Nobody answered my last post about the dtxpress by Yamaha, but i still want anyones opinion on e-sets in general.
O.K. .... how bout' ANY electronic set?
- Thread starter shem
- Start date
The DTExpress is not bad for $1000. Roland recently came out with a $1200 kit to compete with the DXExpress (If I recall it is a TD-6).
I'm a fan of E-drums - been playing them even since Simmons came out in the 80's (I use V-Drums currently). Naturally they will never replace real drums, but for recording they're great - You don't need mics, mic pre's, a good sounding room, etc.
I don't like E-drums for live application but for recording I think it's a no brainer - unless you are set up to get good accoustic sounds.
The main thing to keep in mind is that the DTExpress only has stereo outs - so you have to do all your panning assignments in the module.
Have you done a search? There have been other E-drum discussions on this site.
I'm a fan of E-drums - been playing them even since Simmons came out in the 80's (I use V-Drums currently). Naturally they will never replace real drums, but for recording they're great - You don't need mics, mic pre's, a good sounding room, etc.
I don't like E-drums for live application but for recording I think it's a no brainer - unless you are set up to get good accoustic sounds.
The main thing to keep in mind is that the DTExpress only has stereo outs - so you have to do all your panning assignments in the module.
Have you done a search? There have been other E-drum discussions on this site.
By the way I went back and looked at your previous post. I have spent a few hours on the DTExpress (as well as various other E-Drums). I like most of the sounds - but the kit is a little "fragile" (what can you expect for $1000). In particular, I think the kick "tower" is fragile - but it you plan to set the kit up and not tear it down or move it a lot it should be fine. Also keep in mind E-drums require a slightly different technique - you shouldn't bash them as much as an accoustic kit.
Thanks alot mikeh, I really appreciate your advice. I would love to have a decent set for that price and as long as they have better beats than my old psr 500 keyboard then i should be set for recording. But why wouldnt you want to gig live with em? I mean if they got decent sounds then thats all you need is a beat not lars ulrich,, you know? Unless you would be embarressed of the chincey lookingness of it.
thanks again!
thanks again!
My objections to E-drums in a live application have nothing to do with the looks of the kit. I have found that you can get what you think is a great sound from a module in the controlled environment of your living room/apartment, etc but when you get into a club the accoustics are different or in the mix with the band the sound doesn't sound right. I've experienced the same type of problems when I've gigged as a keyboard player. A horn patch sounds great at home - but get it on stage with the guitars, etc. and it suddenly sounds like crap.
I hate trying to tweak sounds between songs when I should be counting to 4 for the next song. In addition, there are too many potential problems/breakdowns with E-Drums - in particular playing summer festivals with dust, rain and questionable AC.
I've learned how to adjust my technique on accoustic drums to react with the variables and a roll of duct tape can fix almost any problem with accoustic drums.
Naturally all these potential E-drum can arise in a studio (and I've had some unhappy producers waiting for me to trouble shoot an E-drum problem @ $80 an hour) - but it is a more controlled environment and I think better for dialing in the right sounds.
I hate trying to tweak sounds between songs when I should be counting to 4 for the next song. In addition, there are too many potential problems/breakdowns with E-Drums - in particular playing summer festivals with dust, rain and questionable AC.
I've learned how to adjust my technique on accoustic drums to react with the variables and a roll of duct tape can fix almost any problem with accoustic drums.
Naturally all these potential E-drum can arise in a studio (and I've had some unhappy producers waiting for me to trouble shoot an E-drum problem @ $80 an hour) - but it is a more controlled environment and I think better for dialing in the right sounds.
skippy
New member
Yup. It takes hours and hours of effort to tune, tweak, and optimize your technique towards e-drumming, and to do the same for the sounds you are triggering. Which should come as no surprise, as it took most of us many years to tune and tweek our acoustic setups and chops.
E-drums are basically a whole new instrument. They move air differently (with respect to the onstage levels), they fall into a live mix much differently, they feel different and must be played with a different touch, in some ways. However, once the time has been invested to make them work, they can solve many problems that have always plagued acoustic drums (both live and in a studio setting). They also bring problems (particularly in reliability, and in monitoring) that are uniquely theirs. it's down to taste, and the blend with the sound of the group.
Some tunes in the studio setting will always call for an acoustic sound. Some may call for a combination, and some may work best with the direct outs from a drum module (witness the upsurge in people retriggering/replacing on acoustic tracks). It's just another tube of paint in the sonic palette...
The live environment is _never_ the place to be trying out new things on e-drums- or on keys, for that matter. You work out the moves in advance, rehearse, get the sounds right, and then take it out in public- at least to the point of having a bulletproof and good-sounding default patch to return to... Takes time, but that's also no different than the acoustic version.
I highly doubt that I will ever find myself playing live on acoustics again, although I do dearly love my old kit. The E-drums are too versatile, and too seductive, and I've now spent several years rebuilding my chops around them.
To each their own, of course- but IMNSHO, e-drums do have a great deal of merit, both studio and live...
E-drums are basically a whole new instrument. They move air differently (with respect to the onstage levels), they fall into a live mix much differently, they feel different and must be played with a different touch, in some ways. However, once the time has been invested to make them work, they can solve many problems that have always plagued acoustic drums (both live and in a studio setting). They also bring problems (particularly in reliability, and in monitoring) that are uniquely theirs. it's down to taste, and the blend with the sound of the group.
Some tunes in the studio setting will always call for an acoustic sound. Some may call for a combination, and some may work best with the direct outs from a drum module (witness the upsurge in people retriggering/replacing on acoustic tracks). It's just another tube of paint in the sonic palette...
The live environment is _never_ the place to be trying out new things on e-drums- or on keys, for that matter. You work out the moves in advance, rehearse, get the sounds right, and then take it out in public- at least to the point of having a bulletproof and good-sounding default patch to return to... Takes time, but that's also no different than the acoustic version.
I highly doubt that I will ever find myself playing live on acoustics again, although I do dearly love my old kit. The E-drums are too versatile, and too seductive, and I've now spent several years rebuilding my chops around them.
To each their own, of course- but IMNSHO, e-drums do have a great deal of merit, both studio and live...
