Print

Please login or register.
1 Hour 1 Day 1 Week 1 Month Forever
Login with username, password and session length

[Debbie Dunkley]

I am a closet drummer - LOL. We have my drum kit set up in the rehearsal room and I enjoy messing around but I am very much still a beginner.
Anyway, I came across the Yamaha EAD10 and thought it was interesting.
EAD10
I sent the link to our drummer. I was interested in getting one for myself for fun - I was so intrigued by what I'd read - but our drummer picked one up instead and brought it over this week.
We played around with it a bit and set up some decent scenes and settings.
Although it is touted more as a rehearsal or recording tool, we used it last night live for the first time. .
It was a small show so we could risk set-up without the usual mics we use.... yes - we went naked and just relied on the EAD10.
So due to the small size of the venue, the audience and I didn't really get the benefit from the effects it can produce but the drummer and bass player (who both use iem) couldn't stop looking at each other and smiling all night.  Chris said he got a fantastic sound from the drums. We had to move the ride cymbal farther away from the mic sensor a bit but after that everything was balanced well. The results would vary a lot based on where drums are placed, level of drums to cymbals etc so not all drum sets would work as well.
However, with what I was able to put though the PA, it was obvious that the mics pick up the kit really well and the kick sounds rich and full and cuts through too.  Surprised em a bit how good it sounds. We will use it again tonight in a bigger venue- I'll set up a separate kick drum mic and a single overhead to be safe and blend in the effects.
This week  we will work on tweaking the pre set scenes to taste and programming user scenes per song or groups of songs....

[Debbie Dunkley]

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.

It really is surprisingly good.
I added a kick drum mic and an overhead just in case but didn't use them. Didn't need to.
The band plays covers and when they played Pour Some Sugar, the drummer changed pre sets to a HUGE sound and it was fantastic. Never sounded so good.

So far so good - 2 for 2... We will ALWAYS take our drum mics with us just in case we need the but so far I am very impressed and if we can get away with not having to mic up the drums conventionally in even 25% of the places we play, then that is a bonus to me.
This week we intend to set levels and program user settings for the set list and I'm looking forward to it.

[Corey Scogin]

That does seem like an interesting product. That's a heck of a lot less setup and cabling. 

[Mal Brown]

Waiting for used or B stock...  that is pretty sweet.    Have a feeling I would get push back from a lot of drummers though.

How well are the volumes balanced between the patches?  Do you get a volume jump moving from the 1985 gated sound to say a more metal sounding kit ?

[Luke Geis]

Am I understanding it correctly that it is an electronic drum sound that is sent to the PA that is triggered by the acoustic drum set? As a self provided band I could see that as an option, but as a systems provider there is no way that could work. What is the true point of this? If you have an acoustic drum set in a small venue, the sampled sounds will be of little use or effect. Just not seeing how this can really help.

Or is it actually a drum mic that the head unit manipulates the acoustic sounds to be what you hear? I heard the recordingsthey have on the site, but it is not clear if that sound was the acoustic drums with the effect of the head unit, or if the sound was 100% sampled.

[Debbie Dunkley]

This is used by the drummer in one of the 2 main bands I run sound for so I have a much more vested interest in this than folks who run sound for all different bands. I could not see this being something that could be realistically used by a sound provider - at least not YET.  It is the first of its kind but as time goes by I can see variations of it slowly coming out.
I didn't know what to expect really but so far I have found that the XY stereo mics in the mic sensor module are really good and reject other stage sounds very well indeed.  The kick trigger sounds  are great and enhance the sound well.
In smaller places, the effects are somewhat lost but at larger shows can be heard and enjoyed.

The levels can be adjusted between the kick triggers and the 'rest' of the kit and that is the part we will be working on this week - although they are pretty well balanced out of the box. This of course depends largely on how well the acoustic levels of the drum kit are already blended.

[Stephen Kirby]

I see this being of use for folks who want lots of highly produced triggered sounds for covers.  Pretty much like e-drums.  Listening to the stuff on Yamaha's site, the nuance is about on a par with the average e-drum.  Which is to say, not much.  The white Yamaha trigger pads I've fooled with seem to have more touch to them.  This sounds as if it hears a drum in a particular pitch range, it triggers a particular sample.  With about the range of dynamics of a Simmonds kit.  They do show the ability to plug multiple trigger pads into the brain so if you needed some more nuanced part, you could do this.  But that kind of adds to the setup complication compared to that one thing bolted to the kick rim.

Layered over a natural acoustic sound in a smallish environment it could add some of that processed studio trickery as long as the sample isn't too far off from the actual drum's sound.

[Debbie Dunkley]

But it's not all about the triggered sounds - I am mostly impressed with the non-triggered sound of the kit as a whole. The mics used in the unit that houses the trigger also are really good so the rest of the kit not including kick sounds nice even with zero effects being used.

[Debbie Dunkley]

At the end of the day, a triggered sound is a triggered sound and I am sure that the triggered kick sounds in the EAD10 are not anything special compared to other drum sounds. However,  as a whole,  taking into consideration the fact that the mic unit replaces an overhead mic, it is a nice compact package and has its advantages.

[Tim McCulloch]

At the end of the day, a triggered sound is a triggered sound and I am sure that the triggered kick sounds in the EAD10 are not anything special compared to other drum sounds. However,  as a whole,  taking into consideration the fact that the mic unit replaces an overhead mic, it is a nice compact package and has its advantages.

I watched the video from the link you provided and I'm still trying to wrap my head around this thing.

It slices, it dices, it makes mounds of Julienne fries!

My conclusion is that I'm not the target market for this device but it does enough stuff that for a drummer with ~$450 to spend on drum toys, this might be a cool little box.  The internal bass drum sensor, 3 more sensor inputs and some recognizable sampled sounds; the stereo micing of the acoustic kit; the FX; and what seems to be the ability to filter out the acoustic kit and replace with samples - am I getting that right or do I need to watch the video again?

That's a lot of stuff for under $500.

[ProSoundWeb Community]