setting.

Jonathan AtkinsonDW 9000I use the DW 9000 single pedal, both live and in the studio. I have amaybe unique perspective on this pedal, given that I probably do 50%of my work on rental drums, so sometimes the gear provided canhave seen some serious usage! The DW 9000 pedals seem to be pretty indestructible, and I’vecertainly had pedals which have a high mileage but still functionperfectly. I don’t have to do anything to them except ensure that thespring tension is roughly in the middle.I play heel up, and also I play the kick very hard. My balance behindthe kit revolves entirely around my pedals. The 9000 means that I’mnever struggling in that regard.For my electronics rig, I use the FatPad by Drumtech (formerly theFatKat) which I think is the best kick pad out there: light, very smallprofile, perfect triggering and easy to fit next to an acoustic kick pedal.Great!


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Extended Footboard Ad 2013 (Dig Drummer).indd 1 10/10/13 4:53 PM

John MahonYamaha DFP9500DI use a Yamaha DFP9500D. It’s a direct drive, double-chain model with adjustments for beater angle,footboard angle and spring tension. The pedal frameshave stabiliser bars cast into them below the rockershafts to eliminate flex.This keeps the bearings inalignment and gives the pedal a smooth feel. That is the most heavy-duty pedal Yamaha makes.Basically, I’m standing and playing so I want it to be areal heavy-duty pedal - not so much because I’mplaying it very hard, but mainly it’s very stable, smoothand can take the beating of the road.

I found that with electronic kick drums, the more solid the pedal, the more ‘real feel’ Iseem to get.

Compared to other drummers’ pedals I’ve played, I would say my spring tension islight to medium. I don’t need to work harder than necessary!I don’t make any modifications to it. I like the felt side, but when I’m recording, I willsometimes switch to the hard beater. It’s great to have the options. Always haveoptions in the studio - engineers will love you.

John EmrichGibraltar G classLately, I have been using the new Gibraltar G class pedal. To me, it hasa smooth feel that I am looking for. I use the same pedal for electronicand acoustic gigs, unless I am playing Zendrum, in which case, I use aFAT pedal.

I like the feel of chain drive pedals with a heel plate. I play heel downand that is very important for me. In the past few years, pedals havegotten a lot heavier. I prefer to “not” feel that weight because it feelslike I am pushing something down. The new Gibraltar has a lighter footplate and feels more like I am tapping on the ground. The base plateand posts are sturdy and do not move. This helps me not feel any extramovement if I bury the beater to create a short attack and change thepitch of the drum. I do not play the bass drum too hard, so maintenanceis usually not a problem until I’ve had a pedal for about a year. At thatpoint, parts that rub together start wearing out from the friction. Thebest advice I have is to be careful how it is packed up between gigs.That can often do more damage than playing it.

The one thing I do have with me for all gigs is multiple beaters. It isimportant for me to have multiple choices for the drum in different environments. Ihave an older Yamaha felt beater, a second Yamaha felt beater with an additionallayer of German felt that I added, a rubber beater, a home-made wood beater, and aSquare Danmar wood square beater. I also carry a plastic beater that I only use onelectronic drum sets like my DTX 900. I hate the sound of plastic on an acoustic set,but everything travels in one bag.


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Michael SchackTama HP-900SW Iron CobraAfter many years of trial and error, playing different types of single and doublepedals of different brands, I definitely stick to Tama’s HP-900SW Iron Cobra. This,for me, is the ultimate double pedal for the energetic touring drummer, playing bothacoustic and electronic drums and constantly “throwing” these pedals in and out offlight cases. It actually comes with a very user-friendly and robust casing.

The best things about this pedal are the inspiring playing feel, with any kind ofshoes and socks - always consistent; the practical design and features, all easilyaccessible while in action (in between songs,that is); and the fact that it truly is the strongestpedal on the market.

The Iron Cobras don’t need any modification,since it’s all there. And there’s no need formaintenance, except for tightening all adjustablescrews when new out-of-the-box. I have neverbroken one single joint or other part on thesepedals in these last five years.

Dirk VerbeurenTama Speed CobraI use a Tama Speed Cobra chain drive double pedal. I was lucky to test one of theearly prototypes of this pedal and it was love at first sight! The Speed Cobra is partof my essential equipment. I never play on another pedal unless I’m forced to atgunpoint. I had to go back to the Iron Cobra once and, although I had used it formany years prior, it felt a little bit like a primitive ancestor in comparison.

What I like most is the long pedal boards. They make a world of difference when itcomes to speed and precision because of the wide range of foot positioning theyallow. And they look great.

It took me a few months to fully adjust. I set the spring tension to about 95% andreplaced the felt beaters with rubber ones. Other than that, it’s out of the box.

My maintenance involves oiling the joints every few months. I’ve used it for close tothree years now, and it goes everywhere with me on tour. It’s truly solid and reliable.

Paul Snyder has some care andmaintenance tips:1. Keep your pedal clean. A rag andwhiskbroom are handy for this.2. Once clean, occasionally lubricate thebearing, but not so much as to leave abuild-up which can collect dirt and debris.3. Check springs and spring connectionsfor weak spots or wear.4. Check key rods for good tension, beingcareful not to over-tighten. 5. In particular, be sure to check the keyrod that tightens the beater so as not tolose the beater mid-performance.6. When attaching the pedal to a bass

drum hoop, be sure the pedal is set level.This ensures better pedal performance andrelieves stress on the hoop and hoopclamp.7. Keep extra parts like springs, beaters,key rods, spring connecting parts, etc.8. Keep a small tool kit that includesscrewdrivers, pliers and a set of metric andstandard Allen wrenches. 9. Last, but not least, a good pedal bag orcase can help ensure a long life for yourpedals. Paul Snyder is a drum technician atStudio Instrument Rentals (S.I.R.)Nashville.P

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Russ Miller has played on multiple Grammy award-winningrecordings with combined sales of over 26millioncopies. He’s played with Ray Charles, Tina Turner, NellyFurtado, Hilary Duff and Andrea Bocelli and is now reachinga new audience as part of the band on American Idol. But,as Miller tells digitalDrummer editor Allan Leibowitz, he’salso an e-drum inventor and has collaborated with Yamahaand, more recently, on Zildjian’s Gen 16 line.

digitalDrummer: Tell us a bit about how yougot into drumming?

Russ Miller: I started when I was very young,around eight years old. I lived with mygrandparents a lot and my grandfather hadplayed drums when he was young, and whilehe hadn’t played for a long time, he was agreat music enthusiast. So, there was always alot of music playing and a lot of big bandrecords. I actually started playing swing stufffirst – along with Buddy Rich records, GeneKruper, Count Basie records. And then, when Iwas a bit older and went to high school, Idiscovered rock, like AC/DC, and thought thatwas really cool.

When I started playing, I began taking lessonsand back then, you actually learned how toread music and learned technique, playing ona pad for years before you even got a drumset. My first teacher was actually blind, believeit or not, and he had all these rudimentarybooks memorised. I remember just readingand playing and he’d go: “no, you missed the1/16 note and the ‘ee’ of ‘three-ee’”. So, Istarted taking lessons when I was eight and Inever stopped. I think it’s really important thatyou have a coach. You know, Tiger Woods maybe the greatest golfer that ever lived, but he’sgot a coach. Sure, the coach isn’t better thanhim, but it’s a third-party perspective of whatyou’re doing.

dD: So when did you decide this was what youwanted to do for a career?

RM: When I was around 11 or 12, I was arounda drum shop in Ohio and I remember seeingdrum clinics with Roy Burns and BernardPurdie, and I saw a couple of shows and that’swhen I made the decision that that’s what Iwanted to do. I never really wanted to doanything else and there were moments in mylife when I wasn’t able to play full-time and Ihad to valet park or work in a factory, but I was

never a valet parker who wanted to be adrummer. I was always a professionaldrummer who for that month had to valet park.

dD: And your first paid, professional gig. Whenwas that?

RM: I was actually in a band when I was 15years old with a bunch of 30- and 40-year-oldguys and we played clubs and weddings andthings in Ohio, and I actually ended up inelectronic drums through that. I had been veryinto the Simmons kit and I had saved up somemoney and bought one of the first Simmonskits second-hand, and because I had that kit, Igot this gig in a Top 40 show band and fromabout the age of 16 on, I played about four orfive nights a week. Back then, that’s all youwere hearing on the radio – all those Simmonssounds.

dD: That’s a neat segue into talking about e-drums, so what gear have you used andowned over the years?

RM: I remember the very first thing I boughtwas a Boss handclap machine – literally aguitar pedal with a rubber pad on it and it madelike a handclap sound. Then there was anotherone which had like a Syndrum sound. Then Isaved up for the Simmons kit and because Iwas growing up at a time when electronicdrums was just starting, I was very influencedby it and really into it from early on in myplaying. I was heavily involved with drumKatback in the day. I helped put togetherpresentations for those guys for smaller showsand things and, later on, ended up being oneof the key design artists for the Yamaha DTXsystem around 1995. That was when Yamahagot back into electronic drums. They had a kitcalled the PCM in the very early ‘80s, but itdidn’t last very long. And then they were out ofthe electronic drum market until the mid-90s.

dD: And what was your role on that first DTXproduct?


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RM: I was key in pad design and how the padsfelt and I also came in with some inventionsthat were implemented into that system. Thefirst was the ride cymbal cup pad. The bar padBP 80, with two pads on it, was another of myproducts and I also designed two systemscalled the Latin Expansion Kit and the DrumSet Expansion Kit – both additions for theacoustic drum set. I also did a lot ofassignments of how the kits were laid out, whatsounds were on what kits, the design of thekits and also helped a lot with the actualsampling. From that module on, almost all ofthe drums in DTX modules were my studiodrums.

So, I’ve been involved ever since ’95 – onevery high-end system along the way,especially with the feel of the pads and thesounds. And when they started to add loops, Iwould play a lot of those, too.

dD: What are some of the biggest changesand developments you have seen in the rangesince the early days?

RM: As with everything, the memory capacityhas grown, enabling better sample quality, but Ithink the biggest change has been the pads.

The new silicone pads are pretty amazing: theyfeel great, they’re fun to play, they’re notstressing on the body; and the cymbal padshave made a big jump from the old triangleforms. Yamaha has always struggled a bit withthe usability of the system. I always feltYamaha’s systems could do more than someof the others on the market, but you had to digfurther into it. It reminded me a lot of drumKat,which was the best system that was evermade, bar none, and probably still is. Butbecause of the complication of it for theaverage consumer, it’s hard for it to take. TheRoland stuff really nailed that user-friendliness.

dD: These days, you are probably best knownin e-drum circles for your work with Gen 16.Can you tell us a bit about that?

RM: Well, of course I’ve been a Zildjian artistfor some 20-odd years, so I’ve always beenaround the sound lab guys. But connectionwas primarily with John Roderick, whom I haveknown for a very long time. When he got toZildjian, he gave me a call and said he wasgoing to start this new division and asked meto be involved in what they were working onbecause of my experience with electronics.


Russ uses e-drums on American Idol

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I’ve been involved eversince ’95 – on everyhigh-end system alongthe way, especiallywith the feel of thepads and the sounds.

dD: So when you got involved, was it a usableproduct, or still taking shape?

RM: Well, I feel it’s been a work in progress.And I understand that, having been involved ina lot of products over the years. You know, youcan’t fly straight to the moon. You have to takethe ship into orbit, open the hatch, see whathappens – you’ve got to do that. And I thinkcomponents of the Gen 16 system got nailedright out of the gate. I felt like the AE low-volume cymbal was a really cool sound and a

really cool product. The pick-up system hadchallenges until the Direct Source systemthat’s coming out now. It was more a practicetool and for low-volume, small venues. It wasdifficult to use in a professional large-venuesetting. You know, it’s creating mic fields, soyou have five more mic fields that are out ofphase around the drums and you already haveyour other 13 mics on the kit, so it was a bit ofan issue. Now, with the Direct Source stuff, it’sspot on and I use it on American Idol, and lot ofother pro situations.

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dD: Okay, looking at your day-to-day work,what do e-drums allow you to do that youpossibly couldn’t do with acoustics?

RM: I used the DTX kit solely on the lastAmerican Idol ‘mentor sessions’, because theywere changing the themes so much from weekto week that it was like one week would be‘80s and then next 2010-2012 music, andsome things would be more rock and it wasreally difficult to get all the tones ready quickly.In that situation, I was sightreading, so I had tocome up with a system that allowed me toaccess a lot of sounds that I would need for alot of styles, just at my fingertips. I had a fullDTX rig, some Gen 16 cymbals, a multipadand probably six or seven small pads aroundthe kit with different sounds. That allowed meto get to stuff quickly without having toprogramme something. But I even useelectronics in other stuff – even with AndreaBocelli, where I had a multipad for shows, forexample, where there was no timpanist. Andon a lot of the house band stuff that I do, I endup using a multipad and a couple of pads toget instruments to the front of house clearlythat would be difficult to mic with that manypeople on stage – like a shaker or a triangle, orsomething like that.

And then on sessions, it’s not so much playingthe stuff live, but on stuff like movies, it’s oftenabout sound design. So it’ll be a combinationof me creating some form of loop that’sworking with what I’m doing acoustically on thedrums or some other percussion. Sometimes aproducer will like the feel, but ask forsomething other than ‘common drum tones’, soI’ll go back and retrigger out of ProTools intomodules and layer it to create some moreambiguous tones. I mostly use module sounds,

but do sometimes use EZdrummer samples,via Logic and MainStage.

dD: What do you think is the next big thing inelectronic percussion?

RM: I think it’s leaning towards these hybridsystems like Gen 16. I keep seeing peopletrying to make electronic drums look likeacoustics.

I think someone needs to spend the moneylooking into a new triggering facility. There aresome that we worked on with Yamaha that justgot kind of set aside for budgetary reasons, butI think the piezo trigger thing has run itscourse. I mean it’s been around for a while – itwas in the Simmons stuff and we’re still usingit. The FSR stuff in the Aquarian inHeads isreally, really hip and I am interested inspending some time with that stuff because itwould be good to be able to incorporate quicklyon a gig - to turn an acoustic drum into anelectronic drum in real time, almost. I think thetriggering is going to be the key.

But I think all the companies are facing aproblem because it’s hard to sell high-end gearof any type. So it’s hard for them to put a lot ofR&D and money into high-end gear becausethe sales are so far down. But we’re not goingto have breakthroughs at $600.

dD: You touch on something important there –the explosion of low-end kits. And what you getin a $600 kit today is mind-blowing comparedto even five years ago. And this means that alot of kids starting out will begin their drummingexperiences on e-drums. How is that going toimpact on the next generation of drummers?

RM: I think it can be great or it can be bad. Thegood part is that they have a different


ddnov2013v2_layout 3 4/10/13 2:23 PM

understanding of what tones are available froma percussion instrument, whereas for us, asnare drum was a snare drum. Of course,there are a lot of sounds in a snare, but youhave to learn to execute them out of it. In thesame way they have this unlimited world ofpossibilities, there’s also this huge detrimentthat they aren’t learning how to extract thetones out of an acoustic instrument.

Practising on electronic drums is great formovement, independence and musclememory, but you also have to spend time onan acoustic instrument so that you canunderstand how those tones come out of thecymbals.

What impresses me is the people who havemade electronics their thing. For most of us,it’s this hybrid thing: we grew up playingacoustic drums and electronics were a part ofour toolbox, but it wasn’t our act. It’s becomemore and more a part of mine over the years,and guys like me who do a lot of different stuffjust have to know how to use electronics. Andyou have to have chops on ProTool and Logicand everything else so that you can makeloops and record and whatever.

dD: That brings us to tips for drummers. Whatadvice would you have?

RM: A lot of guys nowadays don’t take thecareer aspect as seriously as they need to.They need to be well educated about what’shappening and look at it like a business. It’svery difficult to get someone to offer youmoney just to listen to you play the drums. Youhave to operate in the high percentages ofyour field. If you were a doctor or an architect,you would be very educated, up to date withwhat’s happening with all the tools, medicines,or technology, and drummers need to have thesame thing. A lot of times, musicians forgetabout the fact that this is a career. It’s not coolto not know.

And today, you have to have electronics. Theyare a part of what is happening. And it’s notjust mastering a kit, you need to understandVSTs and Logic and ProTools. So having theinformation is essential and having the tools isessential and, to be honest, there’s no excusebecause the stuff isn’t expensive. Even if youbought a midline DTX kit, it’s a great tool. Sohave the gear available and have some chopson it. For me, it’s about utilising technology asa tool to expand the palette of what we’redoing – not a crutch.


XP-70

XP-100TPad

Gen-16AE 20” China

w/ 8 Rivots

T775Throne

PF1000TW"Falcon" Dbl. Pedal X's (2)

XP-120SSnare Pad

Yamaha BarPad

For more information visit:www.russmiller.com

Yamaha DTX 900 Series Kit: Mapex/Zildjian/Yamaha Hardware: Zildjian Gen-16AE Hybrid Cymbals:2 - KP125W Kick Pads Zidjian Gen-16 AE rack with two side extensions 10” Gen-16AE Splash 2 - XP70 Pads 18 - Gen-16 AE Rack Clamps 20” Gen-16AE China with 8-Rivots1 - XP80 Pad Mapex Falcon SF1000 Snare Stand Gen-16 “DCP” Module2 - XP100T Pads Mapex Falcon HF1000 Hi-Hat Stand 2 - XP-120T Pads 2 - PF1000TW Flacon Double Pedals Vic Firth Sticks: 1 - XP120S Snare Pad Mapex T775 Throne Russ Miller Signature RMWB Brushes4 - PCY135 Cymbal Pads 8 - Yamaha CL940 (Long) Tom Arms Russ Miller Signature SMIL "Hi-Def" Sticks1 - RHH135 Hi-Hat Pad 7 - Yamaha CH755 Cymbal Arms 1 - PCY155 Ride Pad 1 - Yamaha BP-80 Bar Pad Yamaha DTX Electronics: Porter & Davies Yamaha Speakers:2 - DTX900 Modules (w/Mounts) Gigster w/ BC Gigster Round Throne 2 - Yamaha DXR15 Active Speakers15 - Stereo Cables (10-15ft) 1 - Speakon Cable (12ft) 2 - XLR to TRS Cables (15ft)2 - Mono Cables (12ft) 1 - XLR to Speakon Cable (12ft)DTX Modules need to have DIMM RAM Shure Microphones: SM58 for VOX Russ Miller uses: Mapex Drums and Hardware, Yamaha DTX Electronics, Zildjian Cymbals, Remo Drum Heads, Vic Firth Sticks,Shure Microphones, May E/A Mic Mounts, Porter & Davies Tactile Monitoring, Meinl Percussion, Hercules Music & Mic Stands, SKB Cases and Prologix Pads exclusively.

(2)KP125WKick Pads

PCY155Ride Pad

AE Rack

Russ MillerYamaha DTX (Full) Rider

2013

Gen-16AE 10” Splash

HF1000"Falcon" Hi-Hat

W/ RHH135 Hi-Hat Pad

SF1000"Falcon"

Snare Stand

XP-100T Pad

XP-80 Pad

XP-70 Pad

XP-120T Pad

XP-120T Pad

PCY135Cymbal Pad

PCY135Cymbal Pad

PCY135Cymbal Pad

PCY135Cymbal Pad

DTX900 Module

DTX900 Module

DCP Module

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Miller’s current e-drum set-up combines aYamaha DTX kit and Gen 16 cymbals

ddnov2013v2_layout 3 4/10/13 2:23 PM

My electroNic Musical journey beganback in the ‘80s when i started programmingsequencers, computers and drum machineswith my friend stephen Bray, who was writingsongs and working with Madonna in New york,then in la. i also experimented with aDynacord rhythm stick they had lying around.i was a big fan of Bill Bruford’s drumming andthe simmons electronic drums that he used inhis groups earthworks and King crimson. i wasreally excited to get my hands on a basic five-piece simmons sDs9 kit, then to add six more

pads, a roland PM-16 interface, a yamaha tX-7 and an alesis Hr16. i used that kit on and offuntil 1995, when i made my first Drummstick.some musical friends who had once openedfor Bela Fleck & the Flecktones and knewabout my e-drumming asked me if i’d everthought about creating a “drumitar” likeFutureman had done with his synthaxe. Whilemulling the idea over, i remembered havingseen singer Bobby McFerrin tapping on historso during a duet with Wayne shorter, whichhad conjured up images of how alphonso

How I use e-drums

Not only is he a great drummer, but E. Doctor Smithis also a bit of an inventor. However, when he saw theZendrum, he gave up on his own invention andshowed his genius on the new instrument.


--PErformance--

ddnov2013v2_layout 3 13/10/13 8:16 PM

Johnson and tony levin approached thechapman stick. that was the inspiration forthe design of the Drummstick, a 2”x6’ piece ofoak with 16 triggers that would be playedvertically. i went to radio shack and to a musicstore to buy parts, and a few weeks later, theDrummstick was born. since then, i haveplayed the Drummstick and toured with anumber of bands and recorded several albumson the edgetone records label in the sanFrancisco Bay area, where i live. i’ve beenhonoured to have had some great jams withsome amazing folks — Bon lozago, Howardlevy and Bill Kirchen, to name just a few!i first saw a Zendrum at a NaMM show back inthe ‘90s and thought it was great, but i stillpreferred the ergonomics of the Drummstick.one day, a friend surprised me with a mapleZX he’d just bought, and happily let meprogram it and try it out. the first thing i didwas to flip it up vertically, so i could play it theway i play the Drummstick. although the strapsweren’t in the right places, it worked wellenough. after 20 minutes or so, i’dprogrammed the ZX to a playable level. it wasso incredibly responsive. i immediately loved it. in 2007, i finally made the switch. theZendrum corporation’s David Haney built abeautiful, black “Jimi Hendrix ZX” for me, whichwas modeled after Hendrix’s Fenderstratocaster. after i replaced the strap locks sothat i could play it vertically, it worked like acharm. When Haney and John emrichannounced the new eXP model last year, itook a look at it, saw that it had beenredesigned to allow greater left-hand triggeraccess and to be worn vertically, and i knew ihad to have one. i bought the first-everproduction model, and it’s been a dream cometrue. My Zendrum technique is based on my nearly20 years of playing the Drummstick. My lefthand carries a lot of the snare, open hi-hat,crashes and sample triggering. With my righthand, i do my signature finger rolls, as well ascarry the basic kick, ride, closed hi-hat, snareand toms, split between multiple fingers. i wasreally happy when i discovered that i could putthe eXP on over my right shoulder, a laHendrix. this gave me more range with my lefthand, allowing me to use the eXP’s additionaltriggers more comfortably. so far, i haven’tused any pedals, but you never know.live, i’m a hybrid of new school meets oldschool, so i use a MacBook Pro with BFD2 andGarageBand for my basic kits, along with an

alesis DMPro. i also use iDrum to trigger mypre-recorded samples. My rigs vary, dependingon the size of the venue, and my sound is fedinto either a Fast track ultra 8r, a tascam us-1800, or Presonus usB/MiDi interface. i useeither an alesis iMultiMix 9r or a Mackie mixerand a pair of Mackie srM450s. For recording,i mostly use GarageBand, logic and Protools.i also enjoy using Darin Kadrioski’s Zendrumeditor app, Zenedit.i am a perfectionist when it comes to the audioquality of my drum sound. e-drums allow me tocontrol reverb, eQ and volume, no matter thevenue — indoor, outdoor, wherever. this issomething you don’t get with acoustics,especially when it comes to percussion,because not all sound engineers are createdequal. i also enjoy the ability to pack up in 15minutes and being able to fly with aZendrum, a usB interface and a laptopanywhere in the world!

Equipment list:Zendrums eXP and ZXDrummstick x 3Dynacord rhythm stickalesis DMPro, D4 and trigger i/oMacBook Pro with BFD2, GarageBand,iDrum10-piece simmons sDs9 kitsix-piece Ddrum D2 kit with Hart headsroland octopadMeinl cajonMackie cr1604, 2 x Mackie srM450


ddnov2013v2_layout 3 4/10/13 2:23 PM

LAST TIME, WE ensured that all the padswere properly tensioned, so it’s time toindividually calibrate each pad (drum andcymbal) to respond as you expect.

If you haven’t reset your module, now is theperfect time to do so.

Make a back-up first, of course. You can reloadany kits you may have already made, but theinitial objective is to begin trigger tweaking witha ‘clean slate’.

For the sake of ‘baseline’ settings, let’s focuson the Studio Kit (Kit No.1 in the presets), evenif it’s not to your liking. The objective is not totune the kit’s sounds, rather the triggeringresponse from each individual pad.

Default Pad SettingsThe module has been automatically reset tofactory default pad settings. If your kit consistsof different pads, change them to the correct(or closest) pad setting in the list. It is also

highly beneficial to set your Pan controls in theMixer to match your pads’ physical locations atthis stage, if you haven’t already done so. Partof the ‘immersive’ experience is hearingsounds come from where you expect them!

Baseline Volume SettingsUsing the default Studio kit, set both the kitvolume and each individual pad’s ‘instrument’volume levels in the mixer to a standard level.This will help you to determine individual padoutput (eg. the pad in Tom 1 position may bequieter by default than the same model pad inTom 2 position) and this will provide a betterbaseline for mixing later on.

Set your kit volume to 120 and all yourinstruments to 100, for example. You’ll besurprised how much variation in pad andindividual instrument volume there can be –based on physical variations in the pads andalso the TD-30’s instruments/mic positions foreach instrument.

Tweaking the TD-30

Last edition included some tips ontweaking the Roland TD-30. This month,Jeremy Hoyle digs into the module foroptimal performance.

--TWEAKING--


ddnov2013v2_layout 3 4/10/13 2:23 PM

Tip: Leave the front panel faders alone forfine-tuning much later in the process.DynamicsThe aim of the game is to find each pad’s‘sweet spot’ to get the largest dynamic playingrange possible – from the lightest tap to thehardest hit, and everything in between. Toachieve this, there are two settings you need toadjust first up.

Don’t think about instrument volume at thisstage – you’ve currently set that in the mixer.

Roland’s terminology can be confusing attimes, and they often don’t explain things well.

‘Sensitivity’ (aside from velocity, which ismisused) is at odds with most people’sunderstanding of the term. Most believe thissetting affects how ‘sensitive’ a pad’s responsewill be. However, sensitivity simply adjusts thevolume of your lightest hits - making themlouder... so it’s more like a ‘minimum volume’setting.

Threshold equates more closely to how mostpeople think of sensitivity.

ThresholdIf you’re trying to maintain the widest dynamicplaying range from your pads, then set yourThreshold as low as you can (0 is actuallyacceptable, but not always possible).

So long as this doesn’t create crosstalk issues,and your playing environment doesn’t causefalse pad triggering (like from a bass stack ona wooden stage), then you shouldn’t have anyconcerns with using a setting of 0.

The rule of thumb is ‘the lower, the better’.

SensitivityNow we know Sensitivity does not actuallymake a pad more ‘sensitive’, how do you useit? Easy … look at your hardest hits. Thegreen/orange/red bar scale meter will showyou how hard your hardest hits are registering.Red is ‘bad’ if you’re activating it with anythingother than your hardest ‘this stick’s goingthrough the pad’ hits.

The meter peak is a velocity of 127 - thehighest level - and like most things audio,shouldn’t constantly hit the limit.

Your best bet here is to hit each pad as hard asyou reasonably would playing normally, andadjust Sensitivity down (lower number) untilyou stop peaking the meter.

You shouldn’t see red except with your very,very hardest hit.

Curves and Hot SpotsRoland’s centrally mounted head triggersystem enables positional sensing (thedistance from the centre to the rim of the pad)and changes drum sounds to match. This isparticularly useful on the snare (also on toms –and, albeit with a different trigger system, onthe ride).

However, the system also introduces the risk ofa ‘hot spot’ on the pad: the area directly abovethe head sensor, where a sudden and dramaticvolume increase (peaking the meter at127/red) is very easy to do.

Source: Owner’s ManualdigitalDRUMMER, NOVEMBER 2013 39

ddnov2013v2_layout 3 4/10/13 2:23 PM

http://digitaldrummermag.com/RESOURCES.html

The hot spot can be effectively counteredthrough several tuning techniques, without lossof playability.

The simplest and most effective is to use aLOG 2 curve in your trigger settings, ratherthan the default Linear setting (Manual, p133).

This will increase your lower-volume,quieter/lighter hits (think ghost notes beinglouder) but will cut the dramatic change involume down considerably.

In combination with compression settings forthe instrument being used (try different settings– COMP SOFT 1–2, COMP MED, COMPHARD, LIMITER, EXPANDER - Manual p68),the hot spot can be completely eradicated.

Similarly, adjusting the Head/Rim Adjust(Manual, p134) can affect the hot spot and howeasily the transition from head to rim occurswith rim shots.

This takes some time to adjust to personalexpectations, but it is worth the effort.

Instrument VolumeTime to PlayNow you should have every pad individuallycalibrated to respond to your playing style.Some identical pads will have the samesettings, some will vary. But all should respondwith full dynamic range.

Your next issue when playing will be tweakingindividual instrument volumes in your kit.

This is relatively easy to achieve, and you’ll do95% of the work with the Mixer (NOT the frontpanel sliders, yet).

Mix it upAssuming you have already panned yourinstruments to match their physical positionand set all individual instrument levels to 100,you should now adjust each instrument tobetter suit your playing expectation.

This should take you very little time to adjust,now that all your pads are calibrated, and you’llbe getting every pad into the ‘sweet spot’where the playing feel and sound become trulyimmersive.

You may not like the Studio Kit that much, but itshould at least play well now! There are amyriad of options available to now begin

creating your own kits (or better adjustingRoland’s stock kits), but your triggering shouldno longer be of concern.

With a bit of luck, you now have a fullyrepeatable and decent understanding of settinga baseline with your triggers.

Personal preferences can be furtheraccommodated with further tweaking ofadjustments, and the more you play, the moreyou’ll discover what those are for you.

Custom KitsThis is where the real fun begins. Whether it’sBonzo’s Vistalite or Lars’ Tamas, we’ve all got‘dream kits’ we want to match.

The easiest way to do this on the TD-30 is touse a WAV or MP3 on a USB stick with a song(or songs) that contains the kit sounds you’reaiming to reproduce.

Listening while editing is the best way to goabout kit construction.

You’ll sometimes be surprised how bad the kitmight sound played solo, but how well it fitsinto a mix once you’ve tuned it up.

Instrument SelectionNot everything is as it seems.

You might know an artist’s kit spec inside out,but there’s no guarantee that they used thoseinstruments when recording. Add to that theproducer and engineer applying mic’ing tricks,compression, gating, EQ and a number ofother studio staples, and that 14x8.5”chrome-over-brass snare with a coated batterhead might sound more like a 12x3” maplepiccolo with a clear head ... which makes yourlife pretty hard. There’s also Roland’s take oncertain instrument sounds and differences inbase instruments on modules of variousgenerations, but at least the TD-30 has somegreat starting points. In any case, your ears arethe only thing you can trust, so you’re going tohave to keep hitting a pad for a while duringsong playback and try to find the right ‘base’instrument that fits the general tone of whatyou’re hearing.

Mic PositionThis is one of the more underrated features ofthe module and, like its acoustic counterpart,can have one of the more profound effects on


ddnov2013v2_layout 3 4/10/13 2:23 PM

getting the sound you’re looking for fromrespective instruments. Mic position candramatically alter the volume of an instrument(as one might expect, moving the virtual miccloser or further away), but also theinstrument’s brightness and depth. This littlefeature might help hi-hats sound clearer in themix or give the kick or toms a bit of punch(attack). It’s well worth experimenting with micpositions before altering the sound of the kitwith broader controls.

Instrument VariablesOnce you’ve selected the instruments (one-by-one), you’ll also find tuning ‘notes’ gets you alot closer. The fundamental pitch is the secondmost important parameter after the correctinstrument is selected. Head tuning (in themodule, not your just-tuned mesh head!) andshell depth or material (where editable) willmove you in the right direction – be aware, thatalthough subtle, shell depth and head tuningcan almost cancel each other out at times, soset one at a time and see which variation getsyou closer to the fundamental tone you’reseeking. Of course, concentrate on oneinstrument at a time and keep working at ituntil its sound virtually ‘disappears’ into thesong – the less you can hear it, the moreyou’re matching the recorded sound.

Compression, EQ and FXFinally, there’s a lot in recorded drums owed toproducer’s tricks and preferences. If you don’tknow how the kit was recorded, there’s noquick answer to setting compression, EQ orFX - it’s all trial and error. Hopefully, though, bythis stage, you’ve got the basic instrumentsounds pretty close and you may find that’sgood enough. For those wanting to go theextra mile, beginning with compression isprobably best advised. Find the basic settingthat adjusts the instrument sound closer to thetarget, and then adjust the EQ where thesound is still lacking (it might need a little moremid-range punch or low end added to thesound, for example). FX are probably the lastthing to add, be it in filters or ambience, butonce you’ve got the instrument sound dialledin fairly close, these should be a lot easier toadd.

Happy Tweaking.

And then there’sthe easy way …WHEN THE TD-30 first launched, welikened it to a sports car running on regularunleaded fuel. The module has enormouscapability which is not fully exploited by thestock kits.Now, all that has changed, with protweakers V Expressions launching the firsttwo packs for the TD-30 module.The Vex packs are not new sounds, butrather detailed tinkerings with the stockRoland sounds, aimed at emulatingpopular kits. They are easily loaded intothe module via the USB port. In fact, theaddition of the port has made it easier thanever before to update the patches.There are two custom VEX packs for theTD-30 – Strike and Essentials: Rock. Theformer is based on kits while the latteremulates artists’ sounds including tuningand effects.I tested Strike, a collection of 50 kits andnine custom cymbal packs.The kits are set up for a standard TD-30KVrig and cover a variety of well-known drumsets – from a 1979 Tama Imperial Star to a2008 Gretsch 125th Anniversary Walnut kit.There are plenty of bread and butter kits –a Ludwig 1980 Rock power drum set, aPearl Masterworks Mahogany/Maplehybrid, a Yamaha Stage Custom and a2013 Sonor Ascent. Even more impressiveis the range of exotic kits, from a 1965Leedy to some Crush Acrylics, a Dunnettkit and a Sleishman maple set.The cymbal collection includes the usualsuspects of Sabian AAX, Zildjian K andPaise Signatures, but there are also someunusual instruments from Dream Cymbals,Soultone and Bosphorus.The sounds are almost VST quality and, ofcourse, are further tweakable using theTD-30’s extensive FX and ambiencecontrols.In short, the VEX packs take the TD-30 toa new level and while the dedicatedtweaker may be able to achieve the sameresults through trial and error, for me,these expansion packs are no-brainers at$50 each. -Allan Leibowitz


ddnov2013v2_layout 3 4/10/13 2:23 PM

THERE’S SOME BAD news for drummersworldwide. You’re about to be replaced by a$200 computer program that allowssongwriters to not only grab and arrange drumloops, but actually control every aspect of theplayer.

Your competitors are Kyle, Logan, Anders, Maxand Jesse, the virtual drummers who make upLogic Pro X’s Drummer function.

The good news, however, is that you canharness their abilities for your own purposes byusing the new Apple music production tool as aDigital Audio Workstation (DAW).

Although the Drummer function is clearly notdesigned for us stick-wielders, it’s one of theniftiest applications I have seen, so it’s worth abit of explanation.

Drummer automatically lays down a drumtrack, and users can choose one of the

drummers based on their playing styles, whichare described in the app. Each drummer has abunch of variations to choose from, and evenwithin those, you can adjust the style betweenloud or soft and simple and complex – muchlike the Drum Jam application.

There are further tweaking options in the nextpane, where you can select which kit piecesare used, how they are played, the intensity offills and the degree of swing.

These are not loops, per se, but tracks that canbe altered on the fly in real time and recordedin both audio and MIDI.

Without going into too much detail, not onlycan the playing style be edited, but the actualdrum sounds can be manipulated to anastonishing level if you want to dig in. And, witha bit of trickery, you can actually get the virtualdrummers to play virtual kits from your ownVST collection.

It’s so logical

--VST--


The eagerly awaited upgrade ofApple’s Logic DAW has produced apowerful program which is very easyto use, as Allan Leibowitzdiscovered.

ddnov2013v2_layout 3 4/10/13 2:23 PM

Logic also has a powerful new Drum KitDesigner plug-in that uses real samples toenable the creation of some great-soundingkits.

Okay, so the threat with Logic Pro X is that itrepresents a direct competitor to the sessiondrummer. And, it is a real threat because what Isaw and heard during a one-on-one demo byan Apple product specialist was reallyimpressive and totally intimidating. In the righthands, this really is drummer replacement, withthe engineer having absolute control overevery sound and almost every stick or brushstroke.

But of more interest to the digitalDrummeraudience is Logic’s use as a DAW. Admittedly,using Logic Pro X as a VST host is a bit likeusing a sledgehammer on a walnut. The Appledemo showed how Logic can be used to craftthe most professional audio products, all instunning 64-bit detail.

In a download world, Logic Pro is onlyavailable in soft copy, from the App Store. It’s abig download, especially if you grab all theaudio content and plug-ins which weigh in atalmost 40 GB. You don’t need to download itall at once – and, in fact, if you’re just using itas a host for your VSTs, you’ll need a fractionof the material. And because it’s an App Storepurchase, you can run it on any of yourregistered Apples.

The 64-bit part may be limiting with older VSTs,but since most of the big names in e-drumshave progressed beyond 32-bit, this shouldn’t

be an issue. In fact, I was able to loadinstruments from all my VSTs without anydifficulty.

It took me a while to work out how to accessmy VSTs. Actually, you can only load the AUversion, but that was not an issue with thesample packs I tested – BFD2, SD2, StevenSlate, NI Abbey Road, Drumasonic andAddictive Drums. All of them loaded like acharm, and only a couple of Kontakt-basedpacks needed the MIDI changed to “omni”.

The most appealing thing about the programas a DAW is its interface. In Apple tradition, it’sall neat and logical, looking a bit likeGarageBand on steroids.

Look and feelNon-pro users will find the interface relativelyintuitive – something Apple has honed withGarageBand.

The main panel is called the Main Window, andthat’s where the tracks are assembled (in theTracks space).

Drummers will spend a bit of time in thechannel strip, where VSTs are located underthe Instrument bar. Besides the softwareinstrument, users can also access a bunch ofaudio effects and MIDI plug-ins.

Besides VSTs, Logic Pro X contains a numberof drum kits, all of which are editable. You cantune drums and edit the FX on the instruments.

While VSTs like Superior Drummer and BFDhave extensive audio editing tools, Logic Pro X

ddnov2013v2_layout 3 4/10/13 2:23 PM

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€39

gives you further tweaking ability – either withdry feeds or with the processed sounds fromyour VSTs. There are, for example, someimpressive delay and echo effects. For themore basic VSTs, Logic provides even moreopportunity to enhance and shape the sounds.

Remote accessApple knows that every serious Mac owneralso has an iPad, so it has offered a free appthat turns your tablet into an additionalworkspace for Logic Pro X. You can use youriPad as a playing surface like a drum pad orkeyboard to trigger sounds on the maincomputer, or as a remote to control any of thesliders and knobs in the mixers. And, evenmore helpful to beginners, if you use the helpfunction in Logic Pro, the answers pop up onyour iPad so that you don’t have to wastevaluable screen real estate for pop-upmessages.

Bottom lineLogic Pro X is an extremely powerful audioproduction tool, presented in a user-friendlyformat and, like an onion, you can peel awaylayers to get deeper and deeper into theproduction process.

It is clearly way more than any weekendwarrior drummer will need to drive his or herfavourite VST program, but there’s no doubt it’stempting enough – and easy enough – toensure many of them will start messing aroundwith more advanced techniques and tools.The biggest surprise with Pro X is the pricing.Where previous incarnations have run tohundreds of dollars, this offering is available foraround $200. If you’re new to Logic and want to learn yourway around, I would strongly recommend thelatest training offering from Groove3. TheLogic X Pro Explained tutorial, presented byEli Krantzberg, covers everything from basicnavigation to hands-on production. Over fivehours, the tutorials start with project creationand run all the way through to recording andmixing.

The material is well organised, and you onlyneed to watch the relevant bits, rather thansitting through the whole five hours. If you wantto get even more out of the program, the $35training pack is a small price for time you’llsave learning through trial and error.

SpecificationsSystem requirements4GB of RAMDisplay with 1280-by-768 resolution or higherOS X v10.8.4 or laterRequires 64-bit Audio Units plug-insMinimum 5GB of disk space. 35GB of optionalcontent available via in-app download.

Plug-ins 67 effect plug-ins including Pedalboard, whichincludes 35 stompboxes18 software instrument plug-insCustomised instrument tuning system including97 fixed tuning presets, equal-tempered,customised and Hermode tuning17 instrument and effect plug-ins with truesurround support

Sound Library 1,548 Patches for Audio, Auxiliary, SoftwareInstrument and Output tracks3,647 Apple Loops covering electronic genres:Hip Hop, Electro House, Dubstep, ModernR&B, Tech House, Deep House and Chillwave848 EXS24 Sampler instruments3,655 plug-in settings for 85 plug-ins30 Ultrabeat electronic drum kits with 750unique drum sounds666 reverb spaces and warped effects forSpace Designer32 groove patterns for Arpeggiator MIDI plug-in

CompatibilityOpen projects from Logic 5 or laterOpen GarageBand songs directly in Logic ProSupport for Core Audio-compliant MIDI andaudio hardwareSupport for Audio Units effect, instrument andMIDI plug-insReWire support for Propellerhead Reason,Ableton Live and other compatible applicationsImport and export of AAF, OMF, Open TL andXML (Final Cut Pro X) projectsImport and export of MIDI regions as MIDIfiles; export of MIDI and audio regions asApple LoopsExport music notation to MusicXMLPlay AIFF, WAV (BWF), CAF, SDII, AppleLossless, eligible MP3 and AAC (noneligiblefiles will be converted to PCM)Record AIFF, CAF and WAV (BWF)Bounce to AIFF, WAV (Broadcast Wave), CAF,SDII, MP3 and M4A (Apple Lossless, AAC)Burn any bounced audio directly to CD orDVD-A (PCM audio only)


ddnov2013v2_Layout 3 13/10/13 8:20 PM

Some delights for your stockings--Accessories--

‘Tis ThE sEasON to be drumming, andhere are some of the products that havecrossed the digitalDrummer desk andwhich would be great additions to yourholiday shopping list …

TDrum Triggerball BeaterThe cute little orange tennisball beatermade its debut with the 2box kit and is now

being used with allsorts of kick pedals onacoustic andelectronic triggers.The beater (shownhere with a TDrumbass drum patch)has a mesh-friendly rubberhead and a good

solid feel with just the rightamount of bounce.

available readily in Europe (and via onlinestores that ship globally), the beater sellsfor around €15.

StageWorks RimmaWith the move to full-sizebass drums, e-drummersnow have a new place tostore their sticks and theRimma is a stick holderdesigned to fit onto thehoop or rim. The neat and

compact plastic holder sits on top of thebass drum hoop in front of the drummer,providing easy access and quick release ofsticks. it holds two sticks and comes with achoice of grip plates designed for thinneror broader sticks.

The Rimma is available from drum storesor online at around £15 for the LimitedEdition in a fancy box.

Black Widow Drum WebTired of chasing your kitaround? Fed up withlugging heavy mats orrugs? Check outthe Black WidowDrum Web, acompact nylonsurface thatkeeps yourdrums andpedals in place.small enough tofold up into adrum bag, the Drum Webholds everything in placewith its inbuilt Velcro strips, while yourdrum throne provides the anchor stability.it’s a really neat solution to a perennialchallenge, and is by far the smallest,lightest drum mat on the market. it evencomes with its own carry bag and specialmarking strips that allow you to place your

pedals in the same position every time.

available direct from Black Widowor through the major music stores,the Drum Websells for$79.99.


ddnov2013v2_Layout 3 13/10/13 8:21 PM

My

MONSTERMONSTERkit

The kit: A Roland TD-30-powered DiamondElectronic Drums kit with Zildjian Gen 16 AEcymbalsDrums: Two 18x18 kicks, 13x7 snare, 8x8, 10x10,12x12, 13x13 and 14x14 toms and a PD-85piccolo trigger.Cymbals: Zildjian DS Pickups with a mix of Gen 16and acoustic cymbals.Modules: Roland TD-30 and two Gen 16DCPs.Nathan’s story:I grew up in North Carolina and toured as adrummer during the late ‘70s and all through

the ‘80s. Towards the end of that time, Ibegan to spend more time in the studio andless on the road as a touring drummer.I think I’ve used almost every drum machineever invented from the first experiments witha Fairlight, Linn Drum, Oberheim and mostof the Roland line. After finding Diamond online, I first tried outa snare drum and was so blown away withthe build quality, the look, the quality of thetriggering, and the feel of the drum-tecmesh heads that a complete kit was agiven. The whole process took about six months,and they have only been in place for a fewmonths.

Nathan Reid, a writer and a producer in WestHartford, CT, has turned to Diamond ElectronicDrums for his studio kit.

--gear--


ddnov2013v2_layout 3 4/10/13 2:23 PM

Nathan in the driver’s seat and his module stack(below) and his kit before shipping (above).

WARNINGFor their own safety, digitalDrummer advises impulse

purchase-prone readers to avoid this feature.


Shareyour kit

ddnov2013v2_layout 3 4/10/13 2:24 PM

CUSTOM KITS AUXILIARY TRIGGERS

gearGuide

KICK TRIGGERS ELECTRONIC TRIGGERS

SamuraiSamurai

Drumming power packed into adistinctive design.

Primed to play. Accurate triggering.Lightening response.Priced to move fast. Full kits from£1,599.

DEALERwww.diamondelectronicdrums.com


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

Simply the bestSimply the best

ddnov2013v2_layout 3 4/10/13 2:24 PM

Your extra kick!The KTR-7 E-kick is a heavy duty kick trigger forsingle and double pedals. Outstanding responsivetrigger quality, great sensitivity and superb isolationcharacteristics to prevent cross-talk.

Heavy DutyAccepts all single

and double bass drumpedals where the beatercan be adjustedExcellent dynamics1/4" jack connector

output (6.35mm)Special air rubber on the

bottom for excellent isolationcharacteristics.

$65

diamondad_nov2013v2_Layout 1 13/10/13 7:27 PM Page 2

http://www.crappytriggers.com

http://www.youtube.com/watch?v=lTeUHvwZ4RI&feature=youtu.be

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MESH HEADS CABLE MANAGEMENT

MARKETING E-CYMBAL KITS

gearGuide

GOING

Your ad herefor less than $200

CLICK HERE

digitalDrummer cable label sheetsare running out at just $5 each(including postage).

www.digitaldrummermag.com

GGEETT OORRGGAANNIISSEEDD


www.stealthdrums.com

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

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

To order in Australia, click here

digitalDRUMMER, 2013 49

ddnov2013v2_Layout 3 13/10/13 8:22 PM

http://digitaldrummermag.com/eDrumarket.html

http://issuu.com/digitaldrummer/docs/digitaldrummer_advertising_2013

ORDER NOW: The entire digitalDrummer back catalogue on DVD - Only $30**including shipping

Using the search function and the archive option,you can search the past three back issues for anycontent, including our reviews and head-to-headcomparisons.Or you can use the Back Issues tab on the website.

Missed a review?

ddnov2013v2_Layout 3 10/10/13 3:17 PM

digitaldrummer november 2013 lr

Documents

zildjian acoustic cymbals

notfor edrums

rise of electronic percussion

natural acoustic tone

acoustic drum sets

new direct source pickup

thatelectronic percussion

optimal settings