Digitaldrummer May 2017

digitalDrummer_may_2017_Layout 3 28/04/2017 7:17 AM Page 1
Edition 30 May 2017 US$10
Wolf
works
the grid
BenTodd
Ben Barter Monster
NAMM kit
debuts DT50D.
Emily trigger
Davies
digitalDrummer_may_2017_Layout 3 20/04/2017 5:24 PM Page 2
welcome
CREDITS OBSERVANT READERS WILL notice that we have gone

wireless and "stick-less" in this edition. Weve introduced a
DigitalDrummer new design and shed some of the graphic elements in the
ABN: 61 833 620 984 magazine. What youre seeing is the first part of a revamp
30 Oldfield Place process which will see a new-look, new-feel digitalDrummer,
Brookfield Q 4069 better suited to the new ways of reading.
The aim is to make the magazine easier to read on tablets and
AUSTRALIA
smartphones as more of our readers are enjoying the
editor@digitaldrummermag.com magazine on the run, rather than settling in at their computer
www.digitaldrummermag.com screen for a cozy reading session.
Editor & Publisher
The world is getting more connected, and mobile is the new
norm, so well continue to hone our distribution approach to
Allan Leibowitz make it even easier for you to enjoy the content you have
Sub-Editor come to know and respect over the past seven years.
Solana da Silva What wont change is our commitment to informed,
independent coverage, reviews and interviews.
Contributors
This month, we hear from Steven Wolf, a drummer and
Ben Barter producer who is as comfortable with a mouse as he is with
Simon Edgoose sticks. Dont talk to Steven about real drums for him,
Arthur Stone acoustic drums and MIDI notes are totally interchangeable.
We also include some thoughts from New Zealand drummer
Wolfgang Stlzle Ben Barter, best known as the touring drummer for his
Raul Vargas countrys biggest musical export, Lorde. Currently based in
Cover Photo Los Angeles, Barter is part of the growing army of drummers
using e-drums alongside acoustics in their live and recording
Paul La Raia
rigs.
Design and layout Our equipment coverage includes a recap of the products on
talking business show at MusikMesse in Germany. While it was slim pickings
this time, there were a few interesting models on show.
Support digitalDrummer We review Yamahas latest foray into external triggers and
sample the ATV Sound Store which is, at last, providing new
instrument sounds to aD5 module owners.
If you like what youre reading, Speaking of ATV, digitalDrummer joins the legion of electronic
please make a donation. music fans globally in mourning the passing of Ikutaro
Kakehashi, founder of ATV Corporation and, before that,
.
Roland Corporation. Mr K., as he was known affectionately,
died at the age of 87. Co-incidentally, I was reading his
autobiography, An Age Without Samples, at the time of his
Founding member death and was impressed not only with the story of his
business career, but also with his profound life philosophies.
I never met Mr K., but have heard many fond stories from
those who worked with him and who helped shape the
Copyright or wrong: instruments for which his companies became so well known
Forget the legalese and just play all of them in awe of his achievements and his manner.
fair! We work hard to produce Theres no doubt that much of the technology we take for
digitalDrummer. Please respect granted today is a direct result of Kakehashis vision, drive and
that and dont rip off our content. In leadership and we dedicate this edition to his memory.
this age of electronic publishing, its
obviously tempting to borrow other
peoples 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, May 2017 3
inside
digitalDrummer MAY 2017
Farewell, Mr. K.
6 Last month, the music industry lost one of its pioneers when
Ikutaro Kakehashi, founder of Roland and ATV Corporation,
died at the age of 87.
Few surprises at Messe

10
The second major musical showcase of the year, MusikMesse
in Frankfurt, has come and gone with few surprises or new
products.
Yamaha gets a piezo the action

14 At last, Yamaha is offering dual-zone external triggers, and
digitalDrummer tried them with a range of modules.
New samples for aD5

18
Five kits were never going to be enough, so ATV has opened
the tap and started the flow of new samples for its aD5 module.
Allan Leibowitz sampled the samples.
20 Profile: Steven Wolf

Steven Wolf is one of the worlds most in-demand studio
musicians. His drumming and programming credits include
some of the biggest names around - Alicia Keys, Katy Perry,
Miley Cyrus, Beyonc, P!nk, Aretha Franklin and Britney
Spears.
How I use e-drums

28
New Zealand drummer Ben Barter is best known as the touring
drummer for his countrys biggest musical export, Lorde.
Currently based in Los Angeles, Barter uses e-drums in his live
and recording rigs.
4 www.digitaldrummermag.com
EZ to rock
30 Its been a while since digitalDrummer looked at Toontrack, so
we got hold of a couple of recent EZX expansions to see whats
happening.
Go even more Pro

34
The iconic action camera has become even more drummer-
friendly in its latest incarnation.
Making a stand
36 A simple kit makes it easy to turn an acoustic tom into an
electronic bass drum.
DIY snare tested

38
Many readers will have seen Mark Nortons snare drum design,
explained in the last edition in a step-by-step guide. So, how
does it trigger?
Disco and Reggae

40
This month, Raul Vargas breaks down a couple of grooves that
drummers in covers bands may encounter from time to time.
42 My monster kit
Matthias Vogels Monster Kit in Munich, Germany is one of the
most eclectic weve featured, with components from around the
world.
news
Farewell, Mr. K.
Last month, the music industry lost one of

its pioneers when Ikutaro Kakehashi,
founder of Roland and ATV Corporation,
died at the age of 87.
KAKEHASHI HAD RECENTLY published He is best known for founding Roland
An Age Without Samples, a biography Corporation. His first foray into electronic
which charted his own career, the rise of drums was the R1 Rhythm Ace, exhibited
electronic musical instruments and his at Summer NAMM 1964 but never
management and business philosophies. commercialised.
Kakehashi began his career in the 1950s, Kakehashi is also known as the Godfather
repairing electronic organs and creating of MIDI, having pioneered and championed
new prototype organs while concurrently the technical standard for electronic
running an electrical appliance shop. At 28, musical instruments.
he decided to devote himself to music and Among the first to react to the sad news
the pursuit of the ideal electronic musical was digitalDrummer Hall of Famer
instrument.
Michael Schack, who noted that he has

been lucky to perform in (Mr. K.'s)
presence over the years, but him specially
flying over from Japan to the Ancienne
Belgique in Brussels in April 2007 to
celebrate the very first V-Drums Contest
final in the world, organised by Roland
Central Europe, was probably the most
memorable moment.
He always spoke with huge respect for the
young and older talents who continue to be
creative and he had quite a sense of
humour as well, Schack commented.
Early days: Fisher and Kakehashi
Schack describes Kakehashi as an icon never happen again, and greatly honoured
and a true gentleman a true friend of to be recognised by him for it.
music and fan of many musicians,
whatever style they played. I'll never forget spending hours with him
on almost every trip to Japan where we
Long-time Roland US executive, now would discuss current, new, and future
heading up the drums division of rival drum products, new technologies, and he
Yamaha, Steven Fisher, also praised his would freely share his philosophies and
former employer: Music literally would not vision for the future. Each and every time, I
be what it is today without Mr Kakehashi, would leave inspired and energised
and I would not be where I am today beyond comprehension ... and he made
without him, either. I had the esteemed everyone that he talked with feel that way,
pleasure and unique opportunity to work too.
closely with him to pioneer many
revolutionary electronic drum and "He taught me things like, 'don't sit around
percussion products in a time that will and try to plan something perfect - take
Kimberly Thompson Johnny Rabb Peter Erskine Jonathan Atkinson Stanley Randolph
Kimberly Thompson Quartet Collective Soul Professor USC Howard Jones/Kim Wilde Stevie Wonder/Tracks
Every song has its own I love acoustic drums and I ArtistWorks Instructor The vast majority of tracks In order to play the record
feeling and its own sound. always will but I cant imagine E-Drums form the core of our you hear on radio feature some when Im on the road, I often
With e-drums I can program playing music today without drumset proficiency program type of programmed drums. have to replicate the recorded
completely different sounding using electronic instruments at USCs Thornton School of Being able to bring those drum sounds. I rely on my
kits for each song and access and technology along side my Music. All contemporary music sounds to live music is a key multipad and triggers to get
them at the touch of a button acoustic kit. Understanding students are required to take part of my job. Understanding the job done.
in the studio or on stage. how e-drum modules and one semester of drumming. We electronic drums is vital to
software work is essential could not teach a classroom recreating those sounds and,
for me and every modern of drummers without the ultimately, keeping the artist
musician. electronic kit. and the audience happy.
action, follow your passion, and respect things has been, and that we have missed
your competition'. many opportunities due to our attachment
"An amazing man and true visionary that I to preconceived ideas.
have the utmost respect for, and owe my That said, it is also critical that we
deepest, most sincere gratitude, Fisher establish our foundations on the
says. experience and technologies that we have
While Kakehashi is most accumulated over the years. Our goal is to
commonly associated with combine these in a well-balanced
Roland, in 2014, he set up a way, and focus on new
new company in competition instruments, video
with the giant he had equipment, and audio.
created. One thing that I can say
with certainty is that
He discusses this move in building on the central
the 2017 book as follows: role and foundation of
Two years ago, I made electronic musical
the decision to go on instruments in their ability to
leave from Roland, a produce sounds, adding
company that I have video will be the primary
run for forty years focus of our development
since its founding, moving forward.
and launch a new As I began to summarise the
company, ATV philosophy on which I founded
Corporation, where ATV Corporation, I noticed that
we are engaged in very little had changed in terms of
developing new systems that integrate vision from the time that I founded
electronic musical instruments with audio Roland. I was rather surprised
and video. Because of my age and the myself to discover, after all this time, that a
physical constraints that come with it, philosophy that led to the same conclusion
many may say that this is a foolhardy had been present all along within me. And I
endeavour, and I think that it is only natural am also very proud that to this day, I have
that one might think so. However, the work hardly wavered in my convictions as I
that needs to be done in the field of engaged in the area of electronic
electronic musical instruments cannot be instruments.
completed in a single generation. Rather, I
believe my mission is to develop people What I have to say is: Music is live.
who will be able to carry this work forward I believe the essence of music for the
into the next generation. With that mindset, performing musician is in enjoying it on
all difficulties have a way of transforming stage with a live audience. And the most
themselves into challenges, and it feels important element of musical expression is
right to engage in this work on a day-to- to deliver it with conviction, again, live from
day basis to fulfill this mission. We have a stage.
settled on a vision for ATV Corporation as Moving forward, We design the future will
a company that will engage in developing continue to be the motto at both Roland
new concepts and ideas to match the new and ATV Corporations.
era.
And as far as electronic percussion is
By moving forward with a positive outlook, concerned, Mr. K. certainly did design the
we have seen a variety of different future.
possibilities come to fruition and eventually
reach the market. Reflecting on this new An Age Without Samples is published
approach, Ive come to realise how by Hal Leonard.
antiquated our previous way of doing
gear
Few surprises
at Messe
The second major musical showcase of the year,

MusikMesse in Frankfurt, has come and gone with
few surprises or new products.
IT IS IRONIC that one of the main e-drum has some advantages over its Japanese
attractions at this years gathering was a competitor the ability to import third-party
module that had made its debut two years ago samples, four outputs (as opposed to aD5s
and didnt make it into production. two) and the ability to edit samples within the
module.
Swedens 2box used Messe to show off its
new DrumIt Three module which looks like The DrumIt Three also comes with three new
the previous debut, but has had some serious kits from Randy Black, Marco Minneman and
work done under the hood. Simon Phillips.
The biggest change since its last incarnation is The module should have a price tag of 799
its new boast of being a Universal Trigger and hit stores in the Northern summer.
Interface, allowing the user to connect any
Argentinas dbdrums attended MusikMesse to
kind of pad/trigger to the module.
gauge interest in its Pi Drum wireless e-drum
Rather than simply rehashing the capability of solution.
the DrumIt Five, this module can
The company, which has been making e-
accommodate third-party cymbals and hi-hats
drums since 1998, showed a prototype
rather than limiting buyers to 2boxs products.
wireless drum system consisting of transmitter
The move puts the module in direct and processor boxes powered by a 1.2 gHz
competition with the aD5. However, the module 64-bit quad-core CPU.
DrumIt Three (above) and the Pi

Drum system from dbdrum (right)

Alesis Tim Root and the Strike kit
The module will be offered with different levels Already under development for two years,
of functionality, with buyers able to download dbdrums expects to bring Pi Drum to the
software at various pricepoints, from a market at the end of this year via a Kickstarter
beginner solution to a professional bundle. campaign.
Pads are connected via WiFi to the module, The Alesis Strike kit, first debuted at NAMM in
and the solution will have a custom form of 2016 and shown for the first time with a fully
positional sensing as well as individual outputs functional module at NAMM in January, was
for each trigger. also on show in Frankfurt. Interest in the
module was so intense that one was stolen
While the processing occurs in the module, all
from an Alesis vehicle, but luckily, Tim Root
the editing is done wirelessly via a connected
had another one and a back-up of his settings.
computer or mobile device, with an editor app
which was demonstrated to digitalDrummer at ATV showed off its full kit for the first time in
the show. Europe. Last time it was at Messe, the aD5
was paired with a collection of third-party
The module will have the ability to import multi-
triggers, but this time it, was powering a
layer samples.
complete ATV drum set. The aDrum was
ATVs aD5-powered aDrum kit

shown alongside the aFrame percussive

instrument which attracted lots of interest in
Anaheim in January.
The big reveal at Yamaha was the new Touch
App for the DTX 400. Besides that, the stalwart
DTX900 was on show in the hands of Simon
Edgoose, freed up from his regular Gen-16 gig
because Zildjian was among the big-name
absentees at MusikMesse. Roland was also a
no-show, although its high-profile
artist/demonstrator, Michael Schack, was a key
part of the show's entertainment programme.
Pearl was also absent, so the new mimic Pro Simon Edgoose at Yamaha (above)
missed out on a European debut. and the Zoom ARQ (below)
Our MusikMesse correspondent, Wolfgang

Stlzle, was particularly impressed by the
Zoom ARQ, a MIDI controller, looper,
synthesizer, drum computer and sequencer in
one. The ring with triggers can be removed
from the base station and played wirelessly via
Bluetooth. The ARQ Base Station houses 468
drum/instrument sounds, 70 types of
synthesizer sounds and dozens of digital
effects. Unlike many show offerings, the ARQ
is already on sale.
With on-site contributions by Wolfgang
Stlzle and Simon Edgoose.
gear
Yamaha gets a
piezo the action
At last, Yamaha is offering dual-zone external

triggers, and digitalDrummer tried them with
a range of modules.
digitalDrummer_may_2017_Layout 3 21/04/2017 9:47 AM Page 15
SOME FEEL YAMAHA was lagging as hybrid number of different hoop profiles and even
drumming took off, with its DT10 and DT20 accommodated hoops with rim protectors. The
single-zone triggers not quite up to the job for kick trigger is also fairly versatile and fitted
drummers who wanted head and rim comfortably over a generous hoop, and its
triggering. design ensures there are no scratches on the
mounting surface, so those precious timber
The Japanese giant has addressed the
hoops wont get hurt.
shortfall with two new triggers the DT50S
(snare) and the DT50K (kick) - which enter a The new triggers, especially the S version with
saturated market. So how do they stack up? its two piezos, are a deviation from Yamahas
traditional piezo/switch circuitry, and just as
Whats in the box? e-drummers couldnt previously plug a Roland-
The DT50S is a dual-zone trigger following the style snare pad into a DTX module and get
same design as most of the external triggers, decent dual-zone triggering, the DT50S isnt
with a sensor that touches the head and a simply plug and play. (The single-zone kick
second piezo on the casing for rim triggering. input has never had this challenge.)
The DT50K looks similar, but has just one To allow drummers to use the new snare
sensor. trigger with the current range of DTX modules,
the manufacturer has released firmware
The design cues are very much Yamaha. The updates for the DTX502, DTX700, DTX900
chrome units are designed to complement the and DTXM12 modules which provide piezo-
hardware of Yamahas acoustic kits, with piezo inputs. The updates are easy to install,
pleasing contours that blend into the kit. The especially for the 502 and 700, where they can
Yamaha logo is very discreet, on the side of be done via the relevant iOS apps.
the trigger.
But this solution is not ideal as the dual-zone
Overall, the triggers look solid, stylish and inputs are not necessarily where you would
robust and are unobtrusive thanks to their want them. The snare trigger cant be plugged
subtlety. into the snare input on the module. Instead,
The triggers ship in a stylish package, you have to use Tom1/10, Tom2/11, Tom3/12
complete with owner's manual and stereo or Kick/8 on the 502 and the Kick/10 input on
cable (even the mono kick trigger!). the 700.
In action Of course, you can allocate any instrument

sound to any input, so you can still get dual-
The triggers are easy to fit and require no zone head and rim snare triggering on these
tools, nor the removal of tension rods. They other inputs.
are simply installed over the rim and tightened
I tested the DT50S trigger with 14 snares with
with a thumb screw. The snare unit fitted a
The DT50K
trigger fits
onto the bass
hoop.

both mesh and mylar heads and found Connected as a snare on the 2box DrumIt Five
excellent sensitivity and dynamics across the module, the trigger worked perfectly in AcTr1
head in stock trigger settings on the DTX502. (acoustic trigger) setting, with no tweaking
Rim triggering was accurate and responsive. required on a mesh drum. On a mylar drum,
But, of course, you only get two sounds from head sensitivity needed to be raised a tad to
the snare not the three you would get from a produce good dynamics and responsiveness.
dedicated Yamaha snare pad.
The Pearl RedBox was quite accommodating,
The kick unit was equally easy to set up and with very little adjustment required. When used
triggered extremely well but kick triggering is with a mesh head drum and rim silencer, the
not rocket science and is nowhere near as rim sensitivity had to be raised somewhat to
fiddly as snare triggering. achieve accurate triggering. Head sensitivity
was very good. When used on a mylar drum,
With other modules the reverse was needed rim sensitivity
While many Yamaha owners have been using (without silencer) was perfect out of the box,
other brands of external triggers with their DTX but head triggering needed to be beefed up a
modules, the target market for the new bit.
products clearly goes beyond the core Yamaha The dual-zone trigger worked well with the
constituency. Many owners of other-brand Roland TM-2 hybrid module. Set up in
modules will be tempted by the design and RT30HR configuration, I got excellent
competitive pricing (at around $90, the dual- triggering with both mesh and mylar.
zone trigger is similar to the Roland and only
slightly more expensive than the ddrum Overall
Chrome Elite dual-zone trigger).
Yamaha enthusiasts have been waiting for
We tested the snare trigger with a range of some time for new products, but I dont think
other modules to determine compatibility. The an external trigger was top of the wish list,
kick trigger seems to be universal, with no especially when there are so many around.
surprises or challenges in our cross-module That said, the DT50 triggers are a valuable
testing. addition to the DTX range, even if most
modules are not really equipped to
Connected to a Roland TD-30 module, the
accommodate them fully.
DT50S triggered well in the RT30HR setting
designed for Rolands own external triggers. The triggers look and feel great substantial,
There was good sensitivity and accurate head robust and solid. They are stylish, subtle and
and rim differentiation with a mesh head, but easy to install.
sensitivity needed a modest boost when a
The new triggers are easy to dial in on most
mylar head was used. Best results were
modules, and provide excellent head and rim
obtained with the Rolands workhouse Pad2
sensitivity and dynamics when dialled in
setting.
properly.
The snare trigger needed a fair bit of
Yes, the triggers are priced towards the top
adjustment with the new aD5 module. I tried
end of the market, but they seem worth the
setting it up using various trigger settings (the
extra cost if they turn out to be as robust and
module has a set-up wizard), but couldnt
long-lasting as their design suggests.
succeed in triggering the rim. I had to manually
assign it as a ddrum mesh or mylar trigger and So, these may not have been the answer to
significantly increase the zone sensitivity for every e-drummers prayers, but they are a step
the rim. Once that was dialled in, I got in the right direction and seem to suggest that
excellent head triggering across the whole a new generation of Yamaha modules may
surface. Perhaps ATV will address the rim set- not be too far off.
up issue in a future firmware update.
Before you pull the trigger

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ja mKAT The twelve FSR pad layout of the jamKAT was designed
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A new instrument
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drum playing. It knows when you want to sustain a sound
simply by pressing on the pad. It can send out controller
information such as pitch bend, panning, expression, etc.
The DITI can play alternate note patterns, velocity shifting,

note shifting, etc. It can even play different sounds
depending on the pressure of another pad. You can play
chords and transpose patterns.
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gear
New samples
for aD5
Five kits were never going to be enough, so

ATV has opened the tap and started the flow of
new samples for its aD5 module. Allan
Leibowitz sampled the samples.
I WANTED TO use the aD5 for a gig a few to sell individual instruments rather than kits
months back, but just couldnt find the sounds has polarised the market as it defies the
I needed in the initial five kits. Worst of all, current mainstream approach but ATV has
there was no cowbell sample. Sure, I could never really embraced the mainstream
have taken along a real cowbell for Honky approach. There is some logic to this
Tonk Woman, but that kind of defeats the distribution model: if you only have two tom
purpose. pads, why should you be forced to buy a
sample kit with four toms? And if you dont
Like many aD5 owners, I saw the five launch
need another batch of snare sounds, why
kits as a taste of things to come, rather than a
should they be bundled in?
complete offering.
As for the individual instrument prices, of
Well, its taken a while, but at last ATV has
course, theres no problem with the free ones,
released new samples through its online
but the others range from US$2$7 per
Sound Store.
instrument. Sure, you can buy a full VST
ATV has opted to sell individual instruments sample pack for the price of half a dozen $7
rather than full kits and the store opened with samples, but even if you filled your cart with
37 instrument samples, 21 of which are everything in the store right now, youd only be
available to aD5 owners for free. The decision spending $71.
Whats available? from the preloaded stock kits to justify their

purchase, especially if youre a gigging
The new offerings include a Noble & Cooley drummer and need the sounds for specific
CD Maple kit, a Pearl Reference kit and a DW genres.
Maple kit. There are a few new snares
Yamaha 14x3.5 brass, Rogers Maple 14x6.5 One of the gems of the new haul is the 14
and a 14x4 Bubinga; some impressive iconic Paiste Twenty hi-hats. In particular, the closed
cymbals and half a dozen percussion tight articulation is a valuable addition to the
instruments, including a free cowbell! (Note more sloshy closed sounds of the original hats.
that ATV doesnt actually name any of the And then, of course, theres the cowbell! ATV is
instruments in the store, but the labels used do offering the medium cowbell for free, but if you
suggest the real identities.) need something higher- or lower-pitched, there
How it works are two alternatives (available for $2 each).
Personally, Im happy with the medium.
The Sound Store operates like any online retail
outlet. The instruments are displayed in a Overall
logical and easy-to-see array, with clear We commonly hear that drummers dont want
pictures of each one. You can find out more or need hundreds of samples in their modules,
about the kit piece and hear samples at the but theres no doubt that ATV went too far on
click of your mouse. the minimalist path when it initially stocked the
Like any online purchase, you add your module. The addition of three new full kits, a
selection to a cart and then settle up using couple of fresh snares and a few choice
PayPal. cymbals certainly addresses some of the
shortfalls in the initial spec but there are still
The samples are relatively small files and quick gaps. Theres no Latin kit and, my personal e-
and easy to download. drum obsession, no brushes kit (and after
If theres one omission, its detailed instructions speaking to key people at ATV, I suspect that
on how to add the samples to your module wish may never be granted because they are
something done with an SD card and not prepared to compromise and if it doesnt
reasonably intuitive for people who have play like the real thing and sound like the real
updated other modules. thing, it aint gonna make it).
In action But, the new samples make the aD5 far more
gig-ready for a far wider range of genres,
Once youve imported the samples onto the making a whole bunch of drummers much
module, its a matter of creating new kits or happier. Lets just hope the library doesnt swell
cloning the pre-loaded ones and changing too much and send some of the more
instruments as required. acquisitive owners broke or that ATV at least
I see lots of potential uses for the new kits, keeps on throwing out freebies to keep the
especially the DW kit, which is rich and masses satisfied
resonant. The new kits are sufficiently different

profile
PHOTO: PAUL LA RAIA
Wolf
works
the grid
digitalDrummer_may_2017.qxp_Layout 3 30/04/2017 9:49 AM Page 21
Steven Wolf is one of the worlds most in-demand studio

musicians. His drumming and programming credits
include some of the biggest names around - Alicia Keys,
Katy Perry, Miley Cyrus, Beyonc, P!nk, Aretha Franklin
and Britney Spears. And, as he tells digitalDrummer
editor Allan Leibowitz, electronics is intergral to his
career.
digitalDrummer: Lets start at the beginning:

when and how did you get into drumming?
Steven Wolf: I think when I was three with a
toy kit, but, according to my mother, I started
when she was pregnant with me. She knew I
was going to be a drummer because whenever
she was any-where around music, I would start
kicking. I think the reason they even got me the
toy kit was because I always used to bang on
things. When I was about five, I studied piano
for a bit, but my heart wasn't really in it, and
they finally gave in and took me to a little mom-
and-pop music store, and got me a practice
pad and sticks, and started me with lessons,
and said if I could stick with it, they would buy
me a full drum kit. I guess I got my first real kit,
which was wasn't even really complete - we're
talking a bass drum, a ride cymbal and a snare
- when I was seven or maybe eight years old, drum set, classical percussion, melodic
and then it just kind of grew from there. So, Ive percussion, and all the basic rudimentary stuff.
been study-ing and playing since I was about By the time I was in my early teens, she said
seven. that she did-n't really have anything else for
me, and I studied with a few other people, but I
dD: Lets talk about the studying part and
was mostly self-taught. I just bought records -
how important it was.
Billy Cobham, Tony Williams - all the heavies at
SW: I don't think there's any rules with this the time - and would put my hand on the
stuff. I have friends that are completely self- turntable, to slow it down enough so I could
taught and are killing it out there and can do figure out what was going on. And then in my
everything that you need to do including last year of high school, when I knew I was
reading music, which isn't necessary for going to go to Berk-lee, I studied with Carl
everything. Theres a guy in New York, Carter Mottola, who was the house drummer at all the
McLean, who plays drums in The Lion King, Atlantic City casinos at the time, and he had
which is a heavy reading show, and he's a worked with everybody from Elvis to Sinatra.
really versatile musician and he's completely The guy was the best reader I ever knew, and
self-taught, which I was surprised to find out. he whipped me into shape in any weak areas,
So, I don't necessarily think it's essential to especially my sight reading and brush playing.
study formally, but it definitely was good for By the time I got to Berklee a year later when I
me. My first real teacher was Elaine Watts, was 18, I was already pretty much ready to
who is still teaching today, and she still does start my career. I didnt graduate I went to
gigs, and she's in her 80s. She was a mainstay Berklee mainly to network and just play with
Philly drum teacher, and she gave me a really some other great young musicians. I just
good, well-rounded education, teaching me wanted to move straight after high school to
digitalDrummer, May 2017 21
dD: And was there a big breakthrough or was

Wall of fame: Wolfs awards
it more incremental?
SW: It was kind of a series of big breaks.
New York or LA, but my parents insisted that I When I was still at Berklee, my first gig was
go to some kind of college - even if it was just with one of my fusion heroes, Hiram Bullock,
a music school. Looking back, I don't think it who played in the Letterman show band, and
was a bad thing because I made a lot of great was signed to Atlantic Records. I was
connections there and a lot of those people recommended for the gig through a mutual
that I went to school with are still my friends friend who knew he was looking for a new
and colleagues today. drummer. And that kind of got my foot in the
dD: At what point did you realise that you door. I had done recording sessions, but that
wanted to go pro and that you were capable of was my first time re-cording in a real big New
going pro? York studio and the first touring internationally
and getting endorse-ments. Then I played with
SW: Well, I knew I wanted to do it probably a bunch of jazz artists until I played with
about the time I was 10 or 11 years old. By the Grover Washington Jr, and that kind of put me
time I was actually making money, I was still in up a notch. But at a certain point, I realised I
high school and I knew if I was able to make wanted to go beyond jazz and work with pop
money just playing local Philly bars and stuff, artists, and Annie Lennox was my first big
that I could just do that anywhere if I got good name pop artist in 1995.
enough. I knew I wasn't world class yet, but if I
stayed focused, kept playing, kept learning and dD: And how did that come about?
practiced as much as I could, I would get to SW: Everything I've gotten has been through
that point. And so by the time I was finishing word of mouth, so that was through Paul
high school, I had a lot of chops but I wasn't Pesco, who had just come off the road with
seasoned yet and the seasoning I got from Madonna, Stevie Winwood, or somebody huge
playing with so many great people at Berklee. at the time. He called me and asked if I was
available for some gigs, but he couldn't say SW: I kind of grew up with hip hop and
who it was with. And I said if it was something electronic music.I remember seeing Run DMC
he was doing, tell them I said yes. I didn't have on TV, before hip hop became mainstream,
to really audition - they had already vetted me and their DJ, Jam Master Jay, would open the
more or less, and I just had to talk to Annies set up by juggling a couple of records with the
producer and musi-cal director, Steve Lipson, same break beat - back and forth - and then
who was looking for somebody versatile, but also start scratching and dropping stabs and
specifically with a good understanding of things like that and I just loved how it
electronics. Now, if you look at touring soundedand also, a lot of records at that
drummers anywhere, youll see they have pad time were programmedmostly on a Roland
controllers, but you didnt see that much back 808 or 909, an Oberheim DMX, or a LinnDrum.
then. I was one of the few guys that had a And I wanted to be able to do that stuff. I was
drumKAT or an Octapad or Dauz pads. So, he also interested in recording. I was doing
wanted to know if I could work with a makeshift multi-track recording by taking two
sequencer, if I could program and trigger boom boxes and bouncing tracks back and
samples but hed already been told that I forth. I wanted to be able to recreate the
could do that stuff, so the phone call was just a sounds I heard on records, so I saved up and
formality. You know, that was great for me. It got my first drum machine an old Yama-ha
boosted my profile, and I got to play on the which was a poor mans LINN Then I got the
Grammys, and pretty much every big TV show first Simmons stand-alone pad (SDS1), which
in the States, and a bunch of others around the could only play one sound, so the sound I had
world. And I was able to learn in the field - you them put on the chip for me was that Prince
know, the whole Murphy's Law of electronics. detuned LinnDrum side-stick, because I was a
Sure, I had issues with things going down huge fan of Prince around that time. But what I
before that in smaller gigs, but this was the first really wanted to do was be able to recreate
time where I was doing very high-profile gigs in with drums, what I had seen Jam Mas-ter Jay
front of huge audiences and having and other DJs do on turntables. Id seen some
experiences like a drumKAT losing all its keyboard players do it, where they had a
memory mid-set. sampler connected to a MIDI keyboard
controller, and they triggered a bunch of differ-
dD: Clearly, you had some early exposure to
ent hip hop stabs and loopsso I figured I
electronics. Can you talk us through your
could do the same thing on a drum kit, with
experience and learning curve?
with a MIDI pad controllerso when I got the my library, and I'll fly them around and create
gig with Hiram and started making decent the parts that way. And if I want it to feel more
money, he gave me an advance, so I could get like an MPC, and don't want it to be as rigid as
a drumKAT and a Casio sampler, which, at the the stuff sitting on the grid, Pro Tools, within the
time, was actually considered high-end. And I quantize window, has a drop-down menu, that
started doing that kind of thing. But basically, a lot of people aren't aware of, which has the
music was my inspiration for everything, MPC swing percentages. But Ill also use
including getting into electronics. plugins, especially if I'm doing virtual live
drums. Addictive Drums is my go-to
dD: And your current arsenal? What does that
programming drum kit. I have a pad controller,
consist of?
but Ive just gotten so used to working without
SW: By 2000, I had decided I didnt want to it, and Ill just mouse the stuff in. I also use
tour any more. I wanted to do more session Native Instruments Battery when I want to do
work and when I was on the road, I was virtual acoustic percussion parts Battery 3
missing calls. Moving to the studio, I didnt has some great percussion sounds, which can
need to worry about triggering and pad be played in the current version, Battery 4.
controllers now I do everything in the box
And, because I also program synths and do full
its all software-based. Basically, anything
production, I use a bunch of other stuff as well.
electronic I just program. The last time I played
an electronic kit was when I subbed on dD: Interesting that
Saturday Night Live, where they use an you rely on Addictive
electronic kit when theyre Drums, which is really
doing sketches. But so dumbed down
for recording, I do compared to the
everything in Pro other big name drum
Tools. I used to have a VSTs.
room full of gear in my
SW: I have a deal
home studio, which
with Fxpansion
had an MPC and racks
and theyre really
and racks of outboard
great people and
gear to program, but
BFD is really well
now I can do everything I
put together, but
do on a laptop. And it's
it's a CPU hog
amazing what you can get
and it will
in the virtual world at this
literally crash
point. So, my set-up is all
sessions,
software-based.
which is not a good
dD: Besides Pro Tools, what look when you're working with a big
else do you use? producer. But it's not just that - it's mostly the
sounds, which are pristine, and that's exactly
SW: There's a few kinds of programming I do.
why I don't want them, because it doesn't
A lot of times, Im involved in the pre-
sound like something you want on the radio.
production phase where the record will be fully
Addictive Drums, with their AdPaks, have
electronic. So, they may have me program
reverse engineered classic drum sounds, like
everything and add a fake live drum part. And
the Motown kits, the Zeppelin kits, and a bunch
then, eventually, I may or may not replace that
of others and they got them right. Whatever
with real live (acoustic) drums.
they were trying to duplicate, they did well, so I
For the electronic sounds, I use what I call use all the AdPaks. The only thing they don't
programming on the grid, which you can do in have yet is a con-cert tom kit, but Im told thats
any platform you choose, but I use the Pro coming. And, honestly, the sounds are really so
Tools grid. You set the grid to the subdivisions good, that I'll do records where, as I
and you import sounds I have a huge sample mentioned, in the pre-production phase, Ill
library for sounds. You know, for a mainstream programme fake live drums with Addictive
pop record, a kick drum is not just a kick drum Drums - then Ill play the parts on an acoustic
- I might layer four or five sounds. I spend kit, and beat detect the acoustic kit to match
more time actually choosing the sounds than I the other programming, and well A/B them,
do programming them because the sound is and often, well all - myself included choose
such a big part. So, Ill import my sounds from
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Wolfs Annie Lennox rig, pictured at a 1995 Central Park gig

the Addictive track as more radio-ready. And, dD: Some people are uncomfortable with the
yes, it's way more user-friendly and takes up blurring between drumming and programming
much less memory and is way less CPU- and say its cheating. Others dont care, as
hungry. long as it creates hit records
dD: Your move from playing to programming SW: I definitely agree, the end result is what it
must have freed you up and allowed you to do sounds like. To me, it's like whatever it takes.
so much more because you dont have to So, when Ive chosen an Addictive Drums
physically be in the same room as the people track, because it sounded more like what
youre working with? people are going to want to hear on the radio,
based on aesthetics, it's not cheating. Even if I
SW: It has. Once high-speed Internet became
couldnt play, or even if I had never played a
a reality everywhere and every recording
drum set, but I can programme it, it's not
became more and more digitised, even playing
cheating. I mean it's creating a sound that
live for sessions, I was able to do more and
people are going to listen to. I have no hang-
more remotely. In the past, you would get a call
ups about that.
from someone in London saying we're sending
you a ticket and you got to be there in three dD: I guess when you look at your awards and
days and what kit do you want in the studio?. your achievements, what's there to have hang-
Now, that's a rarity to fly overseas or even to ups about?
another city to do that. It still happens, but not
SW: Yeah, but you can also see somebody
as much.
who has worked so hard to develop the skills
So now I do so much remotely, even for live complaining about Kanye West and like, this
drum sessions - but programming has allowed guy's a fraud. Well, no, he's not. What he does
me to stay off the road. The reality is that there is completely different, but it's musically every
arent as many pop records being made with bit as valid. One thing I'll say - and I have
live drums, so by also programming, it keeps spent years honing my programming chops - it
me busy.Its also allowed me to work with doesn't take as much skill to learn to
certain artists, like Beyonc, whose producers programme as it does to play drums because
may not normally use drummers in the the one thing that you have to have is multi-
studiobut theyre willing to bring me in, limb independence and you have to develop
because they know that I speak both your touch to get the sounds from drums. With
languagesIm a drummer who also programming, the sound comes from the
programs, and I understand both worlds. And samples. But then, you need to develop your
it's also the ability to work from home. I like engineering chops if you really want to get
being able to work from home and deep into programming. So, it's just different
programming lets me do that. And even with types of skills, but they're all skillsets.
live drums, I rarely get asked to record tape
anymore - because it's all digital.
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performance
How I use e-drums
New Zealand drummer Ben Barter is best

known as the touring drummer for his
countrys biggest musical export, Lorde.
Currently based in Los Angeles, Barter uses
e-drums in his live and recording rigs.
CURRENTLY, I AM playing for Lorde. I started

with her in 2013 and she has been on a break
making a new album for the last two years, so
it's so exciting to get back into it!
I moved to LA in 2015 and drummed for a few
different artists, including Jarryd James, who is
an amazing singer and good friend, and also
with a band called Broods. They both had a
nice mix of acoustic and electronic drums.
Then I was lucky enough to fill in for Chris
Hartz of Passion Pit and some local LA bands
also.
I also drum for a couple of amazing producers
- I play on some of Joel Littles records (he
produced Lordes first album) in his beautiful for the stuff I can't cover when I run out of
home studio, and some good friends of mine, fingers and toes.
Dan Gibson and Simon Oscroft, are producing I also use it for recording drums in my studio
some amazing stuff out of New York that I've and use the Wavves plugins mostly, as well as
gotten to play on. the factory Ableton EQs, etc.
For this Lorde tour, I've started using Rolands Pretty much every band I've played in from
new TD-50 module. I can load all the samples about 2012 has used drum samples, so I've
from Lordes record into it so I have plenty of had a lot of time to work out how to use them
trigger outputs and it sounds really crisp. live. I feel Ive worked out a good balance of
Coming out of that, I use a mix of Roland and using the triggers and pads with acoustic
Dauz pads and triggers. I have three BT-1 drums so it sounds just like the records - but
blocks on my left over six 6" Dauz pads, which the acoustic drums add some punch
replicates the SPD-SX set-up I have used in underneath, so they have a bit more body in
the past. a live setting.
The Dauz pads are
amazing to play and Dan,
the owner, has been super
helpful with some custom
bits and pieces, so thats
been an important part of
my set-up.
Then I have a Roland PD-
85 in front of me, and a
dual-zone RT-30HR snare
trigger which is great,
being able to put separate
samples on the snare rim
as well as a snare sample
Bens set-up
on the snare itself. I use an
RT-30K trigger on my
acoustic kick and, next to Roland BT-1 Blocks x3
that, a KT-10 kick pedal.
Dauz 6 Pads x 6
I use Ableton to process all Roland KT-10
my samples, so the
producer will send us all the
Roland RT30-Dual Trigger
Roland RT30-K Trigger
Follow Ben
album stems and I can load Roland PD-85
them into a scene and work
Zildjian Special Dry K 15 Hi Hats
out what parts Im going to
play and bounce out the
Zildjian Gen16 18
individual samples and then Zildjian Kerope 18 Crash instagram.com/ben_barter
make drum backing tracks Zildjian Kerope 19 Crash
digitalDRUMMER,May 2017 29
vst
EZ to rock
Its been a while since digitalDrummer
looked at Toontrack, so we got hold of a
couple of recent EZX expansions to see
whats happening.
THE FIRST THING thats happening is the The two recent EZX packs, designed for the
Toontrack Product Manager program which EZdrummer product but also playable with
has been added since our last visit. This new SD2, feature some big-sounding kits
manager app makes it easier to keep track of synonymous with the late 60s, in the case of
your SD and EZdrummer products and Rig Rock, and the 70s, in the Seventies Rock
simplifies the registration, downloading and pack.
authorisation of new products. In my case, it
Think Led Zeppelin, Deep Purple and Black
also reminded me to update a bunch of my
Sabbath, and you get a sense of the former
Toontrack sample libraries.
pack.
The sampled kits are a four-piece Mayer Bros If thats too big, you can scale it all back with
offering (26/14/14 and 14x6 aluminium snare); the Original Mix preset.
a C&C Player Date II (24/16/13) plus 14x6.5
Overall, theres a lot of variety and colour in
Joyful Noise Blackbird snare; a Gretsch
these kits plus the ability to edit the pitch if
Broadkaster (34/16/13) with a 14x6.5 Joyful
you dont particularly want the sound of a 13
Noise Standard COB snare; a Ludwig
tom and would prefer a 10, for example.
Superclassic (22/16/13) and 14x5 Black Magic
snare and a Camco Oaklawn (22/16/13) with You can hear the Big Rock pack here.
14x6.5 C&C Mahogany Maple Hoops snare. While the Big Rock pack takes care of some of
Theres also an additional 14x6.5 Gretsch the heavier genres, the Seventies Rock is a bit
Broadkaster snare. more versatile, designed to cover everything
Cymbals are a mix of Zildjian K, A and Kerope from The Who on the heavy end to the Eagles
models. and Fleetwood Mac at the other end of the
spectrum.
The kits are all mix and match, with the ability
to switch instruments with a simple click on The kits are in keeping with the Big Rock
each set piece. offerings, but with the ability to dial them back
specifically, dampening them with towels.
All of the kits even those with 22 kicks
sound big, and the size is amplified by some of Theres a replica of a Buddy Rich 70s-era
the presets. For example, the Camco Go Big Slingerland kit as well as two different
preset fills the soundstage with thunderous renditions of a mid-70s Camco one with
bass, cracking snare and resonant toms. standard drum heads, the other muted.

The Rich kit is a Mark Arnold Custom Overall

Fiberglass (24/16/13) with a 14x3 Slingerland
Fiber snare. These two packs would be a valuable addition
to any drummers arsenal, but particularly
The Camco kits consist of 22x14 kicks, 16x16 useful to rock drummers and covers bands
and 12x8 toms and a14x4 Camco snare in the which have some late 60s, early 70s material
case of the towelled kit and a 14x6.5 Apollo in their repertoire.
for the resonant kit. There are also 14x5
Ludwig Standard Aluminum and Tempus The sounds are precise and pleasing, with
Fiberglass snares and a dampened Joyful excellent use of direct and room mics and
Noise snare. some scope for editing and refinement.
There are actually three toms in each As with all Toontrack products, the samples are
configuration the second floor tom tuned rich and multi-layered and they play with huge
down a bit from the 16x16. dynamics.
Q&A
The cymbal is made up of Sabian AA and HHX The two rock offerings are certainly
models. complementary and Id be hard-pressed to
choose between them. In fact, Toontrack
Where the Big Rock kits shout, the Seventies should do us all a favour and bundle them into
Rock kits are more controlled and studio-like, a single multi-pack so that we dont have to
perhaps more suited to recording than live use. choose.
Of course, using EZdrummers mixer, it is
possible to tweak the sounds and make them Both Big Rock Drums EZX and Seventies
sound bigger and a bit more live, but to really Rock EZX are available as downloads for 69
get the maximum impact, one would probably each.
need the enhanced tweaking power of SD2.
Is there a VST issue that is

confusing you?
digitalDrummer has assembled a
panel of experts to answer reader
questions in future editions.
Simply send your questions to
editor@digitaldrummermag.com.
performance
Go even
more Pro
The iconic action camera has become even more

drummer-friendly in its latest incarnation, as Allan
Leibowitz discovered.
VIDEO HAS BECOME so intertwined with To accommodate the new needs, the camera
drumming and the GoPro so synonymous with has become more versatile and more
musical recording that its no longer necessary controllable, hence the need for a 2 (5 cm)
to justify a camera review in digitalDrummer. touch display on the back. Yes, you can still set
In fact, we have covered the last two up the Hero5 Black using the two buttons and
incarnations of the GoPro, so it made sense to the tiny LCD display on the front, but its so
follow up with a test of the new Hero5 Black. much easier when you can see what youre
shooting and how the settings affect the shot,
Just a glance tells you that this is a new
thanks to the real-time display.
generation of action camera that is far
removed from the original units that were The new features range from quirky to
strapped onto a helmet, set to record and then extremely valuable. Probably least useful to
ignored until the run was over and you hit drummers is the voice control which allows you
stop. Its clear that the action camera has to start and stop the camera using voice
come a long way since its debut and has found commands. Thats not much use when youre
its way into the hands of more genteel folk who trying to make yourself heard over a roaring
use it for a widening array of applications crowd or band tuning up nor when you
drumming among them. circumvent the mics with direct audio.
Much more useful, however, are features

like the exquisitely high-quality 4K video
and 12 MP photos. And you can choose
from a range of video and photo settings,
from super-wide angle to close-ups
without the fisheye distortion you got
from previous generations. You can also
fine-tune the exposure settings in real
time on the screen so you know up front
what youll be shooting. In the last
generation, you were forced to choose
between hi-res (in the Black model) and
the touch display (on the Silver model).
Now, both are available on a single
model.
The new GoPro is easier to operate than
its predecessor, with a simple one-touch
control to start filming instead of having
to first power up and then hit record. This
is great for those who tend to get taken
by surprise by the start of the set! No
more stuffing around looking at menus in the cards), the GoPro needs to be mounted
dark one press and youre filming. somewhere and thats been made easier with
a new instrument mount, the Jam Adjustable
GoPro claims that the stereo audio capability Music Mount - a flexible arm that clamps onto
has also been boosted in the new model. a rack, drum hoop or cymbal stand really easily
There are two mics and the ability to choose (another $50).
which you want to use, depending on wind
conditions and the like. One shortfall is the As with the last generation of GoPros, the H5
absence of a direct audio in socket. Instead, Black can be controlled from your iPhone or
you need to buy a separate mic adapter (no, iPad via the free Capture app that offers live
you cant use one from the previous generation preview, playback and camera control,
GoPro) which will set you back around $50, meaning you can start filming from your throne.
depending on where you buy it. That adapter You can also use the app to share photos and
can be used either for a stereo mic or a direct videos to Instagram, Facebook and Twitter, but
audio in very useful for connecting your beware that WiFi operation drains the battery
module. pretty fast.
I found the H5 Black very easy to set up and The free Quick app for iOS and OSX allows
totally intuitive, thanks to the touchscreen. The you to edit the footage manually or with the
interface has been designed for simplicity and use of templates and algorithms that find great
there are only a few menus on the screen at moments. You can automatically synch to
any one time. Choosing the right option is easy music, but thats not much use when the music
because GoPro uses full text rather than in your footage is your main focus.
abbreviations, icons or acronyms. And the fact For musicians, the new GoPro is more about
that you can see the results as you change pro and less about go. Were not all that
settings makes it even easier. interested in the waterproofing and rugged
Once it is set up, charged and loaded with an housing although some pub musicians may
appropriate memory card (they ship sans benefit from protection from beer spills or
champagne spray. But we certainly are
interested in the touchscreen, the one-button
start and the improved video and audio quality.
And were even more interested in the pricing,
with the new model coming in at around $399 -
$100 less than the launch price of the model it
is replacing. Now, if only e-drums could follow
that pricing pattern!

diy
Making a stand
A simple kit makes it easy to turn an acoustic
tom into an electronic bass drum.
INSPIRED BY PADS like the design of the Now, theres a cheap and easy alternative,
Roland KD-120 and KD-140, many DIYers are thanks to Mexicos Dorado Hardware.
trying their hands at converting acoustic toms
to electronic kick drums. Dorado is offering aluminium drum risers in two
sizes one for 10 to 14 toms and the other
The triggering part is relatively easy, and all for 16 and 18 toms.
thats needed is a single piezo and a foam
column. The ordering process
However, the mechanics of mounting a shell Before we get to reviewing the risers, its worth
designed for a horizontal orientation into a discussing the shopping experience.
vertical trigger pad are a bit more challenging.
The products are sold via Mexicos Kichink
The most common approach is to add some portal, which, alas, is not the easiest online
sort of plate near the batter head and then use store for non-Spanish speakers. In order to
legs of some sort to support the back of the place an order, I had to rely heavily on Google
drum. Translate. To further complicate matters, the
site only accepts credit card payments and them to stay in place, and its best to get them
doesnt take PayPal. And, if your card stuck on before you put the riser together.
company is as vigilant as mine, you wont
actually be able to automatically place the In action
order. In my case, the card company blocked
The riser is very versatile and able to
the transaction because it didnt expect me to
accommodate deep or shallow toms. If youre
be buying stuff in Mexico and only allowed it
using a 10 drum, you can adjust the
to proceed after I manually
length of the uprights to create
authorised the transaction.
more height again with an Allen
Once the order was placed, key.
there were a few emails from
Theres a mounting plate to
Kichink (again in Spanish),
attach a kick pedal, and this
one of which was quite
easily accommodated a few
important seeking
different pedals in our test
acceptance of liability for
array.
any customs duties on my
end. Thanks again to Google Once adjusted to the size of the
Translate, I was able to get it all tom, the assembly is solid and
sorted. steady, helped by Velcro on a
couple of the feet.
Shipping was fast, but the
parcel was much smaller than Where some jungle adapters are
I anticipated. designed for a specific lug
configuration, this riser is more
The riser versatile as it supports the shell, not
The reason for the compact the hoop. It feels more stable with two
shipping package was that the hoops to keep it in place, so it may not be ideal for
riser is shipped in pieces. single-headed toms, especially if you kick hard.
Basically, you get a bunch of
Overall
aluminium bars and some
plastic fittings. Unfortunately, This is a very neat solution, not just for turning
there were no instructions, small toms into electronic kick pads, but even
although after for adapting acoustic toms for jungle kits.
digitalDrummers feedback,
future buyers should get Yes, theres a bit of assembly involved and if
some documentation. youre a real hard kicker, you may even
consider strapping the tom in with a bungee
Even without instructions, assembly was cord or belt. But for most drummers, that
logical and relatively easy. One potential shouldnt be necessary.
challenge is that you require an Allen key to
tighten the nuts. Again, this may change after As mentioned, the hardest part is the ordering,
our feedback, where we pointed out that most but that may well change as Dorados
drummers wont have a hex driver with them customer base expands outside of its
when theyre gigging, so if anything goes homeland.
wrong, youd be in trouble. We suggested
And the cost? The risers sell for around $35
using regular Philips head screws.
plus shipping, which is significantly cheaper
One additional tip: when youre putting the than the commercial conversion kits and
pieces together, check whether the plastic end- certainly more worthwhile than building your
caps are on firmly. If not, add a drop of own from scratch for the average weekend
superglue before final assembly. You want warrior.
SHARE & WIN

Send us your DIY tips and win free gear
from Stealth Acoustics.

diy
DIY
snare
tested
Many readers will have seen Mark Nortons snare

drum design, explained in the last edition in a step-
by-step guide. So, how does it trigger?
DIGITALDRUMMER WAS able to get hold First port of call was the ATV aD5 module
of a couple of drums from Mark Nortons which was on the test bench, having just
initial build, and they look even better in been loaded with some of the new
the flesh than they do in pictures. The 14 samples (see page 18).
dual-zone drum is a solid piece of gear, Initially, using the cable snake, we were
well constructed and very neatly finished. only able to get head triggering using some
The drum was connected to a range of of the common trigger settings. Mark
popular modules to see how it performed, suggested this may be because the input
and here are the results: cable was not lining up properly in the jack
something we couldnt fix manually With a 2box DrumIt Five module, the snare
because he uses upmarket sealed jacks performed best in Pad12 mode, with a
which dont allow you to bend the contacts. minor reduction in sensitivity as it was a
But trial and error revealed a software little hot to start. But with that adjustment,
solution using external trigger settings triggering was accurate and even across
rather than stock drum pad settings. (This the head. Again, there was virtually no hot
may have something to do with the polarity spot, even when striking right on the
of the piezos.) Anyway, using either the sensor. The rim response was also good.
ddrum or 2box external trigger settings as The snare was a bit hot for the Pearl
a starting point, it was possible to dial in RedBox, but with the sensitivity dialled
very respectable triggering by pulling back down significantly, good triggering was
the sensitivity and adopting the -3 curve. achieved.
This yielded good sensitivity and a
reasonable dynamic range, although there Overall
was the inevitable hot spot in the centre of
the drum. Luckily, the small footprint of the Nortons build is elegant and effective and
trigger sensor means theres only an area the result is as pleasing to play as it is to
about an inch in diameter that one should look at. If you follow his design to the letter,
try and avoid. you should be able to produce something
equally playable. But if this all looks too
The Roland TD-30 has more trigger editing hard, hell build one for you. Watch the
capability, but the snare didnt need much electronic percussion social media for
adjustment for the Pad2 setting which, I more information.
believe, covers a multitude of sins. By that,
I mean its one of the most versatile digitalDrummer tested a range of e-
settings that makes almost any dual-piezo snares in our November 2011 edition.
trigger perform well. Many we tested at the time struggled when
paired with a 2box module, but new
The drum certainly performed well, with firmware since then has overcome most of
excellent dynamics and accurate head and the issues.
rim triggering. Best of all, there was almost
no noticeable hot spotting in Pad2 setting.
training
PHOTO: DREAMSTIME
Disco and Reggae

This month, Raul Vargas breaks down
a couple of grooves that drummers in
covers bands may encounter from time
to time.
LET'S BEGIN WITH Disco grooves. In the first and on the third triplet in each one. On the
groove, we have 18 notes, with the bass drum second measure, we have to be very careful
played on beats 1-2-3-4, our snare drum on with the accents because we have to respect
the 2 and 4, and the hi-hats on the second 18 the dynamics to produce the right sound for
note. the style.
The second groove is very much the same: Our cross-stick and bass drum are played at
bass drum is always playing on 1-2-3-4; snare the same time and on the third beat of each
plays on 2 and 4, but the hi-hats are played measure, with a variation on the fourth beat of
open for a different sound. the second measure, where the cross-stick is
played on the third triplet.
The bass and snare are the same for the third
groove, but what changes here are the hi-hats. Both of these may be simple grooves, but
Now, we will be playing 116 notes. remember good timekeeping and consistency.
As Steve Gadd says: Fills bring the thrills, but
Another major genre you might need to learn is
the groove pays the bills.
Reggae. Here, we start with everything in
triplets: the hi-hats are playing the first and the If theres anything specific you would like
third triplet, but accented on 2 and 4. Our covered in a future column, please let me
cross-stick and bass drum are played on beat know. Any suggestions we use will earn the
3. reader a pair of my signature Vic Firth
drumsticks.
The second groove is made up of two
measures - the hi-hats are playing on the first To access these exercises, click here.
Disco
Exercise 1
Exercise 2
Exercise 3
Reggae
Exercise 1
Exercise 2
Raul Vargas is from Victoria, Tamaulipas, Mexico. His music

education includes a qualification from Berklee College of
Music in Boston.
Raul has studied with musicians like Luis Conte, Dom
Famularo, Pablo Bencid, Javier Barrera, Yoron Israel, Jim
Payne, Mark Walker and Mark Guiliana.

gear
MONSTER
My
kit
Matthias Vogels Monster Kit in Munich, Germany
is one of the most eclectic weve featured, with
components from around the world.
Matthias kit Matthias story
Pads: My first e-drum kit was a Roland TD-6KV.
Mapex Mars Nightwood Shell Set (8 When I sold that, I replaced it with a
drums) with R-Drums internal triggers Roland TD-25KV, but later upgraded the
6 Dauz Signature pads module to a TD-30. Then I realised the
Pintech eWedge pad look of the kit didnt fit my tweaked
Roland BT-1 sounds, so I decided to build a more
Jobeky eCowBell realistic kit, based on a Mapex shell pack.
Cymbals: I installed high-quality R-Drums triggers
Roland VH-11 hi-hat in the 12 and 14 toms and the auxiliary
Roland CY-12H X-hat snare, and a Wronka Drums Ziptrigger
Roland CY-15R ride inside the gong tom to enable positional
3 x Roland CY-14 crashes sensing.
Roland CY-5 splashes
2 x Triggera D11 splash The smaller toms (8 and 10) got the
Triggera D14 China Triggera Intriggs.
Pintech PC 14 Crash The rack is custom-made by my brother
Modules: who is a metal worker. One of the most
Roland TD-30 expensive parts of the whole project are
ddrum DDTi Trigger Interface the clamps and mounts. I ended up with
Hardware: about 40 clamps and a few mounts.
Custom rack, Mapex Armory hardware.

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... 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
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Digitaldrummer May 2017

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digitalDrummer_may_2017_Layout 3 28/04/2017 7:17 AM Page 1

Edition 30 May 2017 US$10

CREDITS OBSERVANT READERS WILL notice that we have gone

digitalDrummer MAY 2017

Few surprises at Messe

Yamaha gets a piezo the action

New samples for aD5

20 Profile: Steven Wolf

How I use e-drums

Go even more Pro

DIY snare tested

Disco and Reggae

Last month, the music industry lost one of

Michael Schack, who noted that he has

The second major musical showcase of the year,

DrumIt Three (above) and the Pi

digitalDRUMMER, May 2017 11

Alesis Tim Root and the Strike kit

ATVs aD5-powered aDrum kit

shown alongside the aFrame percussive

Our MusikMesse correspondent, Wolfgang

At last, Yamaha is offering dual-zone external

In action Of course, you can allocate any instrument

digitalDRUMMER, May 2017 15

Before you pull the trigger

Introducing the jamKAT MIDI Hand Percussion Controller

The DITI incorporates many gestures designed for hand

The DITI can play alternate note patterns, velocity shifting,

Five kits were never going to be enough, so

Whats available? from the preloaded stock kits to justify their

digitalDRUMMER, May 2017 19

PHOTO: PAUL LA RAIA

Steven Wolf is one of the worlds most in-demand studio

digitalDrummer: Lets start at the beginning:

dD: And was there a big breakthrough or was

The drive to engineer the optimal drive system.

MCD/MDD Drive AD - 2017 (Digital Drummer).indd 1 1/19/17 12:00 PM

Wolfs Annie Lennox rig, pictured at a 1995 Central Park gig

Alesis mesh head conversion Mesh Heads

Drum mics from the specialist Triggers

The brand new E-kick is now available!

682Drums_A4-adv_digitalDrummer_v2.indd 1 10-10-2014 20:39:33

How I use e-drums

New Zealand drummer Ben Barter is best

CURRENTLY, I AM playing for Lorde. I started

digitalDRUMMER, May 2017 31

The Rich kit is a Mark Arnold Custom Overall

Is there a VST issue that is

The iconic action camera has become even more

Much more useful, however, are features

digitalDRUMMER, May 2017 35

SHARE & WIN

digitalDRUMMER, May 2017 37

Many readers will have seen Mark Nortons snare

Disco and Reggae

Raul Vargas is from Victoria, Tamaulipas, Mexico. His music

digitalDRUMMER, May 2017 41

digitalDRUMMER, May 2017 43

Electrify any kit

CONVERSION KITS KIT SUBSTITUTES

Good, better, Diamond.

for less than $200

Our greatest hits