Digitaldrummer August 2019

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Edition 39 • August 2019 US$10
PROFILE:
Nick
D'Virgilio
Roland TM-1 J Barber Head2head

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welcome CREDITS IT’S BEEN ANOTHER busy quarter in the world of electronic
DigitalDrummer percussion – so much so that we are not able to include all the
articles which we published in the past two monthly
ABN: 61 833 620 984
newsletters in this edition. While we try to recap on those
30 Oldfield Place
articles in the quarterly magazine, we just don’t have space
Brookfield Q 4069 this time, so it’s a good idea to keep an eye on your inbox for
AUSTRALIA those.
editor@digitaldrummermag.com There are a number of reviews in this edition – including
www.digitaldrummermag.com another comprehensive “head2head” comparison of four more
mesh heads.
Editor & Publisher
Allan Leibowitz And this is just the tip of the iceberg as we are currently in the
throes of several more tests – on both sides of the Atlantic.
Sub-Editor
Among those is some seriously loud testing of some of the new
Solana da Silva amplifiers/monitors which are just hitting the market and
Contributors which are covered in this edition.
Jonathan Barber As we approach our 10th year, it is important to explain a bit
about our review process as readers may not be aware of the
Rich Blackwell
intricacies. This is getting even more complicated as major e-
Scott Holder drum retailers step up their content creation efforts. Some,
Arthur Stone like Germany’s drum-tec and US-based Sweetwater, both of
Cover Photo
which feature this month, are producing slick videos, fronted by
talented on-camera presenters and shot in hi-res on pro
Sweetwater equipment. But let’s not forget that these retailers are
Design and layout motivated to sell product. Their videos are good at showing
‘talking business’
products at their best, but they seldom (if ever) show their
weaknesses.
Support digitalDrummer
We are also seeing more e-drum review videos by generalist
drum reviewers and while they also feature impressive
production techniques and eloquent narrations, they often lack
If you like what you’re reading, “comparative experience”, not having tested a wide enough
please make a donation. range of gear to support their conclusions. For example, we’ve
. recently seen a module review in which the brain was tested
with a single drum kit. Similarly, that reviewer tested a shell
pack and cymbal set with a single module.
digitalDrummer’s test bed currently includes more than a
Founding member dozen modules, including some of the most current – and our
trigger collection consists of a wide array of drum pads,
cymbals and internal and external triggers and kits. So, when
we test a module, we play it with a spectrum of drums and
cymbals which should cover almost any set-up our readers are
Copyright or wrong: likely to use. And when we put a trigger through its paces, we
Forget the legalese and just play
try it with every module we have – and report on how easy or
fair! We work hard to produce
digitalDrummer. Please respect hard it is to dial in.
that and don’t rip off our content. In With that in mind, we hope you enjoy this month’s offering.
this age of electronic publishing, it’s
obviously tempting to “borrow”
other people’s work, and we are
happy to share our stuff — but
please ask first and be sure to
include a link back to our website
on anything published elsewhere. editor@digitaldrummermag.com
digitalDRUMMER, August 2019 3

inside
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digitalDrummer August 2019
Monitor race amps up

6 It’s been quiet for a while, but there's more choice in the monitor
market thanks to three new arrivals.
Inside the world’s biggest e-drum store

10
On a recent visit to Germany, editor Allan Leibowitz dropped in
on drum-tec’s new head office, factory, warehouse and
showroom.
14 FSR pads get second zone

Alternate Mode’s FSR trigger range has had an update,
resulting in more versatility and easier connections.
More meshing about

18
Since digitalDrummer’s last mesh head comparison, some of
the ‘big boys’ have entered the market, sending us back to the
test bed.
26 Making hybrid even easier

Roland has expanded its hybrid line with an entry-level trigger
module which digitalDrummer put through its paces.
30 Deja vu all over again

Yamaha’s latest offering is a new take on an old product, as
Scott Holder found when he tested the DTX452 kit.
4 www.digitaldrummermag.com
36 Profile: Nick D’Virgilio

Anyone on social media will be familiar with Nick D'Virgilio, the
drummer responsible for countless Sweetwater demo videos.
But behind the slick presentation is a very credible professional
drumming career which has included stints with Genesis and
Tears For Fears.
42 How I use e-drums

New York City-based Jonathan Barber, voted up-and-coming
drummer of 2018, uses electronics to open doors musically.
44 More TD-17 options

What is it about the TD-17 that has brought out a bunch of
custom sound offerings?
Highlighting e-drum capabilities

46
digitalDrummer doesn’t often review books. But then, not many
books are devoted to electronic percussion.
48 My Monster Kit
Rich Blackwell from Orangevale, California has combined two
kits into one big Roland rig.

gear
Monitor race
amps up
It’s been quiet for a while, but there's more

choice in the monitor market thanks to three
new arrivals.
.
ALESIS HAS RELEASED its Strike Amp 12,

featuring a 12” woofer and a 1” high-
frequency compression driver.
The 2,000 w amp has two ¼” XLR/TRS
combo inputs with independent volume
controls and clip indicators and a XLR output
to link another Strike Amp 12 or to drive
another input device.
“The Alesis Strike Amp 12 gives any drummer
playing an electronic kit all the power and
clarity they need to project their sound out to
even the largest audiences,” says John
Emrich, director of drum development for
Alesis. “With a full complement of inputs and
outputs plus the mounting versatility to fit
anywhere, the Strike Amp 12 is going to
quickly become an indispensable part of every
drummer’s toolkit.”
The Strike Amp 12 has a sticker price of $299.

The Strike amp’s release came hot on the heels

of Simmons’ launch of a 2,000 w powerhouse.
Simmons claims all that Class-D bi-amped
power provides enough volume, headroom and
projection to cut through any performance
situation.
Besides its huge output, the DA2012B boasts a
range of features not usually found in electronic
drum amplifiers, including five simultaneous
stereo inputs which allow connections from a
variety of sources.
Bluetooth audio allows for quick and easy
wireless connections from compatible devices.
Variable DSP voicings with Bass and Treble
control deliver customised tuning for any venue
or performance situation.
The powered speaker can be configured for
vertical or horizontal orientation, or pole-
mounted at ear level for optimised placement
that would be difficult with other drum amps.
The DA2012B is about to hit stores and is
priced at $299.
Meanwhile, Yamaha has extended its monitor range with the MS45DR
electronic drum monitor system, consisting of two compact satellite
speakers and a subwoofer.
Touted for home practice and rehearsals, the MS45DR’s lightweight left and
right satellite speakers mount to any 1.5” rack frame of electronic drum kits,
while the subwoofer is placed on the ground to emphasise the low-end
bass tones. Sound levels can be adjusted for the whole system and the
subwoofer individually, to enhance the intensity of bass playback.
Easy to install, the system includes all cables necessary for connecting the
system.
“The MS45DR allows players to easily perform on electronic drum kits
without the limitation of headphones and adjust the mix to their preference,”
says Steven Fisher, director of drums & percussion, Yamaha Corporation of
America. “With a lightweight footprint and convenient integration into an
electronic drum set-up, this system was tailored specifically to the needs of
drummers.”
The satellite speakers are rated at 20 w each, playing back their signals
through a 0.75” dome tweeter and a 3” midrange driver. The subwoofer
features a 6.5” driver, also rated at 20 w.
The MS45DR electronic drum monitor system is priced around $500.

feature
Inside the world’s

biggest
e-drum store
On a recent visit to Germany, editor Allan

Leibowitz dropped in on drum-tec’s new
head office, factory, warehouse and
showroom.
GERMAN E-DRUM SUPPLIER drum-tec practice room, where drummers can

has raised the stakes with its upgraded combine electronic and acoustic drums to
facility outside Hannover in Germany, explore the new possibilities.
believed to be the biggest dedicated e- “There are a lot of new kits on the market,
drum showroom in the world. including lots of hybrid drums - acoustic
The new facility is located in Fischbeck, drums augmented by electronic parts –
near the historic town of Hamelin, not far and this room allows us to demonstrate the
from the previous complex in Auetal- loud drums together with electronic
Rehren. triggers,” he explains.
Customers entering the showroom are Founder Konrad Müller-Bremeyer says the
immediately struck by innovations such as real advantages are behind the public
the full-size stage, complete with guitars, areas, starting with the warehouse which is
lighting and amps, where drummers can now three times the size of the original
convince their sceptical bandmates about facility. “We also have the option here to
the viability of e-drums in a gig setting. grow,” he notes, adding that the site has
“Sometimes, drummers want to know what more available showroom space and
it feels like to play electronic drums with a scope to expand the warehouse further,
full band,” says store manager Markus when required.
Berger. “So, we invite them to come with While drum-tec has a significant
the whole band. We have a mixing international online business, Berger says
console, keyboards, guitars and bass, so the showroom is important for sales in
they can practice here and find out how e- Germany and its neighbours.
drums work with a full band.” “In Germany, customers will often drive for
Drum-tec operates as a retailer, selling three hours or more to our showroom,
electronic kits and components from the checking out all the kits to find their perfect
major manufacturers, but also makes its drum kit,” he says.
own line of pads and kits sold through its Müller-Bremeyer points out that the facility
three retail outlets and, increasingly, online also attracts drum buyers from as far afield
to a global customer base. as Sweden, Switzerland and further.
The retail area is more spacious and more “The aim is to make it easier to buy high-
brightly illuminated than the previous store, end electronic drumming gear,” he
with around 20 full kits on display – all set explains.
up and ready to play.
The large-scale display also provides
Berger says the additional space has customers with the ability to customise
allowed drum-tec to display more options, their kits, trying various combinations of
including a growing range of hybrid drums. components together – something they
He is particularly proud of the silent can’t do anywhere else.
drum-tec’s showroom has a wide array of electronic gear and a dedicated hybrid booth (bottom, right)
Drum-tec continues to build triggered careful not to alienate the big players in the
drums on-site, and the extensive market. Müller-Bremeyer claims to be the
showroom provides a real-life test bed for largest Roland dealer in Europe, if not in
new products which can be connected to the world, and yet drum-tec’s shell packs
various modules and played together with compete directly with Roland’s pad
products from all the major manufacturers. offerings. “We have worked out our
“We continue to develop new concepts and strengths – and those lie in building
we like to test them in conjunction with drums,” he says, and the company will
existing technologies,” he explains. retain its focus on building the best drums
with the widest compatibility.
Compatibility with the major modules
remains a focus and drum-tec has been Müller-Bremeyer believes the drum pads
will be constant going forward. “The
Konrad Müller-Bremeyer and Allan Leibowitz (front) with Markus Berger and Marvin Hemme (rear)
drummer will always play a drum set,” he the knowledge and experience for our
says, so drum pads and electronic cymbals customers’ benefit. You can’t call Guitar
will remain in use. The same cannot be Center and ask dedicated e-drum
said for modules, he believes, which may questions, for example.”
be replaced by smartphone technology in a The plethora of modules on the market has
few years. “So, we’ll continue to provided drum-tec with opportunities to sell
concentrate on the products that we can kits at different price points and to pair its
produce professionally.” own products with a wide range of options,
And drum-tec is not fazed by the delivering more sales prospects.
escalation of new products and new “We’re not just selling instruments,” says
brands on the market. “The more, the Müller-Bremeyer, “we’re selling
merrier,” says Müller-Bremeyer. “Because competence.”
we are a niche player, we are probably the
only retailer in the world who can pool all
gear
FSR pads get
second zone
Alternate Mode’s FSR trigger range has had

an update, resulting in more versatility and
easier connections.
ALTERNATE MODE (AM) AND Aquarian inHead/onHead offerings, but also works
Drum Heads have had lots of support for with the new dual-zone FSR heads which
their FSR head offerings, the inHead and we’ll discuss later.
the onHead. The former is a mylar head There is one global volume control which
with a trigger printed into it; the latter is a adjusts the output of all the triggers
synthetic NuBounce trigger pad that sits on simultaneously and Alternate Mode’s
top of an acoustic head. advice is to use the lowest setting possible
Both products have attracted fans, but on the dial and then adjust using gain
there were some niggles which probably settings on your drum module, as you
prevented their widescale adoption. Firstly, would any trigger input.
the FSR triggers need to be powered, so There are six inputs and six outputs as well
drummers needed a special unit, an inBox, as a HD15 connector that can be used with
powered by a 9 volt battery that, AM’s jamKAT or HybriKIT controllers.
potentially, could die in the middle of a set.
It was also a clunky box that was hard to The FTB is powered by an external power
hide – and you needed one for each pad. adapter, which is supplied.
The second limitation was that both the In action, it is absolutely plug and play. The
inHead and onHead were single-zone only DIY intervention required is in the
triggers. Alternate Mode did make a clip-on mounting. The FTB does not have any
rim trigger, but again, some people found mount attachment or screw holes like a
that a bit fiddly. regular module, so I attached Velcro to the
base and used a module mount with the
AM has addressed all those opposite Velcro tape. Because the unit is
“shortcomings” with a new line consisting so light, that is all that’s needed to keep it
of two new trigger surfaces and a new in place.
interface box.
It sells for $249, but is slightly discounted if
The FTB (FSR Trigger Box) you bundle it with a pad or two.
This interface box is
meant to replace
multiple inBoxes and
can support six
triggers. Simply plug
your FSR triggers into
the input jacks on the
one side and then
connect the FTB
outputs to your
drum module.
The box supports
both mono triggers
like the old

HybriHEAD
and HybriPAD
HybriHEAD practice solution, the performance is

impressive. Sensitivity and dynamic range
The inHEAD has been relaunched as the
are excellent and the addition of a second
HybriHEAD, with the main difference being
zone, a two-inch ring on the outer edge of
a new ¼” jack replacing the old 1⁄8” version
the head, makes a huge difference. Better
designed for the inBOX. The new jack
still, there is absolutely no crosstalk
plugs straight into the DITI, AM’s advanced
between the two zones, even though
universal trigger to MIDI interface, and into
they’re right next to each other. Hit the
the new FTB.
head zone and that’s what you’ll hear – no
digitalDrummer reviewed the original FSR hint of the second sound, no matter how
trigger solutions in August 2014, and we hard or close to the “border” you strike.
were impressed. While we were initially
Like the inHead, the new surface has a
skeptical about the inHEAD, we soon saw
dead spot on the outer edge, so you end
the value of electronic sounds to augment
up with about an 8” “head” zone in the
the acoustic sounds.
middle of a 14” head.
The same holds true of the new
The new dual-zone heads come in 13”, 14”
HybriHEAD. Accepting that it’s a
and 16” sizing, priced from $130 to $140
performance tool rather than a silent
each.
HybriPAD with no hint of unwanted sounds from the

“other” zone – unless you hit it intentionally.
On the HybriPAD, the triggering surface
goes all the way to the edge. Performance There is one limitation – there’s no visual
of this pad is identical to the onHEAD, clue about where one zone ends and the
which our review described as “a pleasant other begins. We have suggested that the
surprise – a quiet, super-responsive second zone would be even more user-
playing surface with perfect triggering”. friendly if it was marked in some way –
either a shaded section or even a printed
“There’s no crosstalk, false or double
ring on the surface to show the border
triggering, and the feel is very realistic. In
between the two zones. Of course, after a
fact, after onHEADs, it could be hard to go
bit of playing, it becomes second nature,
back to rubber or mesh.”
but there is a learning curve which would
So, the major limitation, pointed out in our be easily avoided.
initial review - “rim triggering appears to be
Overall, the new pad is more versatile than
an afterthought and requires a separate
the original onHEAD, and thanks to the
unit – and on some modules, a separate
new cabling designed for the FTB or the
input” – has been addressed fairly
DITI, it’s a neater, more robust-looking
elegantly.
trigger unit that still fits comfortably on top
The second zone consists of a concentric of an acoustic head for a quick and easy e-
circle around two inches wide, on the edge makeover.
of the pad.
The new dual-zone pads come in 13”, 14”
Like the HybriHEAD, there is zero crosstalk and 16” sizing, priced from $135 to $155
between the two zones, so you can trigger each.
two distinct sounds from the same drum
Before you pull

the trigger
... Check out

our reviews
gear
More
meshing
about
Since digitalDrummer’s last mesh head
comparison, some of the ‘big boys’ have entered
the market, sending us back to the test bed.
Alesis Alesis dual-ply
Alesis was one of the first mainstream manufacturers to start fitting two-ply
mesh heads on its drums after Roland’s patent expired. And while the heads
are not sold as stand-alone products, we thought it worthwhile checking them
out anyway.
What stood out immediately was the black hoops – something totally unique
and which ties in with the black components of the stock Alesis drum pads.
The collar is on the narrow side (5 mm, compared to Aquarian’s 8 mm),
slightly oversized and a snug fit under the hoop of our test PD-128 – but then
it is designed specifically for Alesis pads.
There is a generous amount of mesh on the head, and so extra tightening
was required to achieve the standard test tension. The fine black mesh is
woven less tightly than Roland’s dual ply.
On the drum, the head feels good to hit – decent rebound without too much
bounciness.
As for acoustic performance, it is fairly quiet for controlled hits, but opens up
a bit when really whacked. And the good news is that there seems to be very
little space between the two layers, so the head largely avoids the dreaded
dual-ply buzz.
Aquarian Super-Mesh
Aquarian Super-Mesh
Most people may not

realise it, but Aquarian
has a strong mesh head
pedigree, having
manufactured heads for the
now defunct Hart Dynamics.
For many years, the Magnum and
Maxxum were among the few
alternatives to Roland.
Aquarian has entered the market with a new head which is
very different from the Hart offering and is clearly aimed at the growing silent
practice market.
The Super-Mesh is a single-ply head, but its fabric is much, much lighter and
finer than the old Hart offerings. The weave is very fine – finer than the Remo
SilentStroke, and closer to the Roland mesh.
Aquarian has not skimped on the head – it has a deep (8 mm), solid-feeling
hoop and there’s a rubbber seal between the hoop and the mesh surface –
much like the now-defunct white Pintech Reaction heads. (Aquarian actually
made those heads, so this is no surprise).
Some heads have too much mesh, meaning they have to be really cranked
down to get sufficient tension. Others try to minimise materials and you end up
with super-tight heads which don’t have much tuning range. On this front, the
Super-Mesh is really a Goldilocks product – just enough and not too much!
The head feels good under the stick and has a fair amount of rebound, probably
because it is mainly intended to mimic mylar as a silent practice surface. And if
it’s all about silent practice, Super-Mesh is not the quietest, but it has a pleasant
tone and doesn’t play as loudly, at full bore, as many other heads.
At $15 a pop, Super-Mesh is certainly good value (half of what you would have
paid for the Pintech version) and it may be worth grabbing one, just as a spare,
at least.
Hobbies GoGo
This two-ply head

mysteriously
appeared on eBay,
one of 11,600
products offered by
the Chinese
Hobbies GoGo eBay
store. The description
is vague: “white bass
drum head silent mute
drum skin”. But for $10,
digitalDrummer couldn’t
resist trying this product.
True to its claim, shipping was fast
and the head is indeed two-ply with an
aluminium hoop.
The collar is heavy but quite narrow and the head was
actually a few millimeters oversized – it had to be jammed under the
drum hoop.
The mesh is a very fine weave, quite stiff and fairly generous. Once it
was forced under the drum hoop, the head was easy to tension and
felt quite natural to play. The bounce was fairly controlled – around
average for dual-ply models, and the head was not too noisy. And,
like the Alesis in this test batch, the gap between the two layers was
small enough to almost totally avoid dual-ply buzz.
The eBay store makes no claim about e-drum compatibility, noting
only that the head is “suitable for beginners students practice (sic)”.
However, it triggered just fine in the digitalDrummer test.
The head held up well to tensioning and play during our test, and, on
the face of it, is an extremely good buy at $10, including shipping. We
can’t be too sure about long-term durability because there’s no
evidence of glue in the assembly – but the collar is crimped so tightly
on the mesh that it’s impossible to see what’s happening inside. That
crimping, however, may be enough to ensure that the mesh does not
detach from the hoop.
All up, I wasn’t expecting much – and was very pleasantly surprised
by this no-name head which, no doubt, comes off the same
production line as some of the branded offerings on the market.
Evans SoundOff
Evans SoundOff
When I opened the box,

the SoundOff was so
reminiscent of the Pintech
Reaction head that I had to
compare them side by side – and I
couldn’t tell the difference.
It appears that Evans has taken advantage of
Pintech’s disappearance to include this second-generation head in its
mainstream product line to cash in on the growing interest in silent
practice equipment.
The SoundOff collar is solid and deep (8 mm), and Evans has
continued the refinement introduced for Pintech - including
rubberised reinforcing to prevent stretching and/or tearing. The collar
is generously sized, but not too big to fit under a regular hoop.
The mesh is a fine, tight weave and there is just enough material to
allow for a decent amount of tensioning and some “tuning” range. On
that score, the head has a deeper acoustic tone than the others in
this round of testing.
The head performed well, with a good amount of rebound and a
smooth and steady decay, which translates into a natural-feeling,
realistic playing experience.
If you’re looking for a head that will totally hide the inner workings of
your drum, the SoundOff, like most other black heads – and
especially single-ply versions - is a bit more transparent than some of
the white offerings out there.
Best of all for e-drummers, Evans has priced these heads at half of
the Pintech sticker price, clearly aiming at the broader silent practice
community and producing bigger quantities.
Transparency test results
Aquarian Super-Mesh Hobbies GoGo
Alesis Evans SoundOff
How we tested
Mesh heads are fitted to a 12”
shell and tensioned using a
DrumDial.
A standard rig is employed to
ensure that repeatable strikes are
generated by a stick. These
strikes are monitored with a
sound meter. In addition, the
trigger sensor is connected to an
audio interface and the resulting
waveforms analysed. The
duration in seconds between the
initial hit and the end of the final
wave is noted as the rebound.
Before testing, the rig is
calibrated with a designated
mesh head which has been used
in all the tests to date.

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digitalDrummer_Aug 2019.qxp_Layout 3 24/7/19 12:37 pm Page 25
SC-EMMP
Electronics Module
Mounting Plate
6706E
Designed to fit most E-Module Stand
digital modules
and percussion pad The low height
units with universal Recommended for use with any Gibraltar double-braced
mounting specs. multi clamp, 6706E, or 6713E stand E-module stand.
360˙grabber clamp
6713E mount for precise
Electronics positioning. Height
Mounting Stand SC-EMARM range adjustable
E Mounting Arm from 18” to 27”
Attachment
Attaches to a cymbal
stand, or hi-hat stand
tube allowing you to
directly mount your
6000 Series double-braced electronic module.
stand with Super Lock height Includes two 360˙
adjust, grabber clamp and 360˙ tilter. grabber clamps with
Designed to hold electronic module mount an 18” boom arm.
plates without need for an extra multi clamp. GibraltarHardware.com
gear
Making hybrid
even easier
Roland has expanded its hybrid line with an

entry-level trigger module which
digitalDrummer put through its paces.
ROLAND’S LAUNCH OF the TM-2 trigger Setting up

module in 2014 represented the coming of
The TM-1 is a two-input trigger module,
age of hybrid drumming. A company which
and you can either connect two mono
had focused heavily on electronic
triggers or one stereo trigger. And the
percussion was acknowledging that more
output side is also basic – there’s a single
and more drummers were either blending
output jack which can be configured to
acoustic and electronic sounds or adding a
send either separate left and right signals
few FX to enhance their acoustic kits.
or a combined mono signal.
Since then, Roland has continued to
In default setting, the module is configured
dominate this market, with few others
for dual mono inputs, and it comfortably
offering true hybrid products. Meanwhile,
accommodates almost any trigger type.
the Japanese giant continues to extend the
Dual trigger mode is a bit more tricky, and
TM range with a multi-input TM-6 offering
didn’t, for example, work with Yamaha
and, more recently, a scaled-back TM-1
piezo-switch triggers.
module.
What’s in the box In action
The TM-1 is plug and play – if you’re using
The TM-1 is probably the simplest Roland
the stock sounds and a “standard” dual-
e-drum offering to date. The box contains a
mono-input scenario. This is great if you
compact module box, a USB cable and a 9
only want a few different snare and kick
v battery. Unlike other modules, it doesn’t
sounds and a shaker loop. But if you need
ship with a power adapter and you’ll have
anything more demanding, you will need
to fork out for a Roland or Boss PSA-S
the free companion BT-1 program (Mac,
series adapter if you’re planning on any
iOS, Android or Windows) and a computer
extended play.
or iDevice. For some computer-challenged
digitalDrummer, August 2019 27
drummers, this may be a turn-off, but for various other characteristics. Here, you
anyone with basic computer skills, the app can also switch sounds, replacing the
unlocks the potential of the modest box onboard samples with others from the
and delivers a huge amount of library of 150 additional samples - kicks,
customisation. snares, percussion sounds and synth
In its stock form, the module has 15 kits loops. And if you don’t find anything you
and 30 samples. Designed like a stomp like there, you can add your own .wav
box, there are two large buttons (+ and -) samples at the click of a mouse. These,
to switch between kits. however, are limited to 6 seconds, so you
can’t use the TM-1 to run a full backing
A row of knobs allows you to adjust track – that would require a TM-2.
sensitivity, pitch, decay and volume for
each trigger and, thereby, each sample. So The sounds, especially the kick sounds,
even before you connect the module to a are excellent and blend well with acoustic
computer, you have some editing kits. Even the snare sounds, which are
capability. probably intended as stand-alones rather
than acoustic enhancements, are
But, like so many solutions these days, the impressive. However, they are single-layer
real power lies in what you can do outside samples, so machinegunning is a real
the box. issue, especially if you’re playing rolls or
The app allows you to fully configure the repetitive hits.
module for your triggers, with three broad Overall
categories to choose from – general
KD/PD-type piezo triggers, CY-style On the plus side, the TM-1 is a well-
piezo/switch triggers and a special setting designed, easy-to-use trigger module
for Roland’s BT-1 trigger bar. which allows drummers to add electronic
elements to their acoustic drum sounds.
Head/rim balance and crosstalk are also
adjusted in the app. It is intuitive to use and, in stock
configuration, it’s plug and play with almost
With the edit function, you modify the any mono triggers, and provides 15 kits
individual kits, changing the samples, the comprised of two sounds each.
type or sound (one-shot, loop, etc) and
Battle of the trigger modules
The module runs on batteries and doesn’t Comparisons with the TM-2 are inevitable,
need any hardware as it’s designed to sit especially since the older, bigger module
on the floor and be foot-operated. only costs $50 more for double the inputs,
However, to really get maximum benefit three times the sounds and an SD card for
from the TM-1, you need to connect it to a loading more and longer samples. While
computer or phone/tablet before playing. the TM-2 may represent more bang for the
This adds a level of complexity (albeit a buck, bigger is not always better and there
modest one) which may just put it in the are many drummers for whom the TM-1 is
too-hard basket for old-school acoustic just what they need – and easier to
stick-wielders. operate.
The TM-1 also requires a few bits of gear The good news is that Roland is running
to make it work – firstly triggers, then a with its hybrid “trigger module” concept and
power adapter if you’re going to gig with it, adding solutions with different levels of
and, finally, a USB camera adapter if complexity, allowing all sorts of drummers
you’re going to use it with an iPad or to get as much or as little electronics as
iPhone. they need.
gear
Deja vu
all over again
Yamaha’s latest offering is a new take on an

old product, as Scott Holder found when
he tested the DTX452 kit.
I HAD MY last drum lessons close to six wings would make the kit more beginner-
years ago, when I reviewed Yamaha’s friendly. It is an improvement over its
DTX400/430/450 introductory kit (dD, May predecessor, adding more cymbal
2013). I used it for close to six months as a placement flexibility.
rehearsal kit and even played it live. The addition of wings did little to improve
Yamaha has updated the basic package the awkwardness of the combined hi-hat
with the DTX402K/432K/452K rigs. These and module placement of the original
consist of a new module and some new series. It all gets too cramped because of
components, all the while retaining the the module mount. This is further
basic character of the original kit. complicated by the snare being mounted to
It was time for some additional lessons and the same bracket as the hi-hat: if you move
to see just how much differs from the one, you must adjust the other, all the
original series. while keeping the module in mind. Yamaha
did fix the slipping hi-hat mount from the
The basics
earlier kits. I beat the thing to death and it
Yamaha continues to sell the same three held its position. The snare was less
package variations, differentiated by the forgiving until you tightened the wing bolt
snare and kick components. The 452 has a to the point you think you’re breaking the
three-zone snare (TP70S), an upright kick connection.
pad (KP65) and a kick pedal. The 432 has
a tom pad for the snare, while the 402 has
The module
the tom pad for the snare and includes the The 402 module, like its predecessor, has
more basic KU100 kick trigger (reviewed in no display screen. Like its predecessor, it’s
dD, November 2013). surprisingly easy to navigate - assuming
All configurations share the same three you have the manual handy until you
tom pads, three cymbals (one each for a remember the more common navigation
hi-hat, ride and crash) and a hi-hat paths and button sequence. Even then,
controller (HH65). All the components are tweaking configuration sections requires
straight lifts from previous packages except having the manual handy, not unlike
the cymbals which are new (PCY95AT). Yamaha’s other module navigation
The KP65 kick has an additional pad input, arrangements with screens which are
meaning you can expand the kit and notoriously difficult. Yamaha gets around
assign it any of the available sounds. For this with a handy app for both Apple and
review purposes, I hooked up a PCY100 Android devices. Both Allan and I
so that I’d have a second crash and could consider the DTX502 app a
further test the module’s capabilities. godsend (dD,
November 2015).
Just as before, a cable snake is included. You don’t
The labelled cables are a predetermined need it
length designed for a right-handed
drummer; if you’re left handed, you need to
switch the crash and ride cables at the
module end. For the first time, an e-drum
company recognises left-handed
drummers in that the manual shows such a
set-up.
One notable difference from the earlier kits
is the rack arrangement. It remains
lightweight and made of black tubing but
now it has two wings. The toms still come
attached, as do the cymbal mounts.
DTX 402 module
Ergonomically, I thought the addition of
as much for the DTX402, but it makes the The module can be a MIDI controller and,
configuration tweaks easy. as I do with every potential MIDI controller,
The sound engine is derived from the I hooked this up to my computer running
latest upgrade to the DTX900 engine. One Toontrack’s EZDrummer. It was consistent
of Yamaha’s innovations is not saving its across pad assignments. One thing
latest tweaks for the top-of-the-line Yamaha has added is the ability to change
modules. Instead, it introduces the MIDI note numbers on the module side.
improvements on the introductory and This is great when using something basic
intermediate kits. like EZD where you can’t change it on the
VST side. That means no need for any
Ten kits remain from the original DTX400, third-party MIDI remapping software.
but the total individual sounds (or “voices”
as Yamaha calls them) has expanded from The pads
169 to 287. You can change individual The pads that haven’t changed: KP65
voice assignments to any given pad, pad (kick), TP70S (snare) and undesignated
tuning, overall kit volume, double kick toms. The snare is typical of Yamaha’s
volume, individual pad volume and reverb. design: one half is for cross-sticking, the
Yamaha has eliminated pad panning and other half for rim shots. The pad itself
reduced the pad velocity curves from nine remains velocity-sensitive. The cross-
to five. It is still plenty. Like six years ago, I sticking gain and rim shots were anaemic
never found myself thinking “oh, if I could on some kits. Both could be adjusted.
just tweak that third tom a little bit more”. Ghost notes and machinegunning were
Hi-hat settings are robust for an notably absent. However, Allan says,
introductory-level kit: clutch position, “When you’re listening for it, you hear
splash sensitivity, foot close position and machinegunning everywhere. The essence
velocity. is whether it sounds annoying.” In this
case, I don’t find it annoying. Overall, the
External connections consist of a USB snare is good, especially at this price.
MIDI output, a 1⁄8” stereo input and a ¼”
stereo output which doubles for either The PCY95AT cymbals are redesigned
headphones or external speakers. and externally look identical. However,
PCY95AT cymbals KP65 kick tower
unless it has a Crash label underneath, it Break), rapidity (Fast Blast) and my
won’t choke. I didn’t feel much difference favourite from the old module, playing
between them and the PCY90s. The different rhythms every two measures
cymbals may be single-zone, but they are (Change Up). These can be combined with
velocity-sensitive - you can get varied the 10 songs on the module, where you
sounds depending on how you strike them. can mute parts, change their volume, set
Hi-hat articulation is the big surprise: it’s pads to make no sound if your timing is off
every bit as good as any kit I own, owned, and mute only certain parts.
or have reviewed over the years, including The 10 number buttons light up from left to
the DTX902. The closing sound wasn’t as right showing how well you’re doing.
jarring as on other modules/controllers. Yamaha has done away with the “Good-to-
The sounds themselves were subtle; this Fantastic” rating system on the old module.
was nothing like the DTX400. Even better, Instead the number buttons show you if
the heel splash on the HH65, at least on you’re too early, too late or just right.
some kits, was easy to produce and The instant, visual feedback from the
consistent. blinking number buttons remains a simple,
The big question on any e-kit, no matter yet elegant training tool. But the
the price point, involves the realism of the ergonomics don’t make it easy to see the
cymbals. As I’ve said, the hi-hat is lights. If I turned the module so that it
fantastic. The crash is okay both in would face me better, that meant
playability and sound quality. rearranging the combined hi-hat/snare
location to something less than optimal.
The teacher
The other basic training tools and ways to
The old module was already a great
tweak them from the old module remain:
training tool. The basic approach remains
metronome with changing tempos,
the same: rhythm/dynamics/tempo and
assigned sound (click, cowbell, spoken,
play-along. The new module adds plenty of
etc), changing patterns and beats.
ways to change up any given profile or
song, meaning it’s hard to find an “end” to In action
the training. Six years on, I still like how the kit plays.
There are nine “training profiles” which Everything’s rubber, but it’s soft and
haven’t changed much: they range from somewhat forgiving. Nothing’s changed in
basic timing exercises (Rhythm Gate), how terms of how the KP65 kick will be for most
hard you pound a pad (Dynamic Gate), people: far less bouncy than mesh and
independent tempo checks (Measure more like an acoustic kick in feel. The toms
are small but responsive. The snare is very anything else for an advanced hi-hat
responsive to changing strike dynamics solution since this is better than anything I
and after five-plus years of playing on tested on any multipad (dD, November
Yamaha’s TCS foam pads, I didn’t find the 2012). Thus, it’s a set-up that should
switch that jarring. appeal to those looking for good sound in a
The crash and ride remain the weakest small, very portable kit.
components when compared to more The sounds
advanced kits. For example, bell/bow
If you’ve read any of my previous kit,
sounds on the ride depend on whether you
module or multipad reviews, you’ll know I
strike it with the shank or the tip. It’s an
always preface my sound comments by
improvement over the older kit in that it’s
saying it’s mostly subjective. However, I’ve
more likely to respond as you’d expect
always preferred Yamaha’s built-in sound
depending on shank/tip strikes, but it’s still
library on all its modules to the rest and
not that consistent.
this is no different - with one exception, the
Swells on the crash remain as they were crashes. They still sound like crashes from
on the older module, meaning not terribly my TD-12. I’m referring to “voices” like the
nuanced. Furthermore, I could only get the Vintage, Brilliant, Bright and Dark crashes.
beginnings of a swell by using the stick tips The splashes and chinas also sound
on one side of the bow, not the edge with dated. Everything else is great. The ride
the shank as you find on most other kits. voices are every bit as sweet as anything
Then, if you increase the hit velocity, you I’ve heard. Snares are dynamic, kicks are
immediately get a crash sound. deep and the toms resonate. And, of
The ride attempts to differentiate the strike course, the hi-hats!!
method (shank vs tip) to get bell/bow Overall
sounds, but was still inconsistent. The hi-
hat, as mentioned, is outstanding. I’d Not much has changed in six years: you
rather play hi-hat on this module with this get a nice sound set for the price, except
controller than anything else I’ve tested the sound is far better now. The kit is
and that includes my DTX502/HH65 responsive, has a great teaching profile, is
controller rig that I’ve used exclusively for quiet and very portable. The module’s
the last five years. menu is simple, elegant and now
supplemented by an app. Any beginner
When I hooked up a PCY100 as the crash, would be very satisfied with what the 452K
the difference was night and day. version offers. Add a PCY100 as the crash
Consistent response and great cymbal and you’re set. Downsides are some of the
swells. Edge and bow hits were different ergonomics, some of the crash voices and
and just like I’d expect on my DTX502. I really wish the second crash had all the
That told me the crash limitations on the kit capabilities of the first if using a PCY100.
as sold stems from the PCY95AT, not the
module itself.
That does not extend to the
second crash, should you add
one through the kick. It’s single
zone regardless of the cymbal
used and had all the limitations I
initially encountered, regardless
of what cymbal I put there.
Like the old kit, this could also
be part of a smallish, portable kit
based around a multipad. Unlike
the old kit, you don’t need DTX Touch app
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profile
Sweetwater’s
sweet talker
Anyone on social media will be familiar with Nick

D'Virgilio, the drummer responsible for countless
Sweetwater demo videos. But behind the slick
presentation is a very credible professional
drumming career which has included stints with
Genesis and Tears For Fears. He spoke to
digitalDrummer editor Allan Leibowitz.
digitalDrummer: Let's start by looking at how after music school, I was just a working stiff,
you got started in drumming, when you first hustling and trying to find gigs and make the
picked up sticks, your early training … big break happen. It was crazy. There's a
Nick D'Virgilio: I started when I was really gazillion musicians there. But if you're
young, four or five years old. I don't know why, prepared enough and you do the right thing,
I just liked hitting things. And my father bought things come your way. I just always tried to be
me a toy drum kit which I proceeded to smash prepared and I hustled as much as I could. I
to smithereens. That following Christmas, went to every club, I sat in, I made contacts, I
Santa Claus brought me a blue sparkle Ludwig did all that stuff. And you've got to do that
and I've been playing ever since. because there's a lot of competition, like you
say. So, that's what I did: I just kept playing
I'm from a musical family where everybody
and playing and playing until something
plays something, but no-one took it
landed.
professionally. Actually, my grandmother on my
father's side played in the New York symphony dD: And what was that?
for a little while when she was a young woman.
ND: I met this artist named Kevin Gilbert at a
She played the cello. But that was about it. I
local resort pretty randomly. He was in a band
was the only one that made a career out of it.
called Toy Matinee, produced by a guy named
dD: So, five years old and with a blue sparkle Bill Bottrell, who did Michael Jackson and
Ludwig: did you take lessons? Madonna and tons of really high-end artists. I
was already a fan and Kevin was part of the
ND: No, I was pretty much self-taught. I played
Tuesday Night Music Club with Sheryl Crow.
other instruments, so I learned how to read
So, I met him and we had a mutual like of the
music pretty well when I played a trumpet and
band Genesis and in 1994, there was a
a few other brass instruments in grade school.
progressive rock festival in LA and he wanted
So, I learned how to read music and read
to do the whole The Lamb Lies Down on
rhythm fairly early, but I didn't really study
Broadway record, to mark its 20th anniversary.
drums until I went to music school at around 17
He remembered that I was a huge Phil Collins
or 18 years old. It came to me pretty naturally
fanatic and called to ask if I wanted to do the
and I can't really explain why, but I kind of got it
gig and I eagerly said yes. From doing that gig,
from the beginning. I just played along to
he asked me to join his band and then, all of a
records every day, I mean for hours and hours
sudden, I was in a whole new group of people
a day. After that, I got deep into more
that were way higher echelon than I had ever
traditional study methods and I've been
been in before. And that just propelled me.
working ever since.
That's how I got the Tears for Fears gig and
dD: And that was in Los Angeles, which must then got to record with Genesis and so on and
have been interesting. LA clearly had lots of so forth - just by meeting that one guy at a ski
opportunities, but there must have been a lot of resort.
competition as well?
dD: So, what have been some of your career
ND: I was doing gigs before music school a highlights to date?
little bit, doing cover gigs and getting paid. But
You don't have to spend a lot of

money to at least have that in your
gig bag. You may not use that all
the time, but you just want to have
something in your back pocket.

Nick’s first full kit

ND: I had a lot. I've been pretty blessed. up with Sweetwater. How did that happen?
Playing in Tears for Fears was great, recording
ND: I've been long-time friends with a guy
on a Genesis record was totally surreal. That
named Mark Hornsby, who is a recording
was my favourite band growing up as a kid and
engineer. I met him back in the late '90s at the
I never expected my name to be on a record.
NAMM Show and we just became friends and
I recorded with Peter Gabriel - that was he moved to Nashville and started bringing me
awesome. And then there was Cirque de out to do recording sessions in the studio he
Soleil. I was in a show called Totem for five worked at. He had started to go up to
years - 1,426 shows. And that doesn't include Sweetwater, which was just about five hours by
dress rehearsals and all the rehearsals before car north of Nashville. He would go there for
and after and this and that stuff. My band, Pro Tools classes and eventually Chuck Surak,
Spock's Beard, had lots of amazing moments. the owner, asked Mark if he wanted to come
My band, Big Big Train, is doing really well and run the recording studios there. Mark
right now. I'm over the moon with that band. ended up taking the job and his goal was to
build a team, sort of like Muscle Shoals with a
dD: I've interviewed quite a few Cirque
team of musicians and producers and
drummers and that seems to be an amazing
engineers all in-house. My job at Cirque was
experience.
coming to an end and I was looking for work
ND: That was great. We toured and I travelled and they offered me a gig to be the house
with my wife and my two kids. We lived all over drummer and do reviews and marketing, and
the States and Canada and Europe and my that's how it happened. So, in 2014, I relocated
kids got to see a lot of the world and hang out to Fort Wayne. We packed up and moved
with people from 20 different countries and here.
learn different languages and all kinds of great
dD: So what is the day to day of your role?
things. That was awesome. I'd probably still be
in the show if they hadn't closed the school ND: It's either in the recording studio doing
option, which is a benefit to families, for the sessions or I'm in my office in marketing,
kids on these kinds of tours. They had some coming up with web content which could be
cutbacks and they decided to close the school, either a gear review or a how-to or an
so we decided to move on. interview. Just yesterday, I worked with Bob
Clearmountain, one of the biggest record
dD: So, then let's talk about how you hooked
Nick describes his time in Cirque de Soleil’s Totem as ‘awesome’.

producers and engineers of all time. We did a something new. We'd like to send you it ahead
session together yesterday for Apogee of time, check it out and do a video on it so we
Electronics. can kind of give it a push out the doors and
have people buy it right away." It could also be
dD: It's interesting how the landscape has
reviewing older gear that just hasn't had any
changed and how retailers are now content
done or needs a refresher. I'm not reviewing
providers. And obviously this content thing is a
per se, I kind of show what the gear is. But
major thrust at Sweetwater?
what I have learned is, honestly, everybody's
ND: Oh, it's huge. Sweetwater is a huge, making great stuff - all the way down to the
enormous campus. We have state-of-the-art, beginner-level things. So, I just try and tell that
world-class recording studios and theatres, we story, whether it's a beginner's drum set or a
have a pavilion outside where we have live $10,000 DW custom. I just try and tell that
concerts, a huge mall, a restaurant, a gym - it's story of what it is and why it sounds the way it
an amazing facility. We have our own video does and how it's made.
studio. So yeah, it's a big deal. And we work
dD: Clearly, you've had a lot of gear to play
directly with all the manufacturers to come up
with. What electronic gear has stood out as a
with creative content and we're working with
really great product?
YouTube influencers and all kinds of people
like that. We want to make sure when you ND: There's a lot. The Sunhouse Sensory
search for something online, Sweetwater is the Percussion stuff is pretty unique and amazing.
first thing that comes up on your Google You have to learn how to manipulate it to really
search. They put a lot behind that kind of get musical with it. But once you kind of get it
standard. underneath your fingers, there's not much of
anything else like that on the market. It's neat.
dD: And how does the review process normally
Now if you go to the more traditional stuff, the
work for you?
new Alesis Strike multipad is a fantastic piece
ND: Well, I work with our merchandising team of gear. In the high-end stuff, the Roland TD-50
and I have close relationships with all the with its digital snare and cymbal work more like
manufacturers directly and they just give me a acoustic instruments: you can put your hand
shout and say: "We're coming up with on it, and get a real cross-stick; it shuts off the
Strutting his stuff for

Sweetwater: Nick’s recent video
explaining hybrid drumming
(above) and a presentation at
the recent Sweetwater GearFest
(right).
one sound to make another by your hand into triggers lately because I need to learn
touching the head - that's really neat more about them. And there are cool things
technology. like the Roland RT-MicS trigger and
microphone which is a great piece of gear. You
dD: So, what electronic stuff do you use in
don't even have to know how to do anything
your set-ups?
with triggers - you just put that on your drums
ND: I use a lot of Roland stuff - a TD-50 and a to start playing.
Handsonic, mainly. I do have an Alesis Strike
dD: And the Yamaha EAD 10 ...
Pro kit here at my house that they're letting me
try out and there's some really interesting ND: Yeah. That's a pretty unique thing too.
sounds and the things that they've come up That's a really cool, fun box to play with.
with as they try to compete more with Roland.
dD: You mentioned learning about triggers.
Yamaha has some really nice stuff. And Pearl's
How important is it for drummers these days to
mimicPRO with Steven Slate's drum sounds is
have some electronic percussion capability
really nice.
and competence?
dD: I'd imagine that you have access to pretty
ND: Well, they should at least know what it's all
much every acoustic instrument under the sun
about and be able to trigger their kick and
at Sweetwater. So, do you get to use
snare for certain things. I mean, you don't have
electronics there?
to spend a lot of money to at least have that in
ND: I don't trigger very often to be honest with your gig bag. You may not use that all the time,
you, especially in the recording studio. It's a lot but you just want to have something in your
more acoustic. I do use multipads or single back pocket. So, just a little bit of knowledge is
pads for effects or to go to for a specific sound. mandatory, I think.
That's how I like to play. But I am getting more
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performance
How I use e-drums
New York City-based Jonathan Barber, voted

up-and-coming drummer of 2018, uses
electronics to open doors musically.
RIGHT NOW, I am starting to perform more SP, the software is very sensitive to the touch
with my band, Vision Ahead. I released my of the user. Just one sensor allows you to
debut album independently last year. After explore the entire drum, triggering different
releasing the album entitled Vision Ahead, we sounds by the speed or velocity that you’re
have been performing at festivals and playing at. Using samples, speech or a sound
travelling to music venues around the world. programmed with a lot of production, SP gives
My plan is to record my Sophomore album this you full control to orchestrate a musical
summer. presentation that can cover the role of an
entire band.
In early 2019, I toured with Pat Metheny. Part
of the tour was trio and the other part was trio
plus orchestra. Pat is a huge inspiration to me
Jonathan’s gear
and this was a great opportunity. Canopus Neo-Vintage NVM1
18” or 22” bass drum
I also made an appearance at Carnegie Hall in
New York City with Nicholas Payton. It had 12” mounted tom
been over a year since I’d played with Nicholas 14” and 16” floor toms
and thoroughly enjoy playing music with him. 14” x 5.5” and 14” x 6.5” snare
Living in New York City has truly opened many Istanbul Agop cymbals:
doors and pushed me to be a better musician. 20” Special Edition Jazz ride
My main e-drum equipment is Sensory 20” Agop Signature ride
Percussion. I find SP to be very innovative and 20” Traditional flat ride
I believe this instrument has the ability to push 14” Traditional medium hats
the art of drumming forward.
18” Xist crashes (as hats on a remote hi-hat
There’s many different areas within one drum stand)
that can trigger a sound. From the centre of the ClapStack
drum, the edge of the drum, the rim of the
Electronics:
drum, tip of the rim and cross-stick, the user
has so many options in creating musical ideas. Sensory Percussion - two to four sensors
Playing SP has inspired
me to play the drums with
more space, and be
PHOTO: JAMIE PEGLER
intentional with my
phrases and patterns.
I’ve used SP on my album.
There, I mainly used SP
as an accent and a colour
while playing the acoustic
kit. For me, SP is an
extension of the acoustic
drum kit and I am able to
use the same approach
and attack as if I was
playing an acoustic kit. I
love incorporating chords
and notes when I use SP.
The real benefit of this
system is that the range of
sound is endless. Using
digitalDRUMMER,May 2017
software
More TD-17
options
What is it about the

TD-17 that has
brought out a bunch
of custom sound
offerings?
THE LATEST CUSTOM producer of TD-17 What’s in the box

kits is edrumkits.com, a French
digitalDrummer tested the whole EDK
collaboration currently selling 12 rock kit
collection - currently 10 rock kits (and two
samples for the module.
free kits).
On its website, the developer explains his
Unlike Vex or drum-tec which supply
motivation to improve on the stock kits.
individual kits, EDK supplies a backup file
Once that was achieved, there was a
(.TD0) which contains all the kits and
decision to sell the custom kits “to
samples in one package. The package
reimburse our time and investments and to
contains the new kits along with 70 new
have the opportunity to develop more kits
samples – requiring the deletion of any
for TD-17 - but also for other modules”.
user samples already installed on the
module because the additional data would six kits thanks to a bonus inclusion) are
not fit if they were left in place. €15 each and the full library of 12 kits is
The stock kits are also included in the just €5 more.
backup, so you don’t lose any of the Bottom line
Roland kits if you like them. Of course,
Firstly, it’s fantastic that it is possible at last
those can be restored at any time through
to add real samples to Roland modules. It’s
a factory reset.
even better that folks like Vexpressions,
The new rock kits range from a resonant drum-tec and now EDK are taking the
Live ‘70s kit to tighter pop kits, ‘80s and effort out of sample loading and kit
‘90s kits, and various other “rock” sounds, tweaking with packs that are easy to install.
including an authentic-sounding Phil
The EDK offerings are sufficiently different
Collins (not In The Air Tonight!) kit.
from the drum-tec kits we recently
The dozen kits in the collection provided reviewed – and certainly very different from
for review were versatile and differentiated the stock sounds of the module. Better still,
from the stock kits. The addition of external they are gig-ready and would work a treat
samples lifted the sounds and the realism. for any rock or pop act.
One difference between EDK and the other After spending a few hundred bucks on the
“custom kit” offerings is the ability to buy module, packs like the EDK collection are
single kits, although the pricing model a worthwhile addition for a modest
makes the larger packs more appealing. investment.
The single kits sell for €5 each; the two
You can check out the sounds here.
five-kit collections (actually each containing
Also available
drum-tec Metal Sound Edition
10 kits
€42.00
Download here
Vexpressions Series 3
25 kits
$50
Download here
Simon Ayton custom kits

5 kits
Free
Download here

training
Highlighting
e-drum
capabilities
digitalDrummer doesn’t often review

books. But then, not many books are
devoted to electronic percussion.
IN THIS DAY of Facebook groups, YouTube Bid, as he is known, has just self-published
videos and free online magazines, it is The Art of eDrumming, a 164-page paperback
surprising to see a new hard copy book about book about electronic drums, starting with a
electronic percussion, but that is exactly what brief history and working all the way through to
Sebastian Beresford has created. advanced applications with Ableton Live.
The users guide to eDrums The users guide to eDrums The users guide to eDrums
MIDI NOTE
13: CHANGING MIDI NOTE PARAMETERS
NUMBERS
NUMBERS
CONNECTING
3: ADJUSTING THE PLAYING PARAMETERS
16: CONNECTING TO A COMPUTER
The first thing we’re going I t’ s s o i mp o r t a n t t o s e t Bring the volume of your

Navigating through your
to look Preparing
at is thethe eDrums for your
MIDI NOTE the playing parametersDiscover of more creative eKit down.
module’s pages to access its own playing style by adjusting
MIDI functions. NAME/NUMBER for each
the relevant pad
parameters, your module up opportunities.
as soon as
we are using. possible and many Like eDrums there are many diﬀerent
allowing it to respond better Buildplayers
awareness of what software manufacturers making
A deeper understanding of how to your feel. overlook this. is needed to connect the Desktop Audio Workstations to run
modules work using MIDI notes Though you may not feel the need equipment together. on your computer such as GARAGE
& numbers. Increase
to pay attention confidence
to MIDI in your
note names There’s nothing worse than playing a BAND, LOGIC PRO or CUBASE.
module knowledge. Build confidence
Increase confidence in your or numbers, some modules and kit that you’re not comfortable with, in your use of Though all compatible with eDrums,
equipment ask you to assign these electronics.Your
be it acoustic or electronic.
module knowledge. their capabilities vary for eDrummers.
instead of VOICES to pads/triggers, owner’s manual will explain how to
Increase confidence in your Ableton Live however allows you to
Build confidence in your own therefore it’s important to get an do this. Some oﬀer detailed
abilities.editing really take advantage of the technology
abilities. understanding of them. facilities while others are limited eDrums have and explore so many
though still allowing some degree creative possibilities. Some we’ll look
On your module, have the kick drum of manipulation. at later on in Using Ableton Live.
displayed by either dialing it up or
hitting the relevant pad/trigger. The following three editing functions To have the eDrums communicate
EQUIPMENT NEEDED: Access the MIDI page within the are the most importantEQUIPMENT ones for
NEEDED: with the DAW you need to connect
module. If there isn’t a designated making your eDrums respond better them to the computer via USB if the
An electronic kit that includes a drum command on your module’s fascia to your playing style.An electronic kit that includes a devices allow or alternatively via a
module, pads or triggers if using an consult the manual to find out how. drum module, pads or triggers MIDI interface using USB & MIDI leads.
acoustic kit and appropriate cables if using an acoustic kit and
to connect the pads to the module SENSITIVITY appropriate cables to connect
and the module to a mixer, amp or the pads to the module and Make sure your computer has the
headphones. This adjusts the loudness
the module of your
to a mixer, amp or relevant drivers installed for your
touches. The lowerheadphones.
this number,Athe MIDI interface if required.
computer running
quieter the pad/trigger
a DAW,willsuitable
be. Great
cables to connect
There are only 128 MIDI note
for all those ghosttonotes
the -drum
however,
module which may
numbers per channel (and 16 To transmit MIDI data from your
if it’s set too low the hard hits won’t
include an audio/MIDI interface
channels). Numbering is not eDrums you send it from MIDI OUT
be as loud, if set too high the ghost
standardised so C4 on one with outputs to mixer/amp. to be received by your computer’s
notes won’t be as quiet, therefore
device may be C5 on another. MIDI IN.
choose a value which works well
for both. To receive MIDI data on your eDrums
you send it from your computer’s MIDI
See example graph to the right.
OUT to your eDrums’ MIDI IN, all on
MIDI channel 10.
60 28 68
The book has QR codes linked to video demonstrations and explanations
Beresford is a prolific YouTuber, so why the The ‘meaty’ part of the book reflects
need to publish a book? Beresford’s passion for Ableton Live. There’s a
full chapter on this software solution and
There was a specific incident behind it. When
additional chapters on advanced applications.
Beresford visited Professional Drum Shop on
And to make it a practical learning experience,
Vine Street in Los Angeles, he asked the
Bid has even included a sample pack which
owner if he had any books on e-drumming
can be used in some of the examples he
within his huge stock of drum publications –
details in the book.
and there was nothing there that showed how
you can use the technology. Beresford promises that readers will gain “a
greater knowledge and better understanding of
“With over 30 years’ experience using
the possibilities available when combining
electronic drums professionally, I felt I not only
drumming and technology, regardless of the
had the authority but also the obligation in
make and model”.
sharing my knowledge to help any inspired
drummer become a more complete player in I can vouch for the learning opportunities in the
today’s musical landscape,” Beresford tells book. In fact, if starting e-drummers just read
digitalDrummer. the glossary on pages 15 and 16, with
explanations of sensitivity, velocity and
He believes that today’s drummer not only
threshold, we would eliminate more than half of
needs to have the drumming skills but also a
the “how do I …” questions on e-drum forums
good understanding of the technology and its
and social media groups.
capabilities.
The Art of eDrumming is easy to read,
The book is thorough and detailed, moving
interesting and informative, and although Bid’s
quickly from e-drum basics like triggering,
preferences for Yamaha hardware and Ableton
module set-up and MIDI to the world of VSTs
software come through clearly, the insights
and DAWs – intimidating areas for many ‘plug
translate to other equipment and solutions.
and play’ e-drummers.
The book is available for purchase online at
The text is punctuated with QR codes linked to
£19.99 plus shipping.
video demonstrations and explanations.
gear
MONSTER
My
kit
Rich Blackwell from Orangevale,
California has combined two kits
into one big Roland rig.
Rich’s kit Rich’s story
Sound modules: TD-17, TD-11 I've always been a drummer at heart, but
Snare: PD-128S-BC never had the chance to own my own kit.
Toms: PDX-6 x 2, PDX-8 x 3, PDX-100 x That changed in 2014 when I bought a
2, PDX-12 x 1 Roland TD11-KVX kit. That was fun for a
Hi-hat: VH-10, CY-5 (fixed) while but, being the gear geek I am, the
‘upgrade' bug hit me. As I got more into the
Crash: CY-12C x 2
e-drum world and saw all the great
Splash: CY-5, CY-8 technology developed over the years, I
Ride: CY-15R knew I wanted/needed to expand my set-
China: CY-13R up. My son also began playing (he's a
Kick: KD-220 lefty) and, wanting to play on dad's kit, I
Drum rack: MDS-4KVX x 2 (combined) began to add and set it up with different
Snare stand: DW 9300 sections which allowed us both the ability
Hi-hat stand: DW 9500 to play or practise. The end result is a kit I
Pedals: DW 9000 double bass pedals am proud to own and have built. And the
Throne: Ahead Spinal-G Saddle Throne best part is I get to share and enjoy it with
Monitor: Roland PM-200 friends and family.
Share
your kit
digitalDrummer_Aug 2019.qxp_Layout 3 23/7/19 12:47 pm Page 50
gearGuide
2BOX ENHANCEMENTS E-CONVERSIONS
New from Stealth Drums
C
op St hec
tim ud k
i o
ize o sa ut o
d mp ur
fo les
2br
ox
3-zone ride, 1- or 2-zone crashes

and hi-hats fitted with premium-
Use any hats or quality components.
Ready-made or DIY.
Three heads are better than one
cymbals with 2box™
Stealth ISM-6 Drum Converstion Kits!
Don't miss out on another Ghost Note. This
system picks up everything! As close to the
Hi-hat & 3 Zone Ride conversion
modules for 2box™ DrumIt Five dynamic performance of a real acoustic drum
as it gets!
Build your own with my quick/easy
Supporting Roland™ FD-7, FD-8, FD-9, VH-10,
instructions, or have me build it for you.

VH-11, VH-12, VH-13, CY-13R, CY-15R and ATV™
Stop by my site for more details.

aD-C18, aD-H14(Drumit Three) and more!
www.stealthdrums.com
www.zourman.com
ZOURMAN or visit our resellers
D R U M S Drum-tec (Germany), Jobeky (UK)
or Electronic Drum Center (US)
CONVERSION KITS E-DRUM PRODUCTS
Electrify and keep your favorite drum kit. The most

reasonably priced conversion out there. Simple to
install, no connectors or soldering. Your trusted
source for Roland drum trigger replacement cones.
Visit us at Convertible Percussions.com or search
our name on Ebay or YouTube.
gearGuide
MESH HEADS SUBSCRIPTION
FRE
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ONLY A FEW LEFT
Keep informed
Hart Dynamics has stopped trading and
its famed mesh heads, made by Aquarian,
every month with

are fast disappearing.
This is your last chance to grab these
the digitalDrummer
quality heads in Australia.
newsletter.
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Our greatest hits

... in one volume
Over the years, digitalDrummer has reviewed scores

of products and produced a number of market-leading
head2head comparisons, helping you choose the most
appropriate solution.
Of course, all our back issues are available
online, but to save you the time and trouble of
searching, we have compiled our reviews into single
volumes, ready to access with just one click.
From triggers to mesh heads and VSTs, to download
your preferred compilation, click here.
Everything you need - just a click away.

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digitalDrummer_Aug 2019.

qxp_Layout 3 24/7/19 11:15 am Page 1

Edition 39 • August 2019 US$10

Roland TM-1 J Barber Head2head

Direct Drive Teaser Ad 2019(Digital Drummer).indd 1 4/8/19 1:21 PM

digitalDRUMMER, August 2019 3

digitalDrummer August 2019

Monitor race amps up

Inside the world’s biggest e-drum store

14 FSR pads get second zone

More meshing about

26 Making hybrid even easier

30 Deja vu all over again

36 Profile: Nick D’Virgilio

42 How I use e-drums

44 More TD-17 options

Highlighting e-drum capabilities

digitalDRUMMER, August 2019 5

It’s been quiet for a while, but there's more

ALESIS HAS RELEASED its Strike Amp 12,

digitalDRUMMER, August 2019 7

The Strike amp’s release came hot on the heels

digitalDRUMMER, August 2019 9

Inside the world’s

On a recent visit to Germany, editor Allan

GERMAN E-DRUM SUPPLIER drum-tec practice room, where drummers can

FSR pads get

Alternate Mode’s FSR trigger range has had

digitalDRUMMER, August 2019 15

HybriHEAD practice solution, the performance is

HybriPAD with no hint of unwanted sounds from the

Before you pull

... Check out

Alesis Alesis dual-ply

Most people may not

This two-ply head

When I opened the box,

Transparency test results

Aquarian Super-Mesh Hobbies GoGo

Alesis Evans SoundOff

digitalDRUMMER, August 2019 23

!"#$! %&'("! %)*! +,'-".)"/")! 0"1,23$4!

Roland has expanded its hybrid line with an

ROLAND’S LAUNCH OF the TM-2 trigger Setting up

Battle of the trigger modules

Yamaha’s latest offering is a new take on an

PCY95AT cymbals KP65 kick tower

<18 CHAMPION <18 2nd PLACE <18 3rd PLACE

18+ CHAMPION 18+ 2nd PLACE 18+ 3rd PLACE

Anyone on social media will be familiar with Nick

You don't have to spend a lot of

digitalDrummer, August 2019 37

Nick’s first full kit

Nick describes his time in Cirque de Soleil’s Totem as ‘awesome’.

Strutting his stuff for

Find all our back issues here.

How I use e-drums

New York City-based Jonathan Barber, voted

What is it about the

THE LATEST CUSTOM producer of TD-17 What’s in the box

Simon Ayton custom kits

digitalDrummer, August 2019 45

digitalDrummer doesn’t often review