digitalDrummer_Nov_2018.

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Edition 36 • November 2018 US$10

Flur:
The father :
of e-drums

ddt
Ben MS140
Todd Ryandebuts
NAMM Halsey DrumIt
Emily D. Three
Davies
 www.dwdrums.com/dwedrumenhancer
©2018 DRUM WORKSHOP, INC. & AUDIFIED. ALL RIGHTS RESERVED.

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welcome
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THE PIONEERING GERMAN electronic band Kraftwerk comes

up quite often in our artist profile interviews. Many of the early
CREDITS
adopters of electronic percussion cite drummer Wolfgang Flür
DigitalDrummer as their inspiration.
ABN: 61 833 620 984 Flür wasn’t the band’s first drummer, but when he joined, he
30 Oldfield Place was actually replacing an early drum machine. Kraftwerk’s
founders were looking to emulate its minimalist tones and
Brookfield Q 4069
rhythms and Flür had to resort to home-made instruments to
AUSTRALIA achieve their vision.
editor@digitaldrummermag.com That was many, many years ago and the drummer has moved
www.digitaldrummermag.com on, but as you can read in this month’s profile, he still keenly
uses electronics in his current musical ventures. And, like so
Editor & Publisher
many artists who have shared their stories with
Allan Leibowitz digitalDrummer, he wishes he could have had today’s
Sub-Editor instruments when he was starting out.
Solana da Silva This month’s edition includes plenty of evidence of the evolution
which continues to win Flür’s admiration.
Contributors We look at the explosion of analogue machines on the market.
CB Averitt Once expensive, complicated and temperamental, these
Ryan Halsey machines are now affordable, reliable and versatile. Our
coverage includes insights into how the old/new technology is
Raul Vargas being used and covers some of the products currently
Cover Photo available.
Simon Watson Another category of instruments which would have made life
so much easier for the e-drum pioneers is the new crop of
Design and layout triggers with built-in samples. These hybrid tools clip onto an
‘talking business’ acoustic drum and provide the drummers with additional
sounds which they can use to augment the natural tones of
their drums. There are a few alternatives, each with something
Support digitalDrummer unique – and they’re well worth looking at, especially if you’re
an acoustic drummer who just needs the odd sound or effect
and you don’t want to go fully electronic.
If you like what you’re reading, Other reviews include the much-awaited 2box Drumit Three –
please make a donation. the little brother to the original module. It’s been a long time
. coming, but has some features missing from the original –
mainly enhanced compatibility with third-party triggers. And in
the face of the intense competition in the high-end module
market, the ability to accommodate all triggers is a basic
Founding member prerequisite.
We also test a new snare from understated German e-drum
maker ddt. The snare is steeped in a tradition of quality, good
looks and excellent performance, with ddt making some of the
Copyright or wrong: best external and internal trigger kits on the market.
Forget the legalese and just play And, speaking of quality, it’s that time again: voting is now open
fair! We work hard to produce in our annual Readers’ Choice awards, and we urge you to take
digitalDrummer. Please respect a few minutes to let us know which products hit the mark for
that and don’t rip off our content. In you this year and which drummers are making a difference.
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, November 2018 3

 inside
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digitalDrummer November 2018

Analogue is cool again

6
Allan Leibowitz looks at a new trend, highlighted by a plethora
of new analogue machines.

10 New products
A few new models have hit the market, just in time for the
holiday season. Here are some of the goodies now available.

Trigger happy
14
Hybrid is more than hype, and digitalDrummer compares some
easy to use, affordable options.

ddt hits the spot

20
A recent offering from Germany’s ddt ups the ante in the e-
snare stakes and Allan Leibowitz tried it out with some current
modules.

2box encore
24
It’s been a while coming, but digitalDrummer got hold of 2box’s
new module and took it for a run.

Mackie offers IEMs

28
Mackie has entered the earphone market and we test its latest
monitoring offering – the MP-240 dual-driver in-ear monitors.
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31 Tool almost removes drums

Is it easy to remove drums from mixed tracks? We try another
tool that claims to be able to.

34 Profile: Wolfgang Flur

Music historians trace the e-drum revolution back to German
electronic group Kraftwerk. And the man behind that new sound
was Wolfgang Flür.

38 How I use e-drums

Ryan Halsey uses electronics to recreate recorded sounds in
live performances.

40 Totally toms
Some might find Raul Vargas’ latest lesson a bit challenging,
but take it slow and you’ll get there.

42 My Monster Kit
CB Averitt from Florence, South Carolina takes us into his
studio to share his kit.

digitalDRUMMER, November 2018 5

feature
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Analogue
is cool
again

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digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:29 pm Page 7
Allan Leibowitz looks at a new trend,
highlighted by a plethora of new analogue
machines.
ELECTRONIC DRUMS STARTED
analogue and soon became digital, but it
looks like old school is new again, with a
swag of analogue drum synthesizers now
flooding the market.
So why, when music instrument makers
have made real sample-based digital drum
brains more affordable than ever, are
people again yearning for machines that
produce limited tones which sound totally
artificial?
Arturia artist/demonstrator Bryan
Borcherds (opposite) believes analogue is
not a fad. “It’s come full circle, but it’s here
to stay and shows no sign of slowing
down.
“Analogue has always been there.The big
reason it’s so popular now is that it’s
affordable. In 2012, when our MiniBrute
came out, it was the first monophonic
analogue synthesizer that was affordable -
before that, you were looking at $1,500-
$2,000 – and this thing came out at a
fraction of the price.
“So, today, people learn on the software
and then they want to learn
how to play the real
thing.
DrumBrute Impact
digitalDrummer, November 2018
“I call it the ‘graduation process’: the kid,
who is 14 years old and using some
software on his computer, like the Arturia
soft synth, Native Instruments and all that
incredible stuff out there, will reach a stage
where he just wants to stop looking at the
screen and wants to touch something.”
Borcherds notes that while prices have
fallen, quality and reliability have improved
immeasurably.
The UK-based drummer has been touring
to demonstrate the DrumBrute Impact, the
latest drum synth which features 10 drum
sounds, a highly programmable sequencer
and a range of performance controls.
The synth retails for about $300 in the US,
giving it a price advantage in a very
competitive market.
Among the recent analogue converts is
London-based session drummer Jonathan
Atkinson. While he still uses digital rigs
when touring with Howard Jones and Kim
Wilde, he’s gone fully analogue in his
studio, using a DSI Tempest, a Moog
Sub37 and an Elektron Analog Four as his
main sound sources.
“I’ve just done the score for a forthcoming
PlayStation game to be released later
this year, and I’ve also done a TV
series for RTÉ and a bunch of
sample packs for
Loopmasters using this
gear and the work flow
I have developed,” he
explains.
With so many samples available and
easy to manipulate digitally, what’s the
attraction of analogue?
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“There are so many more options to

create sounds – and so many of the
sounds we use now like the
(Roland) 808 were created from
scratch. So rather than copy these,
why not go back to the basis of their
creation – subtractive synthesis?”
he explains. “So, rather than troll
through thousands of samples, why
not make your own – know the
sound you want to create in your
head and just make one. Something
that’s new and fit for the track and
tuned for the track and has the
decay that you want.
“When you see what people are
doing in the keyboard world, I think
drums can only follow that,”
Oli Rubow
Atkinson explains.
Atkinson applauds the arrival of mass-
market analogue machines, anticipating
that there should be strong interest. “It
does open up an enormous amount of
creativity and possibilities ... but I would
imagine that most people just want
something that sounds like an 808 kick
drum but is analogue and has a bit of life to
it. And you’ve got more control over it and
can manipulate it in different ways.”
Jonathan Atkinson
German hybrid drummer Oli Rubow is
another strong supporter of analogue
technology.
“Since my first experiments with old school
analogue drum brains like the Simmons
SDS V and Tama Techstar modules, I fell
in love with the richness of the sound and
the idea of morphing the sound on the fly. I
discovered a more musical use of smoothly
turning knobs instead of switching
presets,” he says.
Rubow loves classic signature Roland
808/909 sounds, “especially the kick
drum – from punchy to boomy, the
electronic handclap and the noisy
cymbals”. However, his weapon of choice
is the Vermona DRM1, which he plays
using a MIDI drum controller.
“As I see my drum sounds as a picture of
different frequencies, the eight-channel
DRM1 is the perfect tool to intuitively
integrate the missing frequencies,” he
explains.
Rubow also uses a Vermona Kick Lancet
for live performances, triggered by a
Roland KT-10 pedal.
The German drummer is a heavy user of
delay boxes, which he describes as his
“invisible third hand”.

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Plenty of options
Besides Arturia’s DrumBrute, there are a number of
prosumer analogue drum synths currently jostling for
market attention. Among the competitors is Nord Drum
3P, a compact six-channel modelling percussion synth
with an integrated multi-pad, reverb and delay effects, a
simplified sound selection mode and new sound banks
for quickly creating custom kits on the fly.
Another contender is Korg’s Volca Beats, which
combines analogue drum sounds with the step
sequencer of the Electribe. This unit also boasts a PCM
sound engine which “expands possibilities when used
with analogue sounds”, according to the manufacturer.
For many, a return to the origins of e-drumming doesn’t
mean sacrificing digital advances.
Roland’s Aira TR-8, for example, revives the classic
TR-808 and TR-909 sounds, combining them with
features and functions for the modern age.
Roland boasts that its Analog Circuit Behaviour (ACB)
technology allows “part-by-part analyses and faithful
recreation of tonality and behaviour, including the
smooth variations of tone that occur when you work the
controls of each instrument”.
The unit has a 16-step sequencer with A and B pattern variations and the
ability to play instruments and record to steps in real time.
Akai’s MPC range has been a consistent performer in
this category, and its latest Touch model is powered
by a 7" colour multi-touch display. Users can grab and
pinch waveforms, draw MIDI events, adjust
envelopes, chop samples, add effects and precisely
set their controls using their fingertips.
This is a long way from traditional analogue synths
with a couple of knobs and faders and it comes bundled with over 20,000
sounds from elite content providers covering the gamut of musical styles,
including AIR, CR2, Toolroom, MVP Loops, Sonivox and Prime Loops.
Passing fad or shape of things to come, analogue synths are becoming
flavour of the month and the more the sounds are used in mainstream hits,
the more pressure will mount on drummers to deliver. And, just as the big
name e-drum companies have accommodated acoustic sounds in their
modules and VST offerings, we’ll no doubt see more analogue emulation in
the mainstream products – but we’ll also see drummers who want to learn
and grow through mastering analogue creativity.

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New products
A few new models have hit the market, just
in time for the holiday season. Here are
some of the goodies now available.

Porter & Davies

goes ‘budget’
Porter & Davies has launched a new
version of its tactile monitoring
system. The BC-X is a scaled-back
version of the BC2 and BC Gigster.
The new smaller model comes with
simplified professional standard
features and a reduced price.
The BC-X has the same quality build,
identical response time and many of
the same superior components as the
BC2 and BC Gigster.

Roland boosts TD-1

At less than a third of the weight of
the BC2 and more than 10% lighter
than the BC Gigster, the new engine
Roland will add a new entry-level kit, the TD-1DMK. is highly portable.

Where the current TD-1 kit is a compact kit with The new unit is priced at £479 plus
rubber pads, the TD-1DMK is built around a full-size VAT - £200 cheaper than the next
rack and includes all mesh pads – a PDX-8 dual- model up.
zone snare and three PDX-6A single-zone toms.
The kit also uses CY-5 cymbals for the ride, hi-hat
and crash.
The module has 15 preset kits and 15 built-in play-
along songs as well as onboard coach functions and
the new Melodics for V-Drums software.
A record function lets you listen back to what you
just played, for evaluation purposes.
The kit is available for pre-order at around $700.
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Simmons adds
compact monitor
Simmons has introduced the new DA25
Electronic Drum Amplifier. This portable 25
watt amp joins the DA50 and DA200S in
Simmons' line of electronic drum amplifiers.
The DA25's amplifier drives an 8” woofer and
a 2” tweeter to deliver plenty of clean,
undistorted sound across the 20 Hz to 20 kHz
frequency range.

Aerodrums goes 3D
It features a two-band EQ with a low band
centred at 60 Hz and a high band pitched
around 10 kHz, each with a ±12 dB sweep.
The Simmons DA25 Electronic Drum Amplifier
Virtual drumming programme Aerodrums
has a street price of $149.99.
has launched a virtual reality add-on to its
unique air drumming percussion
instrument. The 3D/VR feature is a free
app that complements the Aerodrums
experience by augmenting it with 3D
visuals that can be viewed on screen or
through virtual reality headsets.
The companion app shows the drummer a
responsive 3D rendering of their drum set,
drum sticks and feet as they play. It allows
them to reposition their drums in 3D, whilst
also supporting other interactions with
Aerodrums; such as playing songs,
enabling a metronome and recording
performances.
The app supports Windows, Mac OS X,
iOS and Android devices, as well as the
Oculus Go, Oculus Rift and Samsung
Gear VR headsets.

XM debuts new brain and kid’s kit

Taiwan’s XM eDrum was on hand at the Music China Fair in
Shanghai last month to show a prototype of its new 200S
module.
The module features “velocity stratification” with added sample
layers, while more hi-hat openness levels are also included.
The module has individually adjusted EQ for each drum as
well as new reverb functions.
The e-drum maker also showed its first children’s digital drum
sets built around smaller thrones and designed for players
under 1 m in height.

digitalDRUMMER, November 2018 11

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E-CYMBALS BEYERDYNAMIC DT-770 M CONES

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Trigger
14
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digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 15

Hybrid is more than hype, and Allan Leibowitz

compares some easy to use, affordable options.

Stand-alone triggers, already loaded with

samples, are a new growth area,
popularised by Roland’s RT-MicS.
These instruments are part of the hybrid
move, with acoustic and electronic
elements blended to create specific
sounds.
Our interest was first aroused by Drem
Trigger, which launched on Kickstarter in
April 2017, surpassing its goal, but not
quite reaching the $40,000 stretch goal.
We’ve been keenly awaiting a review
sample, but the trigger has not yet shipped.
We held off doing a head-to-head
comparison while we waited for the Drem
to hit production, but in the interests of
timeliness, here’s our take on the two
contenders currently on offer.

TrigMic
As it turns out, Drem is not the first trigger
preloaded with samples. TrigMic has been
around since 2011.
TrigMic offers a number of trigger versions,
but the developer was keen that we try the
“original” product, the TrigMic kick. Elijah
Mudrenov said his experience was that
“almost all the drummers want to trigger a
kick drum first of all. That's why my
company is focused on the kick drum
triggering devices.” Who am I to argue with
that?
The concept:
TrigMic is a contactless laser-powered
trigger. Buyers get a Laser Pick unit that
attaches to the rim – either a full-width
wooden hoop or a regular tom-style hoop.
The unit is powered by a regular AA battery
(not supplied) and by default shines two
beams downward to trigger a double kick.
digitalDRUMMER, November 2018
You’ll get some reflector strips that you
need to attach to your beater (or you can
order custom beaters).
Getting ready:
Once the unit is positioned so that the
beam shines on the beater or beaters, you
need to configure the trigger for either a
single or double kick. There’s an additional
setting to create machinegun triggering in
dual mode (don’t ask me why).
The unit connects to an amp or PA via an
XLR output.
Tweaking the unit is fairly old school –
there are five LEDs that tell you the status
in various modes. There are a couple of
prominent switches (on/off and open/mute)
and three buttons at the bottom, used to
set parameters and change sounds.
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The unit is Bluetooth-enabled, which is heads at all since it doesn’t require

great. Not so great is that the companion vibrations – it just needs the beater to
app is only available in Android. While you break the beam.
can actually do much of the adjustment by Bang for buck:
holding multiple buttons simultaneously, it
is much easier with the app. Using the app, Including shipping, the bass drum unit
you can tweak more than half a dozen comes in at just over $200. That’s a
parameters, including sensor type, modest investment for a self-contained
threshold, mask time and retrigger – plug and play hybrid solution of a trigger
although TrigMic uses its own names for all plus 10 sounds.
of those.
Importantly, you can also import new
sounds from a library of about 50 custom
.tms files.
For the more creative, there are also
Windows and Java tools for custom
sample creation.
In action:
TrigMic is designed to extend the
drummer’s sonic palette without the need
for a drum module, computer connection or
external power sources.
The sonic extension consists of 10
onboard kits – two banks of five each.
Actually, the second bank is empty on
shipping, so you’ll need access to one of
the software tools to fill ‘er up.
Since I was using a kick, I flicked through a
bunch of stock kick sounds, from deep to
punchy to electronic. While there’s no way
of auditioning the sounds in the app, the
easiest way is to load them all and see
which are useful. Each time you load a
sound, it overwrites the existing sound in
that slot, so if you’ve lost one you like, RT-MicS
simply grab it again and save it over one The concept:
you like less.
In Roland’s words, “if your gigs demand
Triggering was easy to dial in and rock more than your acoustic drums can deliver,
solid once you get there. The dynamic the RT-MicS is the gateway to an inspiring
range was good since we’re talking kick new world of hybrid sounds”. The RT-MicS
sounds, and the risk of machinegunning is a microphone, a trigger and a mini-
was low (in non-machinegun mode). module in a single unit that attaches to the
It’s worth noting that you can use the drum hoop – either a full-width wooden
TrigMic with either mylar or mesh heads – bass hoop or a standard snare/tom hoop.
in fact, you could probably use it with no Interestingly, the manual says it can’t be
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digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 17
attached to wooden hoops, but I managed
that without any problems. It is powered by
a 9 volt battery (supplied) or an AC adaptor
(sold separately).
Getting ready:
Set-up is logical and easy: attach the unit
to the hoop and connect it to your amp or
PA via two ¼” TRS cables – one for the
mic and one for the electronic sounds.
There’s only one adjustment – sensitivity,
which adjusts the sensitivity (surprised?) of
the pickup. This control has no impact on
the mic setting.
When you’re ready to play, a switch allows
you to select your sound source: the
pickup or a mix of pickup and mic. And you
can control that mix by adjusting volume
dials for each. You can even configure the
unit so that imported sounds are only
triggered when you hit the rim.
There’s a digital display on the top that
shows which “patch” is currently selected,
and you can scroll through the eight
sounds by tapping the oversize button
which also lights up when a strike is
detected.
In action:
Roland has mastered the art of delivering
complex tools to the mass market, and the
RT-MicS is designed to be instantly usable
by anyone, regardless of their e-drum
knowledge – or lack thereof. It is very
much plug and play, and the limited
controls (don’t overcomplicate things!)
make it extremely intuitive and easy to use.
As a drum mic, it works well. Sure, it’s no
Neumann KM 84, but it’s a good clean mic
which does a good all-round job. Even on
the kick, it performed well – despite the fact
that it’s positioned on the batter side, rather
digitalDRUMMER, November 2018
than the more traditional placement at the
resonant head.
As a trigger, it works really well both on the
head and as a rim sensor.
The preloaded sounds - a couple of
snares, a couple of claps, two sets of
percussion sounds and two impact
elements - make it clear the unit is
primarily designed for use with a snare, but
you can change that by loading your own
samples. Roland has a free app for sample
loading, available for both Windows and
Mac. Simply connect the trigger unit to
your computer via USB, select the target
location for the sample, choose a suitable
sound from your hard drive (.wav, AIFF,
AAC or MP3) and transfer it in one click.
Roland has even supplied copies of the
stock sounds because loading new ones
overwrites the originals.
The sounds are single layers, but the unit
adds a lot of options, bounded only by your
access to sounds and the limits of your
imagination – and the 10 second per
sound time limit.
Bang for buck:
Hybrid drumming just doesn’t get any
easier: this is probably the most idiot-proof
plug and play single-unit solution currently
available.
Sure, it only comes with eight sounds, but
the free software allows you to easily add
your own samples in almost any common
format.
Of course, that convenience comes at a
price – in this case, $260. Yes, you could
achieve the same effects (plus a bit more)
with a TM-2 module ($200) and a TR-
30RH trigger ($90), but not as
conveniently, nor in one compact package.
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Absent friends
As mentioned at the outset, this head-
to-head comparison is not totally
complete. We’re still waiting to try the
Drem Trigger which we’re told will sell
for around $499. For that, you’ll get a
unit that is somewhere between the
two reviewed here: a contactless
trigger system with 4 GB of internal
Drem Trigger
memory, multi-layer samples, an eight-
hour battery life and full MIDI
capability. It is expected to ship with a
“sample management platform” that
will allow users to fully customise the
sounds.
Also missing from this review is Finhol
Air Kick, a $200 bass drum trigger
and sample box. Unlike the previous
triggers, this one is mounted inside a
bass drum or just outside the sound
hole. Its pressure sensor with
adjustable sensitivity accurately Finhol Air Kick
captures the performance and
dynamics and applies one of two
selectable sounds, routed to a PA via a
single XLR output. We have not been
able to get hold of a review sample,
and if anyone from Finhol reads this,
please find out why our emails have
not been answered!
Finally, a reminder about some hybrid
solutions we have already reviewed:
Sensory Percussion
the Sensory Percussion kit which
recently had a significant price drop
down to $550 for the single unit, and
the software-based apTrigga 3
solution which turns any trigger or mic
into a hybrid solution for just $69 or
$89 with a full custom sound set. And,
let’s not forget the Big Daddy of
trigger/mic systems, the Yamaha
EAD10, a simple solution to micing
and applying FX to a whole kit with a
street price of $500. Yamaha EAD10

18 www.digitaldrummermag.com
 DrumIt
Update Three
your
Drums
with outstanding Sound Quality
Open Sound Universal Flexible
Architecture Trigger Interface Pad Functions
• Create your own High Resolution • Create a Hybrid Set • Metronome Start & Stop
Multilayer Sounds • Use existing Pads • Choose Next or
• Add new Sounds by Drag & Drop • Supports most popular Previous Kit
• Easy to learn Editor Software Brands and Pads • Tempo Tapping

Features
• 15 Trigger Channels
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• 3-Zone Cymbals
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• MIDI In/Out
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• Free Updates
• Free Sounds

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www.2BOX-Drums.com

Anzeige_216x303.indd 1 10.10.2018 11:32:35

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ddt hits
the spot

A recent offering from Germany’s ddt ups the

ante in the e-snare stakes and Allan Leibowitz
tried it out with some current modules.

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digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 21
THE SNARE IS probably the most important
drum and it makes sense that e-drum
manufacturers pay particular attention to this
instrument in their product lines.
With this in mind, we recently tested the 14”
MS-140 E Snare from German maker ddt. It’s
worth noting that we missed this manufacturer
in our big 2011 e-snare round-up, but this
product is a significant departure from the rail
trigger system used in earlier ddt snares.
What’s in the box
It’s a heavy box, with the chrome snare
weighing in at around 3.5 Kg. The drum comes
equipped with a clear mylar resonant head and
a two-ply mesh batter head. The top hoop is
enclosed in a rubber noise protector.
There’s a ¼” TRS output jack, which is a
departure from earlier XLR connectors.
Overall, the shell just shouts quality. From the
mirror chrome finish to the generous inclusion
of 12 lugs on each side (even upscale
acoustics snares only have 10!) and the solid
flanged hoop, you can tell this is not a cheap
instrument.
Internally, there’s a plastic “spider truss”,
similar in concept to the platforms used to
house triggers in other German e-snares, from
drum-tec to R-drums. However, this design
uses plastic where most of the others use
metal arms. ddt’s trademark blue foam cone
sits in the middle of the platform and the rim
trigger appears to be mounted below the
platform – much like the other centre-mounted
triggers. The theory is that rim hits are
conducted from the hoop, via the lugs, and
through the arms.
Aesthetically, this is a very attractive drum –
solid and substantial, with a large playing area
and just enough depth (3.5”) to make it look
like a drum rather than a pad.
In action
I’ll preface this analysis by pointing out that 10
years ago, Pintech fitted triggers into sex toys
and achieved decent playability, thanks to the
tolerance and tweaking capability of the
modules around at the time. Today’s drum
brains are even more capable, and the latest
models boast the ability to accommodate most
trigger inputs. So, the MS-140 will most likely
be used in combination with a module that can
easily be dialled in to its particular performance
profile.
We tested the snare with some of the current
crop of modules and found it to be an
outstanding performer across the board – often
without much parameter adjustment.
digitalDRUMMER, November 2018
Drumit Three
The snare was easily dialled in, using the
module’s PadPP (piezo/piezo) preset, with no
adjustment to the rim. It was responsive,
delivering smooth triggering, even for direct
hits right on the tip of the cone. Overall,
triggering was excellent, with good dynamics
and the ability to pick up the lightest of
touches.
Roland TD-17
Set up in PD128 setting, the snare produced
excellent triggering on the head, but it required
a minor boost of rim gain. With this module,
there was no noticeable hot spot. Again,
dynamics were excellent and the snare was
able to produce everything from full-on rim
shots to ghost notes.
ATV aD5
I had thought this snare would be plug and
play in the drum-tec Pro s14 setting since that
snare also has a spider-type mount, but that
setting didn’t produce adequate rim response.
This is probably because drum-tec’s metal
arms are better conductors than ddt’s plastic
ones. Using the Roland PD128 setting with a
touch of rim sensitivity boost, I got excellent
triggering, sensitivity and dynamics.
Pearl MimicPro
Using the latest firmware, I set up the snare
using the Roland PD-128 setting with
reasonably low gain settings for both head and
rim. With very minor adjustments, the snare
delivered excellent responsiveness, dynamics
and even triggering across the head and rim,
with no hot spot.
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Yamaha DTX 502
Using the most current of our Yamaha
modules, I got good triggering in stock setting,
but head only in the snare input, as these are
designed for piezo/switch, not piezo/piezo
inputs. However, using the tom inputs which
are designed for dual-piezo signals, I achieved
good rim triggering. So, if you want to use this
snare with a Yamaha module, just use a tom
input and reassign the snare sounds to that
input.
Pearl Red Box
There are probably still a few of these modules
in use (and their design is very similar to the
Alesis DM10, so these findings probably apply
to that popular module as well). Using one of
the stock snare presets, this snare was
virtually plug and play, with excellent response
on the head. However, the rim needed a boost.
When that was done, performance was
excellent.
Overall
As we have noted, drum pad performance has
as much to do with module capability as with
trigger design, but there are some
18
22
fundamentals required for good overall
triggering. Firstly, one needs a responsive
sensor that quickly and accurately transmits
impulses. Then you need decent rim triggering
and, finally, accurate separation between head
and rim hits. And for centre-mounted triggers,
you also have to overcome the risk of a hot
spot when the head is struck on or near the
sensor.
Without doubt, the MS-140 delivers on all
those basics. Paired with everything in our
arsenal, it was a very playable, highly
responsive, accurate and dynamic snare drum.
In short, it looks great and performs extremely
well. The dual-ply mesh head feels natural,
with a realistic level of bounce, low noise
output and the ability to hold its tension.
It is on sale direct from ddt for €269 or on its
eBay store for around $350, and is covered by
an industry-leading three-year warranty.
Strangely, the 12” solid timber version of the
snare is actually €20 more expensive, making
the MS-140 an even more attractive prospect.
www.digitaldrummermag.com
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digitalDRUMMER, November 2018 23

gear
digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 24

2box encore
It’s been a while coming, but
digitalDrummer got hold of 2box’s new
module and took it for a run.

24 www.digitaldrummermag.com
digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 25
2BOX REALLY SHOOK things up in 2011
when it launched its first kit powered by the
DrumIt Five module featuring real samples.
However, that competitive edge has been
eroded with the arrival of other sample-based
e-drums, notably the now defunct MarkDrum,
but more recently, ATV’s aD5, Alesis’s Strike
and Pearl’s mimicPro.
For a few years now, 2box has been trying to
get back into the game with an updated
version of its module, and this year the new
DrumIt Three hit the shelves.
What’s in the box?
The new module clearly reflects its heritage,
but features a fresh, minimalist design.
Weighing in at almost 2 kg and in stealth black
metal casing with orange highlights, it’s a
serious-looking module.
At the business end, on the rear panel, there
are 14 ¼” inputs (actually 13 trigger inputs and
a hi-hat controller) – which is four more than
the DI5. However, the new module has fewer
direct outs – four compared to the six of the
previous model.
There’s also the usual MIDI in and out
connections as well as a USB port (USB 1!),
together with a ¼” headphone jack and a ¼”
stereo line in.
The face of the module features a simplified
user interface, with fewer knobs than the DI5 –
the major sacrifice being the individual trigger
audition buttons which I thought were a waste
on the original drum brain. I would have
expected the additional real estate to be used
for a larger display, but the DI3 keeps the
same monochromatic LCD readout.
Under the skin
With the DI3, 2box has retained the best
features of the original module while adding
some new features which were missing.
Many would have expected a big boost to the
internal memory, but it remains unchanged at 4
GB – and, more disappointing, the SD card is
still fixed inside the brain and can’t be
removed. Given the popularity of the external
card hack with the previous model (many users
cracked open the module and replaced the
internal SD card with an extender cable
threaded through the casing to the outside), a
removable card seems a no-brainer.
The biggest change is opening up the module
to non-2box triggers. Sure, with tweaking, you
could get almost anything to work with the DI5,
digitalDRUMMER, November 2018
but this version is actually much friendlier to
other triggers. Take, for example, the hi-hat.
Previously, you had to use a proprietary one-
cable solution – either an original 2box hi-hat
and controller combo or an aftermarket hack
like a Stealth Drums kit or a Zourman
converter box. Now, there is a separate input
for the controller, which means you can use
almost any hi-hat solution.
The new module also accommodates two-
cable, three-zone ride cymbals and Yamaha’s
three-zone snares.
There are also some functionality changes and
more stock sounds.
In action
2box has stuck with its user interface based on
two main areas – unit (overall settings) and kit
(individual kit settings). I wasn’t a huge fan of
this approach in the original and seven years
later, in the age of large touch screens, I’m
even less enthused. But the good news is that
most users will only have to work their way
through the menus when they set up the
module – and when they add or change
hardware or import sounds, so I understand
why 2box didn’t invest a whole lot of R&D into
making this as user-friendly as some of the
other offerings on the market.
The initial set-up requires connection of the
triggers. Most pads will be connected with a
single TRS cable, but some three-zone
cymbals might need two cables (hence the
CYM B inputs).
Then, you choose an appropriate pad type on
the module. There are a range of new trigger
presets which weren’t available in the DI5 as
well as a GainR setting to cool down hot
triggers. In the set-up, a drum pad could be
assigned as PadP (piezo/piezo) or PaPSY
(Yamaha-style piezo/switch). This gets you
roughly in the right range and, with a bit of
luck, you might be able to start playing in stock
setting. If not, you can tweak the main
parameters, just like on most other modules:
“gain” adjusts the overall level of the trigger,
“threshold” is the lowest level that registers and
is used to tune out unwanted impulses, and
“curve” adjusts the dynamic response – how
loud the drum plays relative to the intensity of
your strike.
There’s also an adjustment for crosstalk which
screens out vibrations from adjacent triggers.
Unlike the Roland approach, you need to save
the changes for them to take effect.
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I set up the module with a variety of pads and
cymbals – Roland, Yamaha, ddt, ATV and
various independent and DIY pads as well as
some of the more popular external triggers -
and got fantastic results with minimal messing
around.
The hi-hat is another story. It is far more
complicated to set up, dial in and calibrate as
there are two major components – getting the
right response from the cymbal itself and then
finding an open/closed action that works with
your playing style.
I have to say that this process is not exactly
intuitive. For example, there’s a physical screw
on the back of the module that is used to
adjust the RAW value (who even knew there
was such a thing). But the set-up process is
well documented in the manual and if you
follow it closely, you will get impressive hi-hat
responsiveness. And while 2box claimed to
have created a universal solution, it’s not quite
true for the hi-hat, and some models like the
ATV can’t be used without a hack like an
aftermarket Zourman box.
Triggering across all pads and cymbals was
fast – the latency of the module was 5 ms
(identical to the DI5) and at the top end of the
scale for contemporary modules. Importantly, it
was also accurate, with excellent dynamics
from ghost notes to full-bore strikes.
The sounds
Like the DI5, the module is preloaded with real
acoustic recorded samples – close to 4 GB of
them, arranged in 90 kits.
When I first heard the DI5, back in 2011, the
deep, resonant toms and the full-bodied kicks
were a breath of fresh air. The new sounds
loaded into the DI3 are on a par.
The bulk of the sounds come straight from the
DI5, but there are dozens of new sounds,
including signature kits from Randy Black and
Simon Phillips.
The samples are all multilayer – in some
cases, more than 100 samples per zone, with
different sounds for head, rim and cross-stick
for the snare, and bell, bow and edge for the
cymbals. And, you can mix and match –
assigning any sound to any zone.
The sounds are all editable – although it takes
a few clicks to change each parameter. But if
you need to, you can pitch the sounds up or
down and alter the attack and decay. Alas, like
the DI5, there’s no deep editing or ability to
add FX. What you can do, however, is use the
free 2box sound editor app available for both
Mac and Windows to convert .wav files into
multilayer 2box samples. The app is intuitive,
easy to use and very effective.
Digging deeper
While onboard sample editing is limited, the
module has some deep functionality if you dig
in. In particular, there are many options for
sound routing, allowing you to make the most
of the four direct outs. This capability is even
more important, given the reduced number of
direct outs compared to the predecessor
module, and allows users to customise the
output for maximum control. I doubt many
drummers will actually suffer from the absence
of a couple of outputs since most will want their
kick and snare on separate feeds and can no
doubt achieve a usable mix of the other drums
and cymbals using the onboard mixer.
Actions can be assigned to pads, so that you
can start or stop a metronome by striking a
particular zone.
digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 27
Pads can also be set up to start and stop loops
or to change kits.
What you won’t find are training tools or
recording functions. These were not included
in the DI5 and are not seen as necessary in
this incarnation.
Overall
2box has attempted to create a more market-
relevant module in the face of increased
competition which was overtaking the DrumIt
Five. To do so, they “opened up” access to
third-party pads and cymbals, which was a
smart move adopted by the likes of ATV with
its aD5 and the Pearl mimicPro.
The second part of the strategy was to lower
the price – from around $1,200 in the case of
the DI5 to around $900. To do that, there were
some sacrifices – the array of audition buttons
and a couple of outputs. The decision to keep
the memory at 4 GB was probably also an
economic one – even though SD cards have
plunged in price over the past six or seven
years. And while no-one would question the
other sacrifices, the decision to keep the SD
card “locked up” inside the module continues
to raise eyebrows – especially since almost
every other module developed since the DI5
has removable storage.
What we liked: We love the rich, multilayer
sounds – and especially some of the new
digitalDrummer, November 2018
ones. The expanded trigger compatibility is a
significant step forward – especially the move
away from proprietary hi-hats and ride
cymbals. The free sample app still gives this
module an edge over the more expensive
mimic. And the lower price is also welcome
news.
What we liked less: The limited memory and
inaccessible SD card were not smart moves.
The small screen and ageing user interface are
not on the easy-to-use part of the spectrum.
The lack of onboard FX is another limitation.
And recording capability would be nice, but
that’s not a game changer.
Bottom line: 2box has a cult following, built on
the ddrum legacy. The sounds are great, the
performance is excellent, and the trigger
compatibility is right up there. While no-one
really needs permanent access to hundreds of
kits, the 4 GB memory seems unnecessarily
stingy – and it is exacerbated by the fact that
users can’t remove the card and replace it with
other samples.
So, the DrumIt Three takes much of the good
stuff from the DrumIt Five, enhances its
compatibility and drops the price without too
much sacrifice. But comparisons to the original
2box module are not really appropriate, given
that the game has changed substantially. It’s
an excellent addition to the marketplace, but
it faces significant competition.
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digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 28

Mackie
offers IEMs

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digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 29
digitalDrummer tried Mackie’s latest monitoring
offering – the MP-240 dual-driver in-ear monitors.
AMPLIFICATION COMPANY MACKIE is
no stranger to many readers. Those in
bands will be familiar with its mixers and
PAs, and many e-drummers are using the
Thump powered speakers with their e-kits.
Mackie has now turned its attention to the
growing in-ear monitor (IEM) market, with
three initial offerings – all of which share a
common design and form. What
differentiates the MP series is the number
of drivers: the MP-120 has one dynamic
driver per in-ear; the MP-220 has two
dynamic drivers and the top-of-the-line MP-
240 has one dynamic driver and one
balanced armature driver. We tested the
flagship model.
What’s in the box
The MP-240 is supplied in a sturdy,
compact black plastic hard case and
comes with three types of tips, each one
supplied in three sizes. There’s also a 3.5
mm to 6.5 mm adaptor.
The IEMs consist of a fairly large (by IEM
standards) housing made of black plastic,
digitalDRUMMER, November 2018
with the running man logo on the outside.
The detachable cables are gig-gauge and
robust. They attach via the MMCX
connectors which are quite common in this
product line. This means that if you
damage a cable, it should be reasonably
easy to find a replacement. The business
end of the cable takes the form of a right-
angle 3.5 mm gold-plated stereo jack.
Fitting
IEMs have two functions: monitoring and
sound isolation. Both of these require a
snug fit, but if you’re going to be wearing
them for a while, you’ll also want a high
level of comfort.
The MP-240 comes with three types of tips
– foam, round and double-flanged silicone
- and each comes in a small, medium and
large version. For most people, that array
should ensure a good fit – one that is snug
enough to block outside sounds, but which
doesn’t feel tight and uncomfortable.
Personally, I battled to find a decent fit like
the one I get with the triple-flange tip that
29
digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 30
comes standard with Westone, Shure or
Etymotic IEMs. And I couldn’t simply use
one of those because Mackie has chosen
a different size and a design with a lip that
actually makes tip fitting quite challenging.
Luckily, you’ll probably only have to do it
once.
I also found the IEM body to be quite large
for my ear shape, and I don’t consider
myself small-eared by any means. So, it is
probably best to check before buying –
something which can be challenging with
products like these.
Anyway, when you find a comfortable tip
and fit the IEM, you can curl the cable
around the top of your ear and it will stay in
place, thanks to a couple of inches of rigid
cabling.
In action
For comfort, I ended up using the foam tips
which are probably not the best solution
since their seal is not as impervious as the
silicone and foam also tends to take the
edge off the IEM sounds. So, I probably
didn’t get to experience 100% of the MP-
240’s performance.
For those with a technical bent, the IEMs
are meant to provide up to 40 dB of sound
isolation. In action, that meant I couldn’t
hear any stick sounds on mesh heads and
rubber pads.
The 240s have a rated impedance of 16
Ohms – and that meant I had to turn down
the volume on the module quite a bit.
That’s great for drum brains like the 2box,
with low output levels.
Of course, good modules produce a wide
sonic spectrum, from thunderous bass
drums to tingling cymbals, and the 240 was
able to reproduce those with surprising
accuracy. Our test bed has hosted multi-
driver, complex cross-over IEMs, and the
output of the 240 was certainly close to
that league.
Lows were deep and resonant, without
being distorted or overpowering. Highs like
the shimmer of the cymbals were accurate
and full. But the real powerhouse was the
balanced armature which produced
complex, thorough mids.
30
Without the need to mess with the
module’s EQ, the headphones produced a
beautifully balanced soundscape with no
noticeable omissions. Separation between
instruments was excellent and the stereo
soundstage was spacious.
The same was true when I tested them
with audio tracks through a decent stereo
(and I’m not talking about an iPhone!).
Overall
You need a bit of luck to ensure a great fit
with the supplied tips and a bit of patience
to swap them if at first you don’t succeed.
And, because of the non-standard size, it
may be hard to find aftermarket tips better
suited to your ear canal if the supplied tips
don’t do it for you. But when you get them
in snugly, the MP-240s won’t disappoint.
They worked especially well with drum
modules, even those characterised by low
output volume, to create rich, accurate
soundscapes while providing a good level
of isolation from external sounds, easily
blocking out stick noises.
Of course, there is my usual gripe – the
cable, at around 1.5 m, is on the short end
for e-drummers, so you’ll probably need an
expansion cable.
But, the biggest surprise is the price point.
Mackie has a recommended retail of
$279.99, but already many stores are
offering them below $200, putting them
clearly in the company of single-driver
competitors, where there is no contest.
For those who have been waiting for an
opportunity to try IEMs without breaking
the bank, the new Mackie range might be
the answer: the MP-120s sell for under
$100 and would probably be a good place
to start. But performance-wise, it’s hard to
fault the bang for buck of the MP-240.
Specifications
Transducer type: Single Dynamic and
Single-Balanced Armature
Sensitivity: 108 dB
Frequency response: 20 Hz to 20 kHz
Impedance: 16 Ohms
Sound isolation: 40dB
Street price: $199
www.digitaldrummermag.com
software
digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 31

Tool almost
removes drums
digitalDrummer, November 2018 31
digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 32
Is it easy to remove drums from mixed tracks?
We try another tool that claims to be able to.
DRUMLESS TRACKS ARE much sought-
after by all drummers, especially e-
drummers who are able to drum along to
them and create that perfect mix in the
module. And tools which can remove
drums from mixed audio files are the Holy
Grail.
DrumExtract from YellowNoise Audio
sounds promising, going by the name
alone. The VST plugin, which works with
Cubase, Ableton Live, Reaper, FL Studio,
Sound Forge, Audacity, Audition, Logic Pro
and Studio One, among others, looks
simple, but clearly has a lot going on
behind the scenes.
Before we dive into DrumExtract, it’s worth
keeping the developer’s explanation in
mind: “an audio mix is like a baked cake: it
is difficult (and sometimes impossible) to
recover each individual part of a mix”.
So, what’s in the box and how
does it work?
As with most plugins these days, there’s no
box: the product is available by download
only for €49. Click on the buy tab and you
go straight to a PayPal checkout and the
download itself is tiny – 2.1 MB and done
in a flash.
Once you’ve downloaded the plugin, you
can open an audio track in your VST (I first
tested it with Logic Pro X). Then you add
the plugin, which you’ll find as an Audio
Unit.
It opens to reveal a simple window
dominated by a dial which goes from
Percussive on the left to Harmonic on the
right, with the original mix in the middle.
As you turn the virtual dial anti-clockwise,
digitalDRUMMER, November 2018
the melody and lyrics start distorting and
disappearing until you are left with a rough
drum track (plus some bits of vocals and
other tones). Go the other way – clockwise
– and the snare and kick start disappearing
(together with some other instrument and
vocal parts).
The plugin is effective – but a long way
from perfect. Indeed, the DrumExtract
website has plenty of warnings:
· DrumExtract … doesn't work on
songs with instruments with fast pitch
changes, such as fast instrument solos
or vocal parts.
· DrumExtract is unable to
separate voice from drums.
· … don't expect DrumExtract to
work on every song or on the full length
of a song.
OK, it doesn’t promise to do much – so it’s
not hard to overdeliver. And indeed, the
plugin worked very well with some songs in
my library – notably those with sparse,
uncomplicated drumming. For example, it
did a great job of removing drums from
some Post Modern Jukebox songs, but
with Oasis’ Don’t Look Back in Anger, the
dial had to be pushed all the way to
Harmonic to eradicate the snare and kick
sounds, but that also meant removing a
whole chunk of vocal range – and it didn’t
quite mask the cymbals and toms.
The other application – and probably one
that gets more buyers interested – is
isolation of the drum track. If you’re a
producer and you hear a great beat, it is
possible to sample that by dialling out the
harmonics and leaving the percussive
parts. Again, this is hit and miss – the
digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 33
structure of some songs lends itself to the
total removal of everything but rhythm
sounds while others are so integrated that
you just can’t remove enough of the
melody to leave just the beat.
And, it must be stressed, you certainly
can’t isolate individual percussion
instruments like, for example, the snare or
the hats.
Overall
To their credit, the developers certainly
offer enough warnings that this is not a
plug and play drum removal/isolation tool.
They claim that DrumExtract “works better
than pure EQ to extract drum samples” and
that’s true. I also agree that “DrumExtract
goes beyond traditional tools and offers
state-of-the-art separation”.
To date, I have tried a few solutions
including Anytune, and DrumExtract
produced better results with more songs. I
have also had some success using
Superior Drummer 3’s Tracker function to
isolate drum parts and then mute them.
I’ve been told repeatedly that this defies
the rules of physics, but have nonetheless
managed to create some less-drums
(rather than drumless) tracks.
So, does DrumExtract achieve Holy Grail
status? Given the right type of song with
the right mix of chords, vocal range and
drum tracks, it can come close. But if your
song is really well mixed and blended,
there’s not much chance of removing or
isolating the percussion part. Yes, you can
possibly dial the drums back enough to
play along with the track, but it’s not the
same as going into the original recordings
and muting the drums.
So, if you don’t mind a bit of hit and miss
and have a spare €49, go for it.
Otherwise, save your money for individual
tracks from some of the Karaoke websites
where you can buy custom songs minus
drums.
profile
digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 34

Wolfgang
Flür
reflects
PHOTO: SIMON WATSON

Music historians trace the e-drum revolution back to

German electronic group Kraftwerk. And the man
behind that new sound was Wolfgang Flür. He
recalls his e-drum journey with digitalDrummer
editor Allan Leibowitz.
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digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 35

digitalDrummer: Can you tell us a bit about

how you got into drumming and any formal
music education that got you started?
Wolfgang Flür: When I was around 15 years
old, I detected with my closest school friend a
room with instruments from a skiffle band in the
cellar of our secondary school. There was also
a complete drum set. I was very interested and
sat down on the drummer’s seat and for the
first time in my life took wooden drumsticks in
my hands and made a lot of noise. The magic
and the power it had was amazing to me. With
drumming, I felt a kind of might. I played lots of
exclamation marks (powerful shots). A year
later, I had my own first drum set. It was used
and small, but it was mine! My father was an
optician and had a colleague who was friendly
with a musician who was a drummer. My father
hired this nice young man to give me a few
simple lessons which was really helpful.
I didn’t need much time to learn the simple
drums of The Beatles’ Love Me Do. In fact, the
Mersey Beat sound shaped my early playing.

dD: So what was your first band?

WF: My first school band was The Beathovens.
We learned the UK radio Top 10 songs by
practising them in our rehearsal room. Every
Saturday, we listened at 4 pm to these songs
on Radio Luxemburg’s FM radio which was
very exciting to us. The Beathovens developed
into the best Beatles cover band in the
Düsseldorf area. We even had a manager:
Hartwig Herbst, who was also the CEO of a big
Düsseldorf food shop. On the weekends,
Hartwig drove us in his store’s VW Bully
delivery van to the gigs he had booked for us.
We played school fetes, Düsseldorf fair events,
private parties and the first rock clubs held in
Düsseldorf pubs.
dD: When did you realise music was
something you could do for a living?
WF: Already in my school days, I realised that
music was something for making money. With
The Beathovens, we were earning between
DM400 and DM800, which was a lot in the late
‘60s. We shared the money between the four
of us and didn’t need it for living because all of
us were still at our parents’ homes. We
invested the money in our very fine
instruments and amplifiers. The guitarists in my
band had the same guitars as The Beatles, we
had the same VOX AC 30 amplifiers, the
Goliath bass box, the vocals PA and four
microphones. I had at least half of a Ludwig
drum set!
digitalDrummer, November 2018
dD: Let’s fast forward to Kraftwerk, which is
often described as the originator of electronic
drums. Can you tell us how that came about?
WF: That’s easy to explain. We were actually
not the originators, I must say. There were
already electronic drums out in the shops for
one-man-band organ players. Automatic drum
machines with synthetic sounds inside.
The drummers before me who played with Ralf
and Florian were not a great fit. They drummed
too much, they were too loud! They came from
jazz and rock. They wanted to be
acknowledged as instrument players like
keyboard players or guitarists. Too heavy for
Kraftwerk’s experimental and minimal style.
After Klaus Dinger’s departure, Ralf and
Florian decided to use an automatic drum box -
one which had inbuilt presets like rhumba,
foxtrot, waltz, cha cha cha or bossa nova. They
used a tiny machine, the Farfisa Rhythm 10,
35
digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 36
on their album Ralf & Florian. This happened
just before I entered the group. I found this tiny
box in their rehearsal room during my first
sessions for an appearance on the German TV
channel Aspekte, the best culture program
(and still running!).
I found the sound of this box extraordinarily
good and a much better fit with their first
synthesizers than a regular drum set, which
they didn’t want to buy me if I joined the group
as a steady member.
I practised with my finger tips on the knobs on
top of the device and, after a while, I had a
nice little rhythm going – pretty much the
Mersey Beat from Liverpool.
For live appearances, we had to have a drum
pad board to play standing up, with rods on
metal plates which were connected to the
switches and sounds inside the device by
electric cables. I built this board in a week or
so. Florian was excited to have someone in his
group who was also innovative and keen to try
unusual things. He gave me good tips on how
to manage the electrical connections to the
workings of this drum box. We first used this
home-made board on our Aspekte appearance
on October 30, 1973. It was outstanding! You
can still watch the show today.
And, by the way, I was later presented with an
award for this device at Mexico’s TIJUANA
INNOVADORA 2012 celebration.
dD: And what other equipment did you use
with Kraftwerk after that?
WF: I can remember using the Moog
Minimoog, ARP (white-faced) Odyssey, Farfisa
Rhythm Unit 10 and our own drumpad-boards,
which developed into two separate pads.
I also used the Vox Percussion King, Farfisa
Professional Piano, EMS Synthi-A, Schulte
Compact Phasing A and Mutron Biphase.
dD: What challenges did you face when you
arrived at a live performance with instruments
that were totally strange to the desk operator?
WF: We always used Dehmann, an electronic
engineer, as our desk operator. He was friendly
with us and always accompanied us on tour.
He developed some electronics, cabled our
instruments and looked after the sound desk.
He knew all our instruments, devices and
techniques well. We did not allow anyone else
to control our sound in the halls or theatres
where we played.
dD: Moving on, what are you currently doing
and how do electronic instruments feature in
your music?
36
One of Flür’s multi-trigger devices.
WF: I’m now a producer. I write lyrics and
develop melodies, I do collaborations with
artists from all over the world whom I meet
during my journeys as MUSIK-SOLDAT (music
soldier). In this role, I present electronic dance
music and films, videos and slides on a big
screen behind me.
In music productions, I’m more the visionary
rather than the technician. With my partners,
we use all available electronic devices and
synthesizers, vocoders, etc. My current main
partner is Peter Duggal from England’s
Hebden Bridge. With him, I produce pop music
which is very much my style. I use spoken
words and singing. I further collaborate with
the Hamburg-based producers of U96. The
song ZUKUNFTSMUSIK is currently number
one on the Swedish dance charts.
dD: What do you think about the e-drum
product available off-the-shelf today?
WF: Today’s e-drums have a big advantage
over classical drumsets. They are lightweight,
small and generally good value for money.
Electronic instruments like the Roland SPD-SX
go even further, with an onboard sampling
section. That means one can record every
conceivable sound and allocate it to one of the
six drum pads on the board to play it live –
what a great field of sounds! We in Kraftwerk
would have loved to play such a device in our
pioneering era. Looking back, in 1973, we just
gave this new modern drumming a start, which
the industry has taken over with joy and
commercial know-how.
www.digitaldrummermag.com
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Select the best

Each year, our readers
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Readers’ Choice awards.
The awards are an
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Choose the winners

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Cast your vote by clicking here.
performance
digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 38

How I use e-drums

Ryan Halsey uses electronics to recreate recorded
sounds in live performances.

PHOTO: ROB QUINCEY

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I’M A UK-based musician, producer and
songwriter. My sound is a blend of innovative
polyrhythms and melodies that take audiences
to the fringes of modern music, while
maintaining a classic musical sensibility that
keeps them in the groove. I’ve been told my
flare for cutting-edge creativity and eclectic ear
produce genre-defying tracks and an
undeniable signature.
I started drumming at the age of 14 and spent
most of the early years of drumming playing
along to my favourite albums. The Roland TD-
3 e-kit was with me through those early years:
it took a beating and never had an issue!
I soon realised there are only so many things
you can play with single strokes and studied at
Tech Music Schools (now BIMM London) to
learn the other fundamentals of drumming.
Nowadays, I play in the band The Gravity
Drive. Initially, we started off playing purely
acoustic and stripped back; however, the debut
album the band released was almost the
opposite, lots of layers and instruments with
great production. After seeing and hearing
about the Roland SPD-SX, I knew it would
open up our possibilities playing live as a trio,
enabling us to use the recorded stems from the
album live.
We were able to gig with a full band sound
despite only having drums, acoustic guitar,
vocals and the SPD-SX. It gave us the ability
to perform a representation of the album in
front of a BBC DJ and led to the band
performing a live session on BBC Radio 2.
It took time to understand how to mix the
stems correctly for use in a live setting. Bass,
in particular, was a challenging area as it would
change so much from room to room and with
different PA set-ups. Thankfully,
we now have a bass player, so
PHOTO: JAMIE PEGLER
I use both of these in stripped-back scenarios
in the band. They allow me to play at a
controlled volume and have a wide range of
sounds to hand, which is not something I can
do using something like cajon or brushes. I will
make a different kit for each song based off the
sounds coming from the rest of the band. I love
that I can change to a completely different kit
for each song in the set, something that is not
easy to achieve with acoustic drums.
Having said that, I’ve recently started using the
Yamaha EAD-10 and I think it’s a bit of a game
changer! It uses microphones on an acoustic
kit coupled with the processing and effects you
find on most e-drum modules. I’ve found it to
be one of the most versatile e-drum units I’ve
come across and I’m excited to see what it can
offer in the band scenario.
All of these units require time and patience to
go in deeper and really get the best out of
them: there’s a lot more on offer than the
preset kits!
Gear list
Tama Starclassic Birch/Bubinga:
22 x 18
10 x 6.5
12 x 7
16 x 14
14 x 4.5 VK Brass Snare
Roland SPD-SX
Meinl Byzance Cymbals:
14” Traditional Medium Hi Hats
18” Extra Thin Hammered Crash
20” Extra Thin Hammered Crash
21” Traditional Ride
18/16” Matt Garstka Fat Stack
Evans Drumheads

the SPD-SX plays more of a

supportive role rather than
being half of the band!
Since getting the e-drum bug, I
have tried various percussion
pads and some of them have
felt like you need a degree to
operate them! However, I do
enjoy using the Roland Octapad
and Nord Drum 3. The Octapad
is very customisable, with some
great layering options, and the
Nord Drum has a natural feel
with organic and expressive
sounds.
digitalDRUMMER,May 2017 39
training
digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 40

Five into four

does go

Click to watch the video

Some might find Raul Vargas’ latest lesson a

bit challenging, but take it slow and you’ll get
there.
IN THIS EDITION, we’ll look at quintuplet grooves. Quintuplets are groups of
five notes in the space of quarter notes.
In the first, second and third exercises, we have a simple hi-hat pattern
which remains constant: the only variations are in the bass drum and snare
drum pattern.
The fourth, fifth and sixth exercises share another hi-hat pattern, with
variations in the bass drum and snare drum, too.
Remember that speed is the last thing to work on. Quintuplets are hard to
play. We must always focus on maintaining a good and clear sound.
Use of a metronome is essential. I recommend that you set the metronome
for quintuplets and the click on the first and fourth measure for the best time
appreciation.
Until next time …

Mexican drummer Raul Vargas recently joined the Berklee

College of Music and Berklee Online faculty as an
international mentor. Since being voted E-drummer of
the Year in digitalDrummer’s Readers’ Choice poll,
Vargas has been appointed to the Percussive Arts
Society International Committee.

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digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 41

Exercise 1

Exercise 2

Exercise 3

Exercise 4

Exercise 5

Exercise 6

Click to watch the video

digitalDRUMMER, November 2018 41
gear
digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 42

MONSTER
My
kit
CB Averitt from Florence, South Carolina
takes us into his studio to share his kit.
CBs kit CB’s Story
Alesis Strike Pro Kit I received my first snare drum in 1976. I was
Additional drums: heavy into playing all through my teen years,
3 Alesis 10” two-zone mesh pads playing in school bands and winning several
2 Alesis 8” two-zone mesh pads state and local awards. My passion was
musicals, playing in several local productions. I
11 assorted Alesis pads
attended and graduated from University of
6 Alesis cymbal pads
North Carolina Pembroke in Percussion, after
Alesis hi-hat pad which I managed a music store and played in
Yamaha DTX-Multi 12 electronic the local symphony and big band. Life got in
percussion pad the way and in 1992, I completely got out of
2 ddrum DDTi trigger interfaces anything music until recently, when I
DAW: 2017 MacBook Pro with purchased an e-drum kit. I’ve added and
Mainstage/Logic Pro X added, but it’s still a work in progress.
Audio Interface: Tascam US-16X08
42 www.digitaldrummermag.com
digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 43

Share
your kit
3digitalDRUMMER, November 2018 43
 digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 44

gearGuide
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• 2box™ DrumIt Five and Roland™ CY-13R & CY-15R & ATV™ aD-C18 Rides
• 2box™ DrumIt Five & Three for ATV™ aD-H14 hi-hat
• 1920s Ludwig Black Beauty snare samples for 2box DrumIt Five & Three

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44 www.digitaldrummermag.com
digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 45

gearGuide
CONVERSION KITS TRAINING

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digitalDRUMMER, November 2018 45

digitalDrummer_Nov_2018.qxp_Layout 3 21/10/18 2:30 pm Page 46

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
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From triggers to mesh heads and VSTs, to download
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