DigitalDrummer February 2019

digitalDrummer_Feb 2019.
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Edition 37 • February 2019 US$10
Blundell
enters
Hall of Fame
SSD5
Ben review
Todd Ravishdebuts
NAMM NAMM
Momin Emily 2019
D. Davies
www.dwdrums.com/dwedrumenhancer
©2018 DRUM WORKSHOP, INC. & AUDIFIED. ALL RIGHTS RESERVED.
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welcome
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CREDITS WELCOME TO THE first magazine in our 10th year.

digitalDrummer has been looking forward since our first
DigitalDrummer
edition, reporting on trends and developments, highlighting
ABN: 61 833 620 984 innovations and charting the growth of hybrid drumming and
30 Oldfield Place the continuing adoption of electronics in mainstream
Brookfield Q 4069 drumming. Nonetheless, it’s hard not to look back at this time.
AUSTRALIA When we started, Facebook was not a ‘thing’ and Groups were
just being started, while e-drummers shared their thoughts
editor@digitaldrummermag.com primarily on a couple of online forums. There were some very
www.digitaldrummermag.com informed contributors and a great sense of collaboration, but
Editor & Publisher over time, the goodwill started eroding under the influence of
intolerant and ill-informed fanboys.
Allan Leibowitz
While YouTube had been around since 2005, sharing videos
Sub-Editor was still not as easy as drag and drop.
Solana da Silva It was not until the widespread adoption of the iPhone that
Contributors people had 24/7 access to cameras and we were able to
effortlessly capture everything we saw and did.
Jesse Anderson While electronic drums have changed dramatically, with
Ryan Cheney established brands disappearing and new ones emerging,
Chuck Faircloth information about the technology has literally exploded since
our first edition.
Scott Holder digitalDrummer is no longer a lone voice in the e-drum media
Ravish Momen world, and we continue to evolve, offering a YouTube channel,
Cover Photo monthly updates and a very active Facebook group.
Our Readers’ Choice Awards are another sign of the maturity
Allan Leibowitz of the industry. This year, we had a record number of votes for
Design and layout a very strong field of nominees across hardware, software, and
‘talking business’ retail, and we recognised another E-drummer of the Year and
a new Hall of Fame inductee. And we know from the intense
Support digitalDrummer lobbying and promotion during the voting stage that the
industry takes these awards as seriously as we do. Thanks to
everyone who voted and supported the poll – and congrats to
If you like what you’re reading, all the nominees who are winners just by being selected for
please make a donation. inclusion.
. This month’s edition includes a report on the Awards and brief
commentary on each of the worthy winners.
We have slightly delayed this edition to include our NAMM
report which includes coverage of the latest crop of products
Founding member and the fruits of our interviews with the industry leaders. We
also have the usual artist profiles, product reviews and advice.
One new section making its debut is our “reader hacks”. There
are plenty of smart people out there, doing some really nifty
Copyright or wrong: things to maximise the capability and convenience of their
Forget the legalese and just play equipment, and we begin sharing some of their tips. If you have
fair! We work hard to produce a special hack, please let me know.
digitalDrummer. Please respect I hope you enjoy this edition and keep supporting
that and don’t rip off our content. In digitalDrummer.
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, February 2019 3

inside
digitalDrummer February 2019
Products & people honoured

6
In one of the strongest ballots to date, there were clear winners
in this year’s Readers’ Choice Awards.
Positive e-vibe at NAMM

10
There were some new products, some products not seen
before in the US and some updates to existing products at the
world’s biggest music trade show, NAMM 2019 in Anaheim.
Deja vu all over again

18
Yamaha’s latest offering is a new take on an old product, as
Scott Holder found when he tested the DTX452 kit.
24 New meets old

The growth of hybrid drumming (the parallel use of electronic
and acoustic elements) means that acoustic drummers continue
to search for quick, cheap and easy ways of adding electronic
triggering capability to their kits.
28 Slate’s evolution
It’s been five years since the release of Steven Slate Drums 4 –
and in that time, we have seen huge leaps forward among its
competitors. So there has been a lot of pent-up expectation
about SSD5, heightened by early word of its “release soon”
dating back to 2015. Well, it’s finally here and the big question
is “was it worth the wait”?
4 www.digitaldrummermag.com
Profile: Craig Blundell

32
Craig Blundell is best-known to digitalDrummer readers as a
Roland clinician who launched products globally and has
designed patches and sounds for many of the current modules.
Allan Leibowitz caught up with him on a recent world tour with
Steven Wilson.
36 How I use e-drums

Ravish Momin has worked with musicians ranging from Shakira
to Maurice McIntyre.
38 A heads-up for set lists

Your set list projected onto your drumhead? How does that
work? Allan Leibowitz fired up a new solution.
More cowbell
42
According to popular drumming thinking, you can never have
enough cowbell. To help achieve that, Ryan Cheney shares his
e-cowbell build.
45 Getting a grip on cables

One of the irritations of e-drums is the mess of cables that we
often find, especially with bigger kits. Jesse Anderson came up
with a nifty solution.
48 My Monster Kit
We head to Wilmington, North Carolina to check out Chuck
Faircloth’s kit.
awards
Products
& people
honoured
In one of the strongest ballots to date, there

were clear winners in this year’s Readers’
Choice Awards.
PRODUCT OF THE YEAR - HARDWARE

Yamaha scooped the E-drum Product of the Year (Hardware) category with its EAD10, a
unique offering which isn’t an e-drum in the strictest sense.
As we wrote in our February 2018 review, “the EAD10 expands the possibilities for
acoustic drummers, much like the Zildjian Gen-16 system did for cymbals”.
“The system adds some of the versatility and functionality of e-drums to acoustic sets,
allowing drummers to apply a huge array of effects and nuances to kits that would
otherwise have a limited sonic palette.
“Where the EAD shines is for home practice and recording. And the free Rec’n’Share
app takes it to another level again – combining acoustic kits with music tracks and the
ability to record and share both audio and video using your mobile phone.”
The EAD10 came in ahead of Roland’s TD-17 line.

The support for that product was no surprise, and
our August review noted that Roland had delivered
a kit “that meets or exceeds the needs of mid-level
e-drummers with reasonably sized, responsive
pads and cymbals, an easy-to-use module with
great sounds out of the box and advanced editing
capabilities – with Bluetooth connectivity and very
competitive pricing”.
At the time, we wrote that “Roland has a winner on
its hands with the TD-17 line and (we have) no doubt
these will walk off the floor as fast as they can be
unpacked” – a prediction which proved to be accurate.
digitalDrummer, February 2019 7

PRODUCT OF THE YEAR - SOFTWARE

Last year was not a big one for e-drum
software, with fewer new offerings than
previous years. The big arrival was Steven
Slate 5, which entered the market too late for
inclusion in our poll and will be added to the
list for the next one.
Toontrack’s Superior Drummer Action EZX
was voted E-drum Product of the Year
(Software), following in the footsteps of their
Superior Drummer 3, which took the honours
last year.
According to Toontrack, the Action EZX VST
pack represents “a fusion of orchestral
percussion, sound effects, custom foley and classic drum machine sounds, designed for
use in any creative context where beat, groove and tone are allowed to transcend the
traditional confines”.
The pack includes more than 450 individual percussive sounds in 21 mix-ready kit
configurations.
Toontrack also snared second place in the poll, with another EZX offering, the Superior
Drummer Hard Rock EZX.
E-DRUMMER OF THE YEAR

UK drummer, demonstrator and educator Simon Edgoose was the
popular choice for E-drummer of the Year, beating Cliff Hewitt (second)
and teen YouTube drummer Antoine Fadavi (third).
According to his online biography, Edgoose is a self-confessed geek who
has used electronics since he was young and “now finds his more visible
work to be in this field”. Along with recording and programming for
numerous artists, demonstrating, and consulting for major manufacturers
across the world, Simon helps players at all levels get the best out of their
electronic drums through his website eDrumInfo.com.
E-DRUM RETAILER OF THE YEAR

Germany’s drum-tec romped home to easily win its third title as E-drum Retailer of
the Year for Europe. In fact, it can claim the title of top global e-drum store, far
outranking any other rival, anywhere on the planet. Sweetwater again took out the
honours for top retailer in the United States, coming in just ahead of
edrumcenter.com. Andertons was knocked off its position as top UK retailer by
Professional Music Technology with its 16 stores around the country. Long &
McQuade retained its title as top e-drum retailer in Canada, while Canberra’s
Better Music took out the title in Australia.
HALL OF FAME
Craig Blundell enters digitalDrummer’s Hall of Fame, recognised for his
role in raising the profile of electronic percussion. Blundell, a long-time
Roland artist and R&D contributor, is profiled in this edition (see page 28).
Blundell joins an honour roll that includes Mike Snyder, Michael Schack,
Mario DeCiutiis and Dave Simmons.
Congratulations to all the winners and those who made the short lists. And
thanks to all who took the trouble to vote.
digitalDrummer_Feb 2019.qxp_Layout 3 1/2/19 4:47 pm Page 27
gear
Positive e-vibe
at NAMM 2019
There were some new products, some

products not seen before in the US and
some updates to existing products at the
world’s biggest music trade show, NAMM
2019 in Anaheim, California. Allan
Leibowitz was there.
OF COURSE, NOT all of the 115,301 artist kit, ATV launched the TruHybrid
visitors were interested in electronic range of acoustic/electronic drums with a
percussion, but there was plenty to snare equipped with wires and a strainer,
maintain the interest of those with a improved shells and breather holes.
penchant for digital drumming at the four- ATV drum head Mike Snyder also showed
day event. off ATV’s prototype iOS software which
Japan’s ATV used the show to debut a allows drummers to change sounds, kits
new aDrums artist PRO kit with a 20” kick, and levels from their iDevice. Because
14” snare, 10” and 14” toms, a 14” hi-hat, users can control parameters for each
16” crash and 18” ride. The company is drum, the app replaces the need for
also offering an EXP version with an extra individual outs.
12” tom and an additional 16” crash. “We also have the beta version of our Mac
Besides the bigger brother to the original OS user sound creation tool,” he says,
adding that users will be able to create
new instruments from their own .wav
files – up to four layers plus the ability
to mix sounds; for example, adding a
tambourine to a snare layer.
A prototype ATV aD-IO Expanderit
was also on show at the stand,
allowing the aD5 module to support
two or possibly three additional three-
zone trigger inputs and to send eight
direct outs.
Mike Snyder and a TruHybrid snare (above) and a prototype Expander (right)
For many visitors, the show was the first

chance to see Alesis’ new Strike MultiPad.
A significant step up from the company’s
previous offerings, the Strike MultiPad has
nine triggers, an onboard sampler and
looper, built-in soundcard and large
display, and lots of bells and whistles.
Tim Root, Alesis Drums (now a separate
division) director of global sales, describes
the product as a “home run”.
“We thought we had a winner, but it’s
Pat Kennedy and the TM-1
already sold much more than we ever
At Roland, the hybrid move has intensified

with the NAMM launch of a new compact
trigger module, the TM-1. Roland Drums
US spokesman Pat Kennedy explains the
stompbox-oriented module is designed to
be “a very easy-to-use interface to allow
acoustic drummers to interact more with
electronics”.
The module has two trigger inputs and is
designed to augment kick and snare
performance. “It holds 30 samples at a
time and you can change out the samples
once you get it dialled in,” he explains,
“and you can do all that through an editor
app available now for iOS.”
Kennedy explains that 150 additional
sounds can be unlocked using a Mac and
PC program, while users can also load
their own .wav files.
The TM-1 is not intended to replace the
larger TM-2, but rather to augment it with a
simpler interface and a lower price.
“We have spent a lot of time with hybrid
because we think that is one of the future
pillars of the electronic drum community,”
he adds, stressing that Roland is the brand
“creating the hybrid market” with a
comprehensive family of products. But, he
says, that is not at the expense of the main
Vdrums line which will continue to expand
and develop. Tim Root
Nico Nevermann, Dennis Pelz and Marcel Messner and (inset) the G9’s ‘basic’ display
thought. We’re really super-happy with the functionality, like the hi-hat control, still
response,” he says. being tweaked, but the user interface and
Root explains that he knew the multipad sounds were impressive.
market was ready for a new offering. “We GEWA fully exploits the functionality of the
knew we had to get in there and set out screen, adding a PDF reader which will
from the beginning to make the best allow drummers to load their set lists and
sampling multi-pad that we possibly could,” use the module to control the click and
he explains, citing the unit’s 32 GB follow the lyrics.
memory and 8,000 loaded sounds. “You The G9 was on show with a shell pack with
get all this stuff with it and then still have all design cues from the now-defunct
that space to add your own samples,” he DrumCraft acoustic drum line.
adds. Root also sees the inbuilt pad light
as another advantage, adding a visual The initial offering is aimed at the
element to the playing experience. professional market, says Messner, but
down the track, models will be rolled out at
Germany’s GEWA used NAMM to show its lower prices. “We have the prototypes (of
G9 Digital Drum Workstation, a drum lower-spec modules), but the focus is now
module characterised by a 10” touch on launching this one – first in Europe,
screen loaded with high-end samples. shipping in late March or early April in
Marcel Messner, head of marketing, says Europe to dedicated dealers,” he says.
more than 20 engineers are working on the Shipping to the US is slated for Q2, with
project which he says takes electronic global sales to follow in Q3.
percussion to the next level. Sweden’s 2box showed off its DrumIt 5
The module on show in Anaheim was a Mark II which combines the best features
development version, with some of the original DrumIt 5 (multiple inputs and
10
digitalDrummer, February 2019 www.digitaldrummermag.com
13
outputs) with the universal trigger capability

of the DrumIt 3 – and adds an external
card slot with a 32 GB SD card.
There will also be additional samples. “We
will have old DrumIt 5 sounds, new DrumIt
3 sounds and additional brand-new DrumIt
5 Mark II sounds,” says Thomas Panthel
from 2box Distribution.
The new module is already in production
and shipping should start around April, with
pricing expected to be around $200 more
than the DrumIt 3 ($899).
Panthel notes that demands are changing,
and 2box will be responding. “We will
extend our line of modules – probably at
the end of this year. And we are also
working on some exciting new pad
systems.”
Pearl had a fully functional version of its
eMerge “ecosystem” on show. To be
shipped in June to the US in two versions
- a $4,000 smaller kit and a $4,200 version
with a full-size bass drum, the system is
unique because of its combination of MIDI
triggering and audio input, according to
Thomas Panthel and the
DrumIt 5 Mark II (above),
Pearl’s eMerge and the
new production run
version of the
mimicPRO (below)
New mesh offerings from Evans and Aquarian (above)

and Yamaha’s EAD10 (below)
Bob Sabellico, Pearl product manager

for electronic percussion. He stresses
that “the cymbals, the drums and the
triggers are all proprietary – there’s no
trading off with any other kits”.
The eMerge is loaded with Pearl 35 kits,
recorded by Pearl at Ocean Way Studio.
Again, as a closed system, there won’t be
any download path to add additional is the use of the system for personal
sounds, but users will have plenty of monitoring on stage, he notes.
editing options to modify the stock library.
Finally, EAD10 is tapping into the growing
Sabellico also confirmed that Pearl has hybrid move, allowing drummers to easily
changed manufacturers of its popular add electronic sounds to acoustic rigs.
mimicPRO kit in order to be able to meet
strong demand. The specifications remain “It’s not just a new product, it’s a new
unchanged, but the new run is product category, and we’ll see some new
recognisable by its matt black finish and an products stemming from that new
upgraded power adapter more suitable to technology in the future,” he noted.
the rigours of gigging. There were a couple of mesh head
Yamaha’s new offerings were limited to an launches at NAMM, as one would expect
updated DTX 402 module and kits, but now that Roland’s patent has expired.
drums head Steven Fisher notes ongoing Evans teamed up with Sensory Percussion
strong interest in the company’s EAD10 to show off its new SoundOff mesh heads,
system which picked up last year’s Best in boasting these are the only mesh offerings
Show award. featuring its patented Level 360 technology
that maximises shell contact and ensures a
“Dealer reaction has been good and balanced fit. Evans previously made mesh
customer reaction has been exceptional.” heads for Pintech. Meanwhile, Aquarian,
The system’s ability to quickly and easily which developed the Magnum and
mic acoustic drums has been a big Maxxum heads for Hart Dynamics, showed
positive, he says, as has the easy off its first own-brand mesh offering. Not
recording function using the free many details were available as we finalised
Rec’n’Share app. An unexpecte application our report, but the mesh seems to have a
5igitalDrummer, February 2019 15
David Cywinsky and Kat founder Mario DeCiutiis (left)

and Jim Norman and Jeff Laity (above).
much thinner, tighter weave than the Hart Cywinski is also enthused about KAT’s
products. jamKAT and triggered cajon offering which,
David Cywinski, sales manager, drums and he says, is tapping into a growing market
percussion at Hal Leonard, was on hand to within the hand percussion sector.
talk about his company’s distribution plans digitalDrummer managed to catch up with
for KAT Percussion, noting that dealer Guitar Center’s Jim Norman, in charge of
excitement about the connection is really the Simmons brand. Norman flagged two
encouraging. “The addition of KAT helps us imminent new product launches, saying
round out our drum offering, alongside “we’re bringing in some new technology and
Gretch drums, Gibraltar hardware, Vater also taking advantage of our (sound)
drum sticks and Paiste cymbals,” he says. library”.
Apart from the KAT drum kits, Hal Leonard “We have a lot of great sounds that Jeff
will soon be adding the malletKAT to its Laity (product manager) has been
offering to dealers. “Our reach into the programming and putting into the kits and
educational market is stronger than any we’re also planning to roll out wireless
other company on the planet because of Bluetooth and wireless MIDI,” he says. Laity
what we do – selling band and choral music. says the focus for future kits is high quality
So, I am happy to start with the malletKAT sounds, lots of velocity layers and round
and trying to figure out what’s next,” he robins, and long cymbal decay times.
says. Norman stresses that the changes will be
incremental and that drummers continue to
look for good sounds and playability.
He concedes that the move to hexagonal-
shaped drums which followed the creation
of a new alliance with original Simmons
founder Dave Simmons was not well
received by the market. “The next
generation will be more conservative
because drummers are more conservative.”
catching up
catching up
catching up
NAMM is always a great
opportunity to catch up
with old friends and to
meet others face to face
after years of online
communication.
Allan Leibowitz is shown
here with e-Drumcenter’s
Erik Hamm; Steven Slate;
and Pete Lockett and
Michael Schack, both of
whom have been featured
in digitalDrummer in the
past.

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 years designed for a right-handed drummer; if you’re
ago, when I reviewed Yamaha’s left handed, you need to switch the crash and
DTX400/430/450 introductory kit (dD, May ride cables at the module end. For the first
2013). I used it for close to six months as a time, an e-drum company recognises left-
rehearsal kit and even played it live. Yamaha handed drummers in that the manual shows
has updated the basic package with the such a set-up.
DTX402K/432K/452K rigs. These consist of a
One notable difference from the earlier kits is
new module and some new components, all
the rack arrangement. It remains lightweight
the while retaining the basic character of the
and made of black tubing but now it has two
original kit.
wings. The toms still come attached, as do the
It was time for some additional lessons and to cymbal mounts. Ergonomically, I thought the
see just how much differs from the original addition of wings would make the kit more
series. beginner-friendly. It is an improvement over its
predecessor, adding more cymbal placement
The Basics flexibility.
Yamaha continues to sell the same three The addition of wings did little to improve the
package variations, differentiated by the snare awkwardness of the combined hi-hat and
and kick components. The 452 has a three- module placement of the original series. It all
zone snare (TP70S), an upright kick pad gets too cramped because of the module
(KP65) and a kick pedal. The 432 has a tom mount. This is further complicated by the snare
pad for the snare, while the 402 has the tom being mounted to the same bracket as the hi-
pad for the snare and includes the more basic hat: if you move one, you must adjust the
KU100 kick trigger (reviewed in dD, November other, all the while keeping the module in mind.
2013). Yamaha did fix the slipping hi-hat mount from
All configurations share the same three tom the earlier kits. I beat the thing to death and it
pads, three cymbals (one each for a hi-hat, held its position. The snare was less forgiving
ride and crash) and a hi-hat controller (HH65). until you tightened the wing bolt to the point
All the components are straight lifts from you think you’re breaking the connection.
previous packages except the cymbals which
The Module
are new (PCY95AT). The KP65 kick has an
additional pad input, meaning you can expand The 402 module, like its predecessor, has no
the kit and assign it any of the available display screen. Like its predecessor, it’s
sounds. For review purposes, I hooked up a surprisingly easy to navigate - assuming you
PCY100 so that I’d have a second crash and have the manual handy until you remember the
could further test the module’s capabilities. more common navigation paths and button
sequence. Even then, tweaking configuration
Just as before, a cable snake is included. The
sections requires having the manual handy, not
labelled cables are a predetermined length
Flashback: Our first look at

the DTX400 in May 2013.

unlike Yamaha’s other module navigation

arrangements with screens which are
notoriously difficult. Yamaha gets around this
with a handy app for both Apple and Android
devices. Both Allan and I consider the DTX
Touch app a godsend (dD, November 2015).
You don’t need it as much for the DTX402, but
it makes the configuration tweaks easy.
The sound engine is derived from the latest
upgrade to the DTX900 engine. One of
Yamaha’s innovations is not saving its latest
tweaks for the top-of-the-line modules. Instead,
they introduce the improvements on the
introductory and intermediate kits.
shots were anaemic on some kits. Both could
Ten kits remain from the original DTX400, but be adjusted. Ghost notes and machinegunning
the total individual sounds (or “voices” as were notably absent. However, Allan says,
Yamaha calls them) has expanded from 169 to “When you’re listening for it, you hear
287. You can change individual voice machinegunning everywhere. The essence is
assignments to any given pad, pad tuning, whether it sounds annoying.” In this case, I
overall kit volume, double kick volume, don’t find it annoying. Overall, the snare is
individual pad volume and reverb. Yamaha has good, especially at this price.
eliminated pad panning and reduced the pad
velocity curves from nine to five. It is still The PCY95AT cymbals are redesigned and
plenty. Like six years ago, I never found myself externally look identical. However, unless it has
thinking “oh, if I could just tweak that third tom a Crash label underneath, it won’t choke. I
a little bit more”. didn’t feel much difference between them and
the PCY90s. The cymbals may be single-zone,
Hi-hat settings are robust for an introductory- but they are velocity-sensitive - you can get
level kit: clutch position, splash sensitivity, foot varied sounds depending on how you strike
close position and velocity. them.
External connections consist of a USB MIDI Hi-hat articulation is the big surprise: it’s every
output, a 1⁄8” stereo input and a ¼” stereo bit as good as any kit I own, owned, or have
output which doubles for either headphones or reviewed over the years, including the
external speakers. DTX902. The closing sound wasn’t as jarring
The module can be a MIDI controller and, as I as on other modules/controllers. The sounds
do with every potential MIDI controller, I themselves were subtle; this was nothing like
hooked this up to my computer running the DTX400. Even better, the heel splash on
Toontrack’s EZdrummer. It was consistent
across pad assignments. One thing Yamaha
has added is the ability to change MIDI note
numbers on the module side. This is great
when using something basic like EZD where
you can’t change it on the VST side. That
means no need for any third-party MIDI
remapping software.
The Pads
The pads that haven’t changed: KP65 (kick),
TP70S (snare) and undesignated toms. The
snare is typical of Yamaha’s design: one half of
the rim is for cross-sticking, the other half for
rim shots. The pad itself remains velocity-
sensitive. The cross-sticking gain and rim
www.digitaldrummermag.com
The trusted KP65 kick tower (above) and the DTX Touch app for the updated module
the HH65, at least on some kits, was easy to rearranging the combined hi-hat/snare location
produce and consistent. to something less than optimal.
The big question on any e-kit, no matter the The other basic training tools and ways to
price point, involves the realism of the tweak them from the old module remain:
cymbals. As I’ve said, the hi-hat is fantastic. metronome with changing tempos, assigned
The crash is okay both in playability and sound sound (click, cowbell, spoken, etc), changing
quality. patterns and beats.
The Teacher In Action
The old module was already a great training Six years on, I still like how the kit plays.
tool. The basic approach remains the same: Everything’s rubber, but it’s soft and somewhat
rhythm/dynamics/tempo and play-along. The forgiving. Nothing’s changed in terms of how
new module adds plenty of ways to change up the KP65 kick will be for most people: far less
any given profile or song, meaning it’s hard to bouncy than mesh and more like an acoustic
find an “end” to the training. kick in feel. The toms are small but responsive.
The snare is very responsive to changing strike
There are nine “training profiles” which haven’t
dynamics and after five-plus years of playing
changed much: they range from basic timing
on Yamaha’s TCS foam pads, I didn’t find the
exercises (Rhythm Gate), how hard you pound
switch that jarring.
a pad (Dynamic Gate), independent tempo
checks (Measure Break), rapidity (Fast Blast) The crash and ride remain the weakest
and my favourite from the old module, playing components when compared to more
different rhythms every two measures (Change advanced kits. For example, bell/bow sounds
Up). These can be combined with the 10 songs on the ride depend on whether you strike it
on the module, where you can mute parts, with the shank or the tip. It’s an improvement
change their volume, set pads to make no over the older kit in that it’s more likely to
sound if your timing is off and mute only certain respond as you’d expect depending on
parts. shank/tip strikes, but it’s still not that
consistent.
The 10 number buttons light up from left to
right showing how well you’re doing. Yamaha Swells on the crash remain as they were on
has done away with the “Good-to-Fantastic” the older module, meaning not terribly
rating system on the old module. Instead the nuanced. Furthermore, I could only get the
number buttons show you if you’re too early, beginnings of a swell by using the stick tips on
too late or just right. one side of the bow, not the edge with the
shank as you find on most other kits. Then, if
The instant, visual feedback from the blinking
you increase the hit velocity, you immediately
number buttons remains a simple, yet elegant
get a crash sound.
training tool. But the ergonomics don’t make it
easy to see the lights. If I turned the module so The ride attempts to differentiate the strike
that it would face me better, that meant method (shank vs tip) to get bell/bow sounds,

but was still inconsistent. The hi-hat, as

mentioned, is outstanding. I’d rather play hi-hat
on this module with this controller than
anything else I’ve tested and that includes my
DTX502/HH65 controller rig that I’ve used
exclusively for the last five years.
When I hooked up a PCY100 as the crash, the
difference was night and day. Consistent
response and great cymbal swells. Edge and
bow hits were different and just like I’d expect
on my DTX502. That told me the crash
limitations on the kit 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 anything else
for an advanced hi-hat solution since this is
better than anything I tested on any multipad
(dD, November 2012). Thus, it’s a set-up that
should appeal to those looking for good sound
in a small, very portable kit.
The Sounds
If you’ve read any of my previous kit, module
or multipad reviews, you’ll know I always
preface my sound comments by saying it’s
mostly subjective. However, I’ve always
preferred Yamaha’s built-in sound library on all
its modules to the rest and this is no different - Specifications:
with one exception, the crashes. They still
sound like crashes from my TD-12. I’m Drum sound module: DTX402
referring to “voices” like the Vintage, Brilliant, Max polyphony: 64 notes
Bright and Dark crashes. The splashes and Drum pads: 4 x 7.5” single-zone rubber (if
chinas also sound dated. Everything else is 432/452K, replace one pad with 1 x 7.5”
great. The ride voices are every bit as sweet rubber three-zone pad)
as anything I’ve heard. Snares are dynamic, Cymbals: 3 x 10” single-zone rubber
kicks are deep and the toms resonate. And, of Kick: Controller pedal for 402K, KP65
course, the hi-hats!!
upright rubber pad for 432/452K
Overall Expansion: 1 additional pad
No of kits: 10
Not much has changed in six years: you get a
nice sound set for the price, except the sound No of voices (instruments): 267
is far better now. The kit is responsive, has a Instrument parameters: Kit, volume,
great teaching profile, is quiet and very reverb, velocity curves, gain
portable. The module’s menu is simple, elegant Effect types: Reverb (9 preset types)
and now supplemented by an app. Any Songs: 10
beginner would be very satisfied with what the Pad connection: ¼” to 1⁄8” mono/stereo
452K version offers. Add a PCY100 as the depending on pad type
crash and you’re set. Downsides are some of Outputs: 1 x USB-to-MIDI, 1 x ¼” stereo
the ergonomics, some of the crash voices and Inputs: 1 x 1⁄8” stereo
I really wish the second crash had all the
Street price: $700 (DTX452 kit)
capabilities of the first if using a PCY100.
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gear
NEW
MEETS
OLD
The growth of
hybrid drumming (the
parallel use of electronic and acoustic
elements) means that acoustic drummers continue
to search for quick, cheap and easy ways of adding
electronic triggering capability to their kits, as Allan
Leibowitz reports.
ONE OF THE LANDMARK products in the The design ensures a nice clean head
hybrid wave was the Roland TM-2 ‘trigger sound and three totally separate rim
module’, a four-input (dual stereo) sounds – with no crosstalk in stock settings
miniature drum brain with onboard sounds on most modules.
and the ability to load user samples. I connected the pad to the TM-2 using
The module, launched in 2014, was cables I had on hand: a dual-mono to
designed to be paired with triggers like stereo cable and stereo to dual mono
Roland’s RT-series acoustic drum triggers, splitter with two regular instrument cables.
the BT-1 bar trigger pad and KT-10 kick On the TM-2, I selected the PADX2 input
trigger pedal, for example. configurations for both inputs 1 and 2. I
Of course, all of those triggers work chose PD-8 trigger settings as these are
perfectly with the module, and there’s no the closest to the pad’s construction type. I
real reason to look further for a hybrid found that the inputs all needed a touch of
solution. But some of us can’t help sensitivity boost and threshold lowering for
wondering if there’s a “better way”. What if accurate triggering.
you could trigger all four TM-2 inputs with a A perfect illustration of the potential use of
single device? That would mean finding a this set-up is the stock Electric Tom kit
four-zone trigger pad. which has four differently pitched ‘80s toms
And, as it turns out, you have to look no (one each on the head and rim of the two
further than Roland’s vaults to find just stereo inputs). These worked just perfectly
such a thing. and would be ideal for a tom fill on an ‘80s
Going back to the future in this case song while still keeping the acoustic toms
involves the PD-31 trigger pad, a product for other uses.
which dates back to 1987 and gets its Of course, the PD-31 is not limited to use
name from its “three-plus-one” design. Yes, with the TM-2. I used it to successfully
it’s a four-zone pad and it’s not much trigger a Yamaha EAD10 which has plenty
bigger than a PD-128. Better still, its of inputs for a versatile hybrid solution.
triangular shape makes it uber-retro and While the PD-31 is a great add-on, it’s not
tres chic. quite perfect. In the ‘80s, Roland hadn’t yet
For those not familiar with 1980s Roland discovered a way to make quiet rims, so
gear, the PD-31 has a rubber head zone the hard plastic surface of the PD-31 rims
surrounded on three sides by separate gives you a definite ‘clack’ sound which
plastic rim zones, each of which operates would certainly be heard on a mic’ed drum
independently. There are four mono jacks kit. This, however, is not insurmountable,
on the pad and a clever design routes the and one could attach a piece of neoprene
rim signals to a single output if there are or some other silencer to reduce the
empty jacks. That means you get four impact noise. And there was still plenty of
sounds if you plug in four cables, but if you headroom in the trigger settings, so it
only plug in two outputs, all the rims will be should be easy to increase threshold to
routed to the one that is plugged in. overcome the effect of the dampening.
Applying the PD-31 to the 21st The other challenge is that PD-31s are
century pretty rare – and will be even more sought-
after when this review starts getting
The PD-31 is more than 30 years old, so around! When I looked, there were none
how does it work with the latest modules? on eBay or Reverb, but they certainly do
Luckily, the basics of electronic drumming come up for sale every now and again –
remain unchanged, and the PD-31 is still anywhere between $50 and $125.
pretty much plug and play with
contemporary modules.
dgitalDRUMMER, February 2019 2
software
Slate’s evolution
It’s been five years since the release of Steven Slate Drums
4 – and in that time, we have seen huge leaps forward
among its competitors. So there has been a lot of pent-up
expectation about SSD5, heightened by early word of its
“release soon” dating back to 2015.
Well, it’s finally here and the big question is “was it worth the
wait”? Allan Leibowitz checked it out.
What’s in the box? The sounds

As is becoming commonplace these days, The new offering boasts about two dozen
there is no “box”: SSD5 is a 14 GB new Deluxe 2 kits and scores of enhanced
download that transferred quite quickly, versions of the kits from the previous SSD4
even with my third-world Internet packs.
connection. The new Deluxe 2 drum library has more
Installation was fairly straight-forward, and than 50 new instruments including 10 new
while Slate uses the much-detested iLok kicks, 10 new snares and a few percussion
licensing system, it is possible to authorise instruments. All the drums are unique and
your copy without having to splash out on have two stereo room layers each.
a dongle. For me, the irritation is not the In total, the pack has 84 kicks, 77 snares,
cost of the iLok hardware; it’s giving up a 58 toms, 11 hi-hats, six rides, 14 crashes,
USB port on my two-port MacBook Pro four splashes, three Chinas, nine
that’s annoying. Anyway, that is no longer percussion sounds and four effects sounds
an issue – and SSD5 gets a tick for that. – but no partridge in a pear tree. There are
Given the advanced VSTs out there now, no brushes, rods or mallet articulations – if
Slate had two choices – join in the race for those are important to you. You won’t find
the flashiest GUI and the most powerful a Latin kit either. But SSD5 is a vast
standalone host or “take another path”. collection by any standard and should
They opted for the latter, keeping SSD5 as meet most needs.
a hosted instrument with the same look All the kits use a new “physically modelled
and feel as its predecessors. Where they drum playback algorithm”. I compared the
have aimed their efforts was at the sounds! SSD4 and SSD5 versions of a number of
While it’s billed as an “All New User kits and found the new ones to feel and
Interface Built from the Ground Up”, SSD5 sound far more “natural”. In their raw stock
looks remarkably like SSD4 – some would form, the drums and cymbals seemed
say that’s a good thing as past users will more subtle and less harsh than the
know exactly how to make the most of the previous incarnation, although the plethora
new sounds and other enhancements of editing options made it easy to emulate
lurking below. the “original” sounds.

The new plug-in also adds new module, select the appropriate MIDI preset
articulations like tom rim clicks for an even (and yes, it does have a mimicPRO preset
broader sonic palette. as well as common Roland, Alesis and
Yamaha maps), choose a kit and start
Digging deeper
playing.
Most e-drummers will probably load kits,
For example, you can now grab a bunch of
mess with some individual instrument
mixers and adjust parameters of different
volumes and get on with playing. And to
mics simultaneously. I can see some more
that end, the new SSD5 offers plenty of kits
enlightened users really digging into the
for most genres – and all of them sound
enhanced shaping section where they can
pretty damn good right out of the box. But
adjust the attack, release, delay and
if you venture into the Mixer screen, there
sustain to emulate transient shapers and
are a host of options which can make a
compressors. In the right hands, these
huge difference. For example, I was
tools further expand the possibilities with
enjoying one of the new kits with stock
this VST pack – far beyond the vast array
presets before I boosted the overhead
of stock kits and instruments.
(OH) mic and the room mics, and the
sound suddenly took on an extra Overall
dimension – full, detailed and resonant. The recent spate of next-generation VSTs
And that was before I even tucked into the has raised the bar – and the expectations
four snare mic options, or the attack and for SSD5. I will admit I was initially
sustain. disappointed to see what looked like a
Anyone with any sound design experience minor cosmetic update of the last Slate
will instantly be at home with the offering. But appearances are deceptive.
instrument screen, where you refine the Rather than investing in a new stand-alone
sounds of individual drums and cymbals – engine or showy 3D representations of kits,
altering the pitch, panning and individual the Slate team focused on two main areas
volume. There is quite a wide pitch range, – improved, realistic and dynamic sounds
so if you wanted to create an array of and easy-to-use tools to shape and
several toms with regular tone spaces, you customise them. And there was probably
could easily dial them in and they sound another focus: keeping the product
totally natural. affordable. Where the other VSTs have
There are a lot of features which will grown in Gigabytes and dollars, SSD5 was
appeal to producers and tinkerers and launched at the very reasonable price of
which probably escape the attention of $149, with owners of previous versions
those of us who want to connect our drum able to upgrade for less than $100. There’s
even a fully functional free version –
featuring one of the new Deluxe 2 kits.
Of course, you’ll need a host or DAW to
use SSD5, and I got great results with
Reaper (available to try for free) and the
popular Logic Pro X.
If you’re after flashy graphics and ultra-
sophisticated tweaking, SSD5 will probably
not be your first choice. But if you’re
interested in great sounds and flexible
editing with an easy learning curve, you’ll
have to look far and wide for more bang for
your buck than you get with SSD5. I was
surprised and impressed – and that’s not
something that happens often these days.
Flashback: SSD4
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profile
PHOTO: DIANA SEIFERT

Craig practices
what he preaches
Craig Blundell is best-known to digitalDrummer
readers as a Roland clinician who launched
products globally and has designed patches and
sounds for many of the current modules. Allan
Leibowitz caught up with him on a recent world tour
with Steven Wilson.

digitalDrummer: Our audience associates

you very strongly with Roland. How did that
come about?
Craig Blundell: I was still working in the day
job around 2003, and I went to a drum fest in
Birmingham in England. At the time, I had a
TD-3 and a TD-6 and I’d been exposed to a lot
of Roland stuff. I’d been watching Bill Bruford
on the Simmons pads back in the day. And so I
was fairly obsessed with electronics then. So it
was this amazing room with a TD-12, which
had just come out at the time, and it kind of
blew my mind – all the stuff you could do with
cymbals and the pad chasing stuff. So, I got
chatting to a guy and said “if you ever need a
demonstrator, I would love to”. And as Roland
do, and I'm sure as Yamaha and Alesis do, you
have people queuing up to do demonstration
jobs for them because it's fun, you know, it's
enjoyable. Well, he took my card (a rubbish
little card that I had printed at the time) and
about a year later, I got a call saying that one
of the demonstrators had pulled out and if they
sent me a TD-12, could I come out and do
some in-store demos. And I was working a day
job at the time and hating it. The dream was to
go full-time as a drummer and nothing was
Craig is known for his Roland videos
happening. And that was my first thing. Then,
they sent me to some music store in the north talk about electric guitars and acoustic
of the country and I was playing along to mini instruments. What is the difference here? It's
disks with the drums still on there - just no different. And my pitch, instead of “this is
essentially karaoke drums, but I absolutely taking over the world” is “this is an addition to
loved it: a captive audience and I'm quite your set”. This can expand your voice, make
nervous because a lot of drummers can play everything easier, make your employability go
amazingly and a lot of drummers can talk, but through the roof. Also, you can have so much
a balance of those two facets is quite hard and more fun in your practice time. It was a really
I had to really work on my skills to be able to tricky “sell”, it was really, really tough. You get
communicate a message. So, trying to keep a the young kids that would love the sampled
captive audience by working at a good set that noises, but trying to pitch that to an audience
will entertain people and keep people there for that have grown up listening to classic rock
half an hour a show. It was pretty hard, but music was really tricky because as soon as
they gave me a chance and, for that, I'll always they see electronic gear, they just think you're
be grateful. It's been 15 years now, and I’ll going to play dance music. But, I guess with
always be grateful for those guys giving me a confidence in what you do and confidence in
start, getting me on the net and getting me out what the product is and how that equipment
there as being seen, you know. So they've had performs, the easier it gets. You say, look guys,
a lot of faith in me over the years. I can do this.
dD: I guess in those days, electronic drums dD: From those early days, your role with
would have been something of a curiosity. Roland obviously changed from purely
It wasn't mainstream by any stretch. So, demonstrating to being part of the
you were getting out there and doing what programming team. Do you want to talk
many people would have considered really about what you did and what it means?
weird. How did you humanise that and CB: That was really interesting. I’d gone
relate that to audiences? through the TD-12 stage, the SPD-X and
CB: You always get the naysayers of a certain Octapad, and I was invited to Japan in 2008 to
generation saying you have to plug it in so it’s join the TD-9 team. I'd never done product
not drums. Well, it's the same with guitars: we development before. I wasn't sure what to
digitalDrummer, February 2019
PHOTO: DIANA SEIFERT
expect. So, six months before, they sent me a CB: Yeah, that's right. It has become the norm
module with just raw sounds in it - a load of and you know, as we said at the start, you get
kicks and snares and they sent a brief. They’re the skeptics and try to convince people – and
quite good at Roland in Japan in that they will now the first thing they want is an SPD-X; you
look around the world at what's trending music- can do play-alongs, you can teach on it, you
wise at the time, so my brief was “modern, can put triggers on it. But nowadays, with jobs
aggressive rock style”. So, from low kicks, and I'm doing, especially like doing the more
loads of snares, I had to cobble together some progressive side of the stuff, electronics are so
sort of order to those kits. And all they would prevalent in our role. You know, it's almost like
want is five or 10, but I’d have like 50 or 60 “we want to hire you, what are you like on the
snare drums. But yeah, you have this massive electronic side of things?” which I think is
Excel spreadsheet with everything on it, with fantastic. Not all productions can afford a 60-
all the things that you've done, how you've piece orchestra on the stage, so we have to be
edited and the priority, and then you have to musical directors, we have to think outside the
write down your reasoning for editing that kit box. When you get the music to learn, you're
the way you have. And then it'll bounce back also getting a Dropbox full of .wav files to load
and forwards because they may edit it and up. It's very, very common. I remember when
compress the hell out of it or they may flatten it SPD-X came out, I used to use two – I have
off. It's like, that's not how I wanted it to sound, the original grey one. It was just the best time
guys; so it's always going to be a push/pull, for that creativity side of things. I know I,
especially as you're going back and forth. Michael (Schack) and Dirk (Brand) are very
There's a lot of emails that take place and this proud of that. Like you say, it's hard to see a
could be just over one snare drum choice. TV show or music concept where somebody
That's a long, laborious process. The best on the left-hand side or right side hasn't got a
thing for me, especially in TD-9, which was a little box of triggering samples. It's such a
really successful drum set when it came out, massive part of music nowadays, and long
was seeing all these guys uploading their may that continue.
videos and thinking “that's my kit”. It's a deep
dD: Clearly, your performing and recording
privilege. Even to this day, it's an amazing
career has kind of taken off at the same
privilege.
time as your profile with Roland has
dD: People probably know you best for increased.
your work with the SPD and the Octapad. It
CB: I think Roland gave me the exposure back
must be quite heartening to see how
in the day. You know, I didn't have a YouTube
mainstream those instruments have
account or anything like that when I started
become. I mean, you virtually don't see a
doing TD-9 videos. That was the kind of
touring rig these days without one of those.
Eureka moment, I think. When I first started my
Facebook, people would email to say they

bought their TD-9 because of me. I've never
been a YouTube drummer or a covers
drummer, so I just started writing stuff at home.
And I started putting little snippets out and
putting lessons out and tuition and little guides
out because we've all seen those product
manuals that are like War and Peace. So I
started doing little quick guides - off my own
bat - and people seemed to really like that
because it was coming from a drummer’s
perspective. And it became a little bit of a thing.
So, Roland gave me the tools and with them, I
started writing, recording and my playing got
better and I became a bit more hireable and
desirable.
dD: All the Roland artists – Michael Schack,
Johnny Rabb and yourself - have managed
to shine, almost despite the technology
which doesn’t mask the talent behind it.
CB: Michael was a huge inspiration to me back
Craig’s current hybrid touring rig
in the day because he was setting that
benchmark 10 years before I was doing it. I taking up the zone of a PA. So, I go for a much
used to see the trade shows and think ‘this guy smaller kick (from which) we just get the punch
is crazy’: he was doing some insane stuff at and then the electronics are the forefront of it,
the time and still does, but the playing is great. not just the layer. I'm using an SPD-SX, which
Yes, you can wow people with technology, but is fairly rammed with vocal samples and
you have to be some sort of player. My orchestral stuff, all going into a desk which I
personal thought on that was, you know, monitor myself. So yeah, essentially I'm using
Roland gave me this massive opportunity to a TD- 50 and SPD-SX. I have another SPD-SX
get out and then spotlight, the least I can do is running as back-up just in case and a TM-2 –
do my homework and take my playing as high also as back-up just for the essential kicks and
up as I can, and it’s still my mantra. Even on snares, just in case I need it. I have to say that
the gig I'm on now, it's very easy to rest on the 50 has been a revelation with the amount
your laurels and just think “okay, I'm on a world of outputs I've got direct, which is great. So,
tour for 15 months and then I've got another when I get onto my main rig, all my toms are
tour next year”, but I want to get better as a triggered which is great. And my tech’s
player. I want to use more technology, I want to amazing. He gets the electronics thing, he's
do more cooler and crazier things. into it very much. It's been great. It's been
dD: So let's talk about what you currently absolutely fantastic. Front of house takes all
use. the direct outs and he's got control of all the
different snare sounds, all the different tom and
CB: On this tour, I’m using a custom Mapex kit. kick sounds and I heard it back for the very first
I use two BT-1s and my second snare is time - I try not to listen to shows - and I'm
triggered. That's all coming from TD-50. I also absolutely delighted. I’m also delighted that we
have two kicks which are triggered with all the have got electronics into the rig for a
electronic sounds. And the reason for that is progressive tour. And for me, for the people
that I didn't want a 22” to take straight out the that followed me for so many years now,
mix and being massive. I wanted a small kick there's credibility in what I’ve said over the
that would just give my front-end punch and years about the electronics thing. It’s being
layer the 808 and stuff over the top. A lot of the used on a gig in a pro environment all over the
time, when people trigger drums, they use a world and it's all I've talked about for years.
big drum, like a 22 or 24. You stick a trigger on
that, all it’s going to add really is depth • Want to hear more? You can hear an
because you've got all that massive kick that’s extended version of this interview here.
digitalDrummer, February 2019
performance
How I use e-drums
PHOTO: ED MARSHALL
Ravish Momin has worked with musicians ranging

from Shakira to Maurice McIntyre.
.
I HAD SIMULTANEOUSLY led a hybrid years in order to add new sounds to my sound
world/jazz/electronic band called Tarana which palette. The only constant through all those
toured internationally for 14 years, and we changes has been the use of the Ableton
performed at festivals across the US, Canada, software to route/process the signal. However,
Mexico, Europe and Asia. At the end of 2017, I as the music I created came closer to
felt it was time for a change and wanted to do approximating electronic dance music, I
something that was more electronic in nature. realised I needed electronic drums that allowed
for more accurate triggering as well. I also
Sometimes, as they say, some things are
didn’t want to simply use preset drum samples,
meant to happen. I’d done a jam session in
but wanted the flexibility to add effects and
September 2017 with Haitian-American
process my drum sounds live. On one section,
electronic percussionist Val Jeanty at Pioneer
I may want my drums to sound like they’re
Works in Brooklyn where I was artist-in-
underwater, and on another, I may want to add
residence, and we just clicked musically. Out
a slight delay, or combine those effects, for
of that residency arose a new project, a live
instance.
electronic duo called Turning Jewels Into
Water, which was promptly signed by FPE Also, in a clear step away from the new
Records based in Chicago, US. Of our sound, Sunhouse triggers, I wanted to also have the
IndieRocks recently wrote: “ghostly voices, ability to trigger and manipulate melodies,
dislocated beats and a digital amalgam flow textures and song arrangements. I currently
within their songs along with mutant dubs, use Alternate Mode’s HybriPads which use
polyrhythmic percussions and interferences FSR sensors. Moreover, replacing all my
produced by synthesizers and futuristic acoustic drums with electronic pads finally
turntables”. We released an EP back in June, allowed me to create live loops without
and just finished work on our full-length, which worrying about blending acoustic and digital
will be out in March 2019. signals. Additionally, Triggera’s bass drum Bix
beater, which has a built-in sensor, allowed me
I currently use a 12” HybriPad and 10”
to essentially trigger any surface, which further
HybriPad by Alternate Mode, 10” Pintech
added to the portability of my kit. So, the end
electronic hi-hats, 8” Pintech electronic cymbal,
result is that I have programmed a group of
Triggera bass drum e-beater, Steve Smith
about 20 MIDI drumsets (each with hand-
practice bass drum pad, DITI controller,
picked sounds), that can be further mixed and
Ableton Live 10, Arturia Beatstep controller,
matched live to generate an entirely new-
Samson MIDI controller and a Logidy USB foot
sounding kit. Plus, once I start to apply VSTs
controller.
such as Turnado Convex, Fracture or even
I’ve always wanted to keep the acoustic Ableton’s preset plug-ins to alter those sounds,
PHOTO: JAMIE PEGLER
drummer aesthetic as I’ve experimented with I have an infinite set of drums at my disposal.
different combinations of traditional drum
See Ravish in action here.
triggers on acoustic drums, electronic mesh-
heads, (and) electronic pads over the past 10
PHOTO: EVAN CHAPMAN

performance
A heads-up
for set lists
Your set list projected onto your

drumhead? How does that work? Allan
Leibowitz fired up a new solution.
GIGGING DRUMMERS HAVE a lot on their What’s in the box
plate – set lists, song notes or even sheet
music. And unlike other musicians who can The HEADCASTER is an Android-powered
hide notes at their feet on the floor, the options mini data projector built into a custom rail
to date have been limited to pages on a music system designed to clamp onto the reso head
stand or, for the more tech-savvy, a tablet of any drum between 11” and 14”.
device attached to a cymbal stand. The kit is sold with a carry case and basic
Niche drum technology company Helensson, remote control.
the team behind the ITM2 internal drum trigger, Setting up
has come up with an innovative solution –
projecting information through drums, onto the The HEADCASTER has two parallel rails
batter head. ending in hooks. Installation is a simple matter
of pulling the two ends apart and slipping the
unit onto the bottom hoop and tightening a converting lyrics and set lists to PowerPoint,
rubber band for tensioning. PDF or Word documents and using compatible
apps to display them.
The projector unit is battery-powered and
needs to be charged using the supplied power Another suggested approach is converting text
adapter. files to images and using one of the Android
photo viewers.
The unit projects through the reso head (it can
also be used with concert toms without bottom Personally, I’m a big fan of OnSong, the
heads) and onto the batter head, so it requires powerful iOS music app which, according to its
a clear bottom head and a translucent white developers, “replaces the mess of paper and
head on top. The HEADCASTER does not binders with interactive chord charts and sheet
work with mesh heads, as I found by testing it music on your iPad, iPhone or iPod Touch”.
with a range of heads of different weaves and Alas, there is no Android version – and I have
densities. With some heads, you can see not been able to find an equivalent app on the
vague shapes, but the projections are not clear PlayStore.
enough for text legibility.
I would describe OnSong as an “active
Despite its compact size, the projector is a fully solution” because it keeps the text alive and
functional Android device, so it’s like having allows you to set and adjust tempos on the fly
another computer or tablet device. and make other changes in real time. It also
connects to third-party devices like AirTurn
There are a few controls on the device which
controllers which allow you to advance to the
allow you to sharpen the focus, adjust the
next song with a tap of your drumstick or your
brightness and make some other visual
foot.
changes. The device is also wi-fi-enabled, so
you can connect it to the Internet to download While I wasn’t able to find an OnSong
or stream content and install apps. substitute (more about this later), I was able to
project the Metronome app from Soundbrenner
In action with the HEADCASTER, creating a useful
The HEADCASTER is an Android device, so visible beat indicator connected to a set list
you’ll need some familiarity with the operating and song library.
system and apps. The HEADCASTER has an estimated battery
The developer recommends what I would call a life of five hours, but it can run indefinitely on
passive approach to data. He suggests external power.
Getting the most out of the device downloaded and stored on the unit which has 8
GB of internal memory.
Before getting into software tweaks, it’s
important to optimise the images projected. The developer points out that the
This can be done, firstly, by choosing the HEADCASTER can be used to mirror iOS
largest possible drum as the host. Obviously, devices, but he advises against this: “It is not
the projected image is larger on bigger drums recommended to do this in a live situation
and I got a good, clear image on a 14”x14” because of the wi-fi requirements and the
floor tom. various untested combinations of available
apps.” Of course, I ignored that advice and
Secondly, it’s a good idea to try different batter used the HEADCASTER’s Eshare app in
heads. You need something translucent conjunction with my iPad’s Screen Mirroring
enough to let through enough light to be able function to project OnSong successfully.
to read text, but something opaque enough to
stop the glare. I had to rule out a thin single-ply Unless you plan to project a static image like a
white head because it was like looking into set list for the whole gig, you may also want to
headlights, but at the other extreme, managed explore options for “turning pages”. As the
to get a fair image with an off-white coated manual explains, by default, the
Aquarian Modern Vintage II head (but only in a HEADCASTER is controlled with the included
very dark room). handheld remote. It’s not the easiest thing to
use, especially when your hands are occupied
You also need to be careful with your reso with sticks. The manual notes that typically,
head: if there are any marks or scratches on after a music app is started, you would use an
the clear head, these can also affect the alternate way to "flip pages". This would
projector, leaving you with unsightly shadows normally be Bluetooth foot pedals such as
or distortions. those made by AirTurn. “Another really good
Once you’re happy that you can see clearly, way to control the HEADCASTER is to use a
you can start thinking about content. wireless track pad... These are inexpensive
and work well.”
As mentioned, the recommended method for
displaying lyrics and set lists is with Word, Bottom line
PPT, Acrobat or image apps. The data is easily
The concept is brilliant – using the valuable
loaded onto the removable SD card or can be
real estate on the drum heads for notes and
information. It’s certainly a far cry from writing notation in real time as the song plays through
notes on the head or sticking pieces of paper – and you don’t have to take your eyes off your
to the kick drum and hoping you’ll be able to kit!
read them when the lights are on the lead
Are there downsides? Sure, you can’t use it
singer!
with all heads and this may require some
The execution is also impressive. The compromise of visibility versus head
developer has taken an off-the-shelf device performance. You may find yourself limited to
and designed a custom rail attachment and thinner heads than you’re used to and, of
mirror system that is effective and easy to use. course, clear heads are out of the question.
Well, easy to use if you’re familiar with Android! You can’t use this with electronic drums –
As a Mac/iOS user (like most people in the because you can’t project onto mesh and also
music business, I would suggest), it is a pity many e-drum designs require a large trigger
that I had to learn a new device and can’t assembly which would obscure the image
easily access the apps which I commonly use. anyway.
That said, it is possible to use screen mirroring
So, if you’re looking for a stealthy 21st century
to bypass the operating system and effectively
take on the old notes-scribbled-on-the-head,
use the HEADCASTER as a remote monitor
have some flexibility in your head selection and
for iOS apps.
use a drum large enough to give you a decent-
Either way – if you’re adept at Android or sized projection (I’d say 14” minimum), then
manage to sidestep it by mirroring an iOS this may be of interest.
device, there’s a lot you can do with it. Not only
And the cost: around US$500, including a case
can you use it as a substitute for your music
and remote. If you’re going to rely on the
scores and set notes, but you can also use it Android processor, you may also want to add a
as a learning tool. For example, bring up a compact keyboard or trackpad. And you’ll
YouTube video and watch while you play. The probably also find yourself wanting better
HEADCASTER has onboard sound which you control, which can be achieved with something
could monitor with headphones as you won’t like an AirTurn device. You’ll also need a bit of
be able to hear the audio above your acoustic patience as the HEADCASTER is currently
drums. only available as a custom build and that can
Better still, try using this with drum tabs on take up to six weeks (plus shipping from the
Songsterr.com, where you can follow the US).
Before you pull

the trigger
... Check out

our reviews
diy
More cowbell
According to popular drumming thinking, you can never

have enough cowbell. To help achieve that, Ryan
Cheney shares his e-cowbell build.
1 2 3
CONVERTING AN ACOUSTIC cowbell to in the plumbing department of a good

electric is one of the easier A-to-E hardware store works well.
conversions you can do. Even if you don't 2. Cut it to match the shape of the strike
already own a cowbell, one can be had at zone and glue it into place with an
little cost, especially since its acoustic adhesive that works well on both plastic
sound quality is not important. It can be an and rubber. In my case, Gorilla Glue Clear
inexpensive, compact and easy way to add Grip was used and seems to hold up well.
another triggering option to your e-kit and,
once you've seen the process shown here, 3. Be sure to clean both surfaces with
you might want to try it yourself. rubbing or denatured alcohol before
applying adhesive so that dirt and grease
1. It begins by drilling a 10mm (3⁄8”) hole for don't interfere with the bond.
the TRS jack. Either the underside of the
cowbell or the back, next to the mounting 4. Once the underside of the rubber has an
bracket, are good places. If using the latter even distribution of glue, apply it with finger
location, make sure there is enough space pressure and tape down all the edges with
for the washer that comes with the TRS blue painter's tape.
jack. To keep the bit from wandering, a tap 5. Leave the tape in place for 24 hours so
of a centre punch or nail set will help keep the glue has time to cure.
the bit centred. A few drops of oil now and
6. Attaching the piezo leads to the TRS
again will help things along and improve
jack is a simple matter of soldering. If your
the longevity of your drill bit.
module is a Roland, attach the ceramic
Next thing to do is to add a sound damping lead to the sleeve contact on the TRS jack,
strike surface to the top of the cowbell. A 2- and the other lead to the tip contact of the
3 mm thick piece of neoprene rubber found jack. Yamaha and Alesis modules are the
4 5
d39igitalDrummer, February 2019
6 7
opposite way around. That said, it's always 9. A compression fit damps sound better
a good idea to test by pressing the leads to and is less likely to work loose during use.
the corresponding parts of a TRS plug If it has a tendency to work loose while
attached to the module and giving the playing, double-sided tape is a good option
piezo a tap of the finger before committing for securing it better (don’t use glue as
to soldering the leads in place. many types of foam will actually melt when
7. Once soldered, drop the TRS jack into certain glues are applied). You also may
the hole and tighten it in place. Then need to replace a faulty or worn out piezo
adhere the piezo underneath the centre of some day, in which case, it helps if the
the strike zone and secure the lead wires foam is removable. Be sure to cut a notch
out of harm’s way with tape. in the foam where the TRS jack will be and
stuff it home.
The rest of the process is dedicated to the
further damping of acoustic noise. If you The nice thing about an A-to-E converted
have a large piece of adhesive-backed cowbell is how easy it is to mount. If you
neoprene, felt or rubber, it helps to apply don't already have one, cowbell mounting
that to the inside of the cowbell opposite options for drum sets have been around for
the piezo. decades and should be easy to find. Mount
it up, plug it in, and enjoy a new triggering
8. The last piece of the puzzle is cutting up option for your kit.
some dense foam roughly to the shape of
the inside of the cowbell - but slightly You can see the basic construction in
larger. this video.
8 9
hacks
Getting a
grip on
cables
One of the irritations of e-drums is the
mess of cables that we often find,
especially with bigger kits. Jesse
Anderson came up with a nifty
solution.

.AS A LONG-TIME e-drummer, I've always error, as well as some prototypes that
been frustrated with the wire mess that didn't quite work, I came up with the final
comes with e-drums. My new kit, the Alesis design.
Strike, has more wires than my past kits, I designed these clips in several
so the problem was exacerbated. I couldn't capacities: four-wire, eight-wire, 12-wire
find a commercial product that looked and 16-wire; this way, I don't have to use a
good, could handle all 16 wires and broad clip for a single wire.
organise my wires in a way that made each
one easily accessible along the entire rack. The wire clip side is 0.2” (5 mm) thick - any
thicker and I found it was difficult, if not
I recently acquired a 3D printer, and impossible, to install the wires. Each
wanted to print off some custom clips. Not opening has two sets of detents to hold
being able to find anything that met my two wires. The inner detent is 0.16” (4
needs, I decided to try designing my own. mm), the nominal size of the Alesis wire.
This was my first time using Fusion 360 to Because of wire diameter tolerances, the
design anything, so after hours of trial and wire clip can splay open and, in many
Share your hacks

There are lots of smart people out there with all kinds of nifty tools and
techniques to improve e-drumming. If you’ve come up with something
that could make life easier for your fellow e-drummers, please share it
here. You’ll be sure to make someone’s day!
Contact us at editor@digitaldrummermag.com.
First-run protoypes (left) and the printing process (above).

cases, wouldn't hold the outer wire well. To As these are relatively new, I cannot
combat this, I designed the outer detent to comment on their durability. I made mine
be 0.02” (0.5 mm) smaller than the inner. out of PLA+, a corn-based plastic which
The wire side of the larger capacity clips doesn't handle high heat well.
could easily be twisted off, and while I If I were planning to leave my kit in a hot
could have beefed up the design or used a car, for example, I would probably print out
different plastic, I found that once the wires a set of clips using PETG instead.
are in place, the clips stiffen up If you have access to a 3D printer and
considerably. would like to try them out, I have uploaded
The rack side of the clips were designed to the STL files, and Fusion 360 drawings on
hold firmly on the 1.5” (40 mm) rack tubes. Thingiverse.
The opening is minimal to increase grip, You are welcome to print them, and/or
and the ends on the opening were given a modify the design. However, per the
full radius to facilitate easy installation and Creative Commons licence, you may not
removal. sell my design, your modified design, or
I found that I needed to use a clip on both any prints of either. If you are unable to
sides of each pad mount clamp, otherwise print your own, you may contact me at
the clips would move around, and the blueboxproducts@gmail.com.
wires would become a tangled mess
between clamps.

gear
MONSTER
My
kit
We head to Wilmington, North Carolina to
check out Chuck Faircloth’s kit.
Chuck’s kit Chuck’s story
Alesis Strike kit with14” snare, 10” side I started playing drums at the age of 11. I
snare, two 10” toms, a 12” tom, two 8” played in my uncle’s church and at home. I
toms and two converted floor toms. played off and on for a few years and then
22” converted kick drum (real bass shell) moved to DJing for about 12 years. I
Alesis cymbals – hi-hat, 16” ride and six decided to pick drumming back up when
crash/splash cymbals ranging from 12” to my youngest daughter started playing
16”. guitar. I have had this kit for about almost a
Alesis Strike Multipad year and I love it
Additional hardware: I have obviously purchased and gathered a
PDP hi-hat stand lot of extras and received the Strike
PDP Concept double bass pedal Multipad as a Christmas gift. I enjoy
PDP straight/boom stands playing this so much and it has been a joy
Amplification: QSC K10.2 monitor building it into what it is.
Share
your kit
45igitalDRUMMER, February 2019 47
gearGuide
2BOX ENHANCEMENTS TRIGGERS, ETC.
C
op St hec
tim ud k
i o
ize o sa ut o
d mp ur
fo les
2br
ox
Use any hats or

cymbals with 2box™
Hi-hat & 3 Zone Ride conversion

modules for 2box™ DrumIt Five
Supporting Roland™ FD-7, FD-8, FD-9, VH-10,
VH-11 VH-12, VH-13, CY-13R, CY-15R and ATV™
aD-C18, aD-H14 and more!
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
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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
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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.

DigitalDrummer February 2019

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Edition 37 • February 2019 US$10

DW-E Ad - Full Page 2018 (Digital Drummer).indd 1 10/2/18 11:30 AM

CREDITS WELCOME TO THE first magazine in our 10th year.

digitalDRUMMER, February 2019 3

digitalDrummer February 2019

Products & people honoured

Positive e-vibe at NAMM

Deja vu all over again

24 New meets old

Profile: Craig Blundell

36 How I use e-drums

38 A heads-up for set lists

45 Getting a grip on cables

In one of the strongest ballots to date, there

PRODUCT OF THE YEAR - HARDWARE

The EAD10 came in ahead of Roland’s TD-17 line.

digitalDrummer, February 2019 7

PRODUCT OF THE YEAR - SOFTWARE

E-DRUMMER OF THE YEAR

E-DRUM RETAILER OF THE YEAR

There were some new products, some

For many visitors, the show was the first

At Roland, the hybrid move has intensified

outputs) with the universal trigger capability

New mesh offerings from Evans and Aquarian (above)

Bob Sabellico, Pearl product manager

David Cywinsky and Kat founder Mario DeCiutiis (left)

digitalDrummer, February 2019 17

Yamaha’s latest offering is a new take on an old

Flashback: Our first look at

digitalDRUMMER, February 2019 1

unlike Yamaha’s other module navigation

digitalDRUMMER, February 2019 1

but was still inconsistent. The hi-hat, as

Find all our back issues here.

What’s in the box? The sounds

digitalDRUMMER, February 2019 2

PROUDLY SUPPORTED BY DIGITALDRUMMER

PHOTO: DIANA SEIFERT

digitalDrummer: Our audience associates

PHOTO: DIANA SEIFERT

Facebook, people would email to say they

How I use e-drums

Ravish Momin has worked with musicians ranging

digitalDRUMMER, February 2019 3

Your set list projected onto your

Before you pull

... Check out

According to popular drumming thinking, you can never

CONVERTING AN ACOUSTIC cowbell to in the plumbing department of a good

digitalDrummer, February 2019 43

Share your hacks

First-run protoypes (left) and the printing process (above).

digitalDrummer, February 2019 45

Use any hats or

Hi-hat & 3 Zone Ride conversion

CONVERSION KITS E-DRUM PRODUCTS

Electrify and keep your favorite drum kit. The most

digitalDRUMMER, February 2019 45

Our greatest hits

Over the years, digitalDrummer has reviewed scores

Everything you need - just a click away.

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