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[Debbie Dunkley]

I watched some U-Tube vijeos and I still can't get what its real purpose is. There was one guy who had a live band mix that was supposedly just the EAD unit and it had a crap ton of kick ( I assume sampled ) and essentially an ambient drum mic sound for the rest. The snare and all sounded ok, but it was not what I would call a usable live sound solution if what he had was pumped out the PA. There was a faint amount of reverb that the head unit was producing, but other than that, it was just a stereo mic with a kick trigger. You could hear the rest of the band in the mix. So while it may not be any worse than a typical overhead setup, it wasn't better.

My fear for a drummer using it to practice is how out of control they could get. To beat the acoustic level of the drums you would have to turn it up a little bit and for simply FX and playback with a track, for a heck of a lot less than $600 I could build a system to do just that. Still not sold. What I would be interested in is a version of this that is all in one, controlled remotely ( via a phone app ) that could send three channels of audio to get kick and a stereo ambient feed. This would make a great solution for small quick in and quick out, low profile type gigs.

Oh I can think of all kinds of ways to improve this but I'm taking it for what it is and I think it could be very useful once we dial it in.
For starters I'd have a separate out for kick trigger to PA  - that is going to be the one to overcome for me.

I recorded some of the night and was just listening to it. Not bad and at least as good if not a better drum sound than some live recordings I've heard using conventional methods.

[Stephen Kirby]

Sticking a mic in over the top of the bass drum is not a new technique by any means.  Lots of variations of this.  From minimal mic'ing to using it with an otherwise fully close mic'd kit to add color and some sense of space.

Most overheads have far too much HF.  Even cymbals sound unnatural.  Thus the popularity of various alternative mic'ing techniques and using things like ribbon mics with rolled of HF.  The closer you can approximate the perspective/balance the drummer hears, the less mics you need (provided you have a drummer who can balance themselves and doesn't need a fix it in the mix).

[Tom Roche]

This has been reviewed/discussed on one of the drum forums for a while now, and by my estimation it appears to be fairly well received.  I finally got the chance to demo one at my local 5-star drum shop listening through headphones.  I was impressed with how well it picked up the sound of the drums.  The control lets you determine how much effect(s) to mix with the acoustic drums. 

Where I see its biggest strength is in a cover band, changing the effects to replicate the drum sounds of the original music. For example, you can get a big arena sound so when the band plays In The Air Tonight it sounds really big.  However, this means running the drums through a PA.  I see no usefulness in very small venues.

[Geert Friedhof]

Oh dear, what are we, the BE's, goin' to do?

I mean: personal monitors, X18 mixers etc. made us almost extinct. And now they wanna take away our beloved (bespoke) fx?

Are we really going to be the mules, the stagehands, the people who are supposed to take the trash out?

I'd rather be a lampy...

[John Chiara]

Oh dear, what are we, the BE's, goin' to do?

I mean: personal monitors, X18 mixers etc. made us almost extinct. And now they wanna take away our beloved (bespoke) fx?

Are we really going to be the mules, the stagehands, the people who are supposed to take the trash out?

I'd rather be a lampy...

Just ordered one. Hoping to use it in a 100% wet setup to send FOH a stereo drum FX return that can be changed per song and blended with normally miced drums.

[Debbie Dunkley]

Just ordered one. Hoping to use it in a 100% wet setup to send FOH a stereo drum FX return that can be changed per song and blended with normally miced drums.

I think you'll be surprised how good some of the trigger sounds are and the quality of the mics also.
We played with ours again on wednesday and spent some time setting up user scenes by going through the master setlist. I recorded each scene and played back just so that we could only hear what came through the mics and the trigger. It is tough NOT to hear acoustic drums even with in ears so recording the sounds worked for us.
Looking forward to tomorrow to try the new scenes out.

BTW.... the drummer now wants to buy the snare trigger - slippery slope....

[Bob Leonard]

When it comes to digital drumming there really are only a couple of players, and Yamaha is one of them. Not because of their triggers, but because their sound modules are very good. My synth drums, when needed, come from MIDI files and are played back through a Roland Integra. If you want to upgrade this might be a path for you to take. Triggers are all over the place. Good sound modules not so much. In the demo Scott will get into changing the tones using the "room mic" settings, decay, etc.. Very cool.

https://www.youtube.com/watch?v=zt5Kh3p556Y

https://www.youtube.com/watch?v=lfulD6BkS-A

https://www.youtube.com/watch?v=MRnQ_zLc3VU

[Debbie Dunkley]

When it comes to digital drumming there really are only a couple of players, and Yamaha is one of them. Not because of their triggers, but because their sound modules are very good. My synth drums, when needed, come from MIDI files and are played back through a Roland Integra. If you want to upgrade this might be a path for you to take. Triggers are all over the place. Good sound modules not so much. In the demo Scott will get into changing the tones using the "room mic" settings, decay, etc.. Very cool.

https://www.youtube.com/watch?v=zt5Kh3p556Y

https://www.youtube.com/watch?v=lfulD6BkS-A

https://www.youtube.com/watch?v=MRnQ_zLc3VU

I can't get over those guitar sounds..... wow. That is usually where sound modules fail for me... it always sound so .... well.... keyboardy.  Great drum sounds - It's a Roland, what do you expect - right? .....This is a fantastic module Bob.

[Matthias McCready]

So last night we used the EAD10 again but in a bigger club. I'm viewing this from a SR perspective so I'd love to hear if any of you guys have come across one of these.

My business partner (he is a drummer) picked up one of those when it first came out. He was super excited, I gave it a fair shot... but it went back the next week 

It was an interesting device and I tried it at a few different venues. On the positive side if there are no good mics or if there is no one to dial things in it is a massive improvement. Personally, I would rather take the extra few minutes and properly mic kit with nice mics. I could never get enough snare out of it (i am aware you can buy an extra snare trigger/mic for the EAD10). I also found many of the settings to sound too processed.

It was an interesting device that does a lot, but personally, I did not find it very useful.

[Debbie Dunkley]

I could never get enough snare out of it (i am aware you can buy an extra snare trigger/mic for the EAD10).

Ironically we were getting a little TOO much snare so we have switched out the brass snare he was using for a wood one... just goes to show it really depends on the  kit you start with and how it is tuned. The same thing we come across all the time when discussing kick drum mics.
We have also moved the ride a bit and everything is well balanced. If the drummer is not prepared to make a few changes to his kit, I can see this not working as well.

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