...in a small room where the kit is near the congregation then V-drum kit is really the least line of resistance, however you need to get one that allows separation of each sound TD20 and above in Roland speak AND set up kits that match each drummer's style and playing strength...
Roland TD10/20/30 kits give you 8 outputs, almost like a fully mic'd up kit. I use 2 outputs as a stereo bus for toms, 2 outputs for a stereo bus for crashes, and everything else gets its own channel.On my TD10W-extended their are 4 banks of trigger settings, so it can accommodate 4 different drum styles (basically how hard the person hits, how consistent they are ,... It is time consuming to tune a Roland drum set to the drummers style if the drummer plays with a lot of dynamics and relies on positional changes to sounds (e.g. how does the snare sound near the rim versus the center when I hit at different velocities,...) Roland can handle all of these subtleties really well but you have to program the triggers to the player. If the drummer is a banger it's trivial)As Jay said, a drummer can do some really screwy things with the ambience and other features so you get crash in your kick channel, but you get real bleed with real mics and you have tools to deal with them at the console. Ambience and other 'studio' settings on the TDx0 brains is something that can be worked out overtime in a venue with their own drums, but I can see how it could be a real PITA for someone bringing in their own kit for a one off.
Thanks for that perspective. I had actually asked about this in another post. Our drummer had this ambience bleed in tom channels and said "it was supposed to be like that", but I was getting cymbals in the tom channels louder than the toms, themselves and other screwy combinations of horrible bleed. He had explained that this was Roland's "feature" to add realism", etc. and that he didn't want me to be able to remove this. I didn't think this could be correct, so I skimmed the entire TD-30 manual and found the part where it showed an example of EXACTLY what I wanted to do: route the ambience, room and FX to the Master L/R and keep the other drums, dry and discreet, coming out Direct Outs 1-8. I'm hoping this will be a simple change at our next gig. The drummer had come up with all these kits that had ambience routed to other channels, contaminating the discreet drum outputs, so I couldn't get a decent mix. Hopefully this will all change now.
...I think I would do:Kick, snare, hat, tom, tom, tom, metal, ambience because the drummer wants the separate L/R routed to their in ears. Of course a big part of the problem was that he never heard what he was sending me....
Thanks for that perspective. I had actually asked about this in another post. Our drummer had this ambience bleed in tom channels and said "it was supposed to be like that", but I was getting cymbals in the tom channels louder than the toms, ....
But where's the cowbell ?
The TD10 allows ambience to be set for each trigger as well as a master ambiance return. With one button/knob you should be able to disable for a gig, then quickly restore afterwards. Actually, I'm not sure if this is a per-kit setting or if there is a global setting for all sets. I only use one kit.
. I was getting cranked cymbal ambience coming out the Toms output, which made it virtually impossible to get a good drum mix.
We transitioned to X-32's P-16 Aviom style pods, and really just trying to lower the stage volume at the church. I was watching some videos from clearsonic and from what I gather, the real control comes from total enclosure. While that is obvious, I also think it is extremely ugly. Does anyone have any real world experience with a shield up against a wall with sound deadening only behind on the wall? The church ceiling height is about 50 feet up and drums are located on left side of the stage. They are also mic'd. Thanks!
Page created in 0.095 seconds with 23 queries.