‘Sing, Sing, Sing’, the Benny Goodman Orchestra’s sensational hit of 1937, featured the explosive drumming of Gene Krupa, with the most enduring tom-tom tattoo ever committed to wax. It’s still an infectious beat, butchered by every drummer with a floor tom while also endlessly engaging the advertising, TV and movie industries.

Goodman famously stormed Carnegie Hall in 1938 and the visceral thrill of Krupa’s take-no-prisoners stomp (here on YouTube) instantly entered drumming folklore. That moment furthermore revolutionised the drum set itself. Krupa’s mahogany ply Slingerland Radio King toms were the first to be tuneable both top and bottom. Radio Kings became the prototype for the modern drum kit.

Although widely forgotten, Slingerland was also second only to Ludwig in the post-Beatles world. Slingerland had built “the world’s largest, most modern drum plant”, just north of its Chicago hometown. By the time Buddy Rich was reducing us to quivering wrecks with his yearly appearances in the UK, his gleaming late-1960s/1970s Slingerlands were robust ‘Unimold’ ply. Numerous top drummers followed Buddy’s lead: Brits Bill Ward (Black Sabbath), Bev Bevan (The Move, ELO), Nigel Olsson (Elton John); and many, many more across the pond, including Peter Erskine with Weather Report and Neil Peart in early Rush.

Rich ended his career playing a restored Radio King from the 1940s. He just loved that vintage warm mahogany tone.

What is it?

Why mention all this? Well hopefully it explains why the revamped Radio King is such a big deal. Why Chris Lombardi secured the marque for his dad, DW founder and lifelong drum nut, Don Lombardi, in 2019. Why it has taken the financial clout and respect of today’s biggest US drum company five years to re-imagine.

The quandary facing DW was how to cherry pick from 40 years of historic drum crafting (roughly 1930s to 1970s) to formulate a worthy modern successor. Following Krupa, Slingerland’s popularity ballooned, resulting in occasionally slipshod workmanship. So whilst eminently collectable, 1930s-1950s RKs are inconsistent. Re-rings can disengage, shells may not be quite round.

By the 1960s Slingerland had largely overcome these demons. But the vintage sound of Krupa’s earlier toms and kicks remained that of the ‘airplane type’ thin three-ply mahogany-poplar shells with their solid maple re-rings; a labour-intensive type of construction lost to most modern manufacturers. Slingerland’s erstwhile Chicago neighbours and rivals Ludwig finally resurrected this shell layup for its Legacy Mahogany kits in 2015. Now the new DW/Slingerland has taken on a similar job.

So, much rests on the quality of these new shells and you only have to take the briefest look to be assured: they are top-draw. Construction is flawless, the finish immaculate. Two ultra-thin veneers of horizontally laid mahogany are wrapped around a rather thicker vertical core of poplar and held in the round by solid North American maple reinforcing rings. Forming these rings involved DW in the age-old craft of steam bending at its California Oxnard plant. (Note that most re-rings offered by major companies today are simply another belt of plies.)

The original Slingerland famously continued to make solid maple shell snares long after other major companies had stopped. DW kicked off its Slingerland rebirth with limited edition solid shell Radio Kings, but the snare drum seen here today has the same mahogany ply shell as the toms. This is fine as old Slingerland (check out the beautiful 1960s/70s catalogues) also made three-ply mahogany snares.

Finishes

Most RK drums from the 1940s are yellowed White Marine Pearl. Some are Black Diamond Pearl. Both these definitive wraps are back on offer. The BDP of our review kit is the real deal with that large diamond pattern rarely seen today. Alternatively, Slingerland offers two attractive heritage dual-fade lacquer finishes.

Hardware

The sheer heft of the drums tells you something about the hardware. Vintage hardware is too feeble for today. DW has wisely plunged for 21^st century stadium-ready stability.

Bass drum spurs are of familiar modern design, while the floor tom legs are half inch diameter, with thickset brackets and integrated memory clamps. As for the small tom mounting, many will simply resort to a snare stand. But DW has retained the traditional outsized diamond plate, now part-isolated from the shell by rubber buttons, and sporting a mounting clamp with saw-toothed innards, eliminating the dreaded lateral slipping characteristic of so many ‘L’ arm mounts.

The lugs really give vintage RKs their distinctive look, but the pot metal of the 1930/40s was prone to cracking. DW has painstakingly copied these timeless profiles with expensive new moulds. They look perfect and won’t fail. 1940s beavertail ‘clam shell’ lugs adorn the toms and bass drum, while the snare drum has eight double-ended Streamlined, ‘cigar’ lugs. Our 20” bass drum has 16 lugs; all but the bottom pairs have tap handle rods, completing the elegant period guise.

Pre-War hoops were dubbed ‘Stick Choppers’. But from around 1955 Slingerland was distinguished by its chic inward-rolling Stick Saver ‘Rim-Shot’ hoops. DW has recreated these complete with the Slingerland script logo stamped into them.

Choice of snare strainer is the straightforward mid-1960s Zoomatic. This also has been faithfully copied and solidly re-worked.

All the metalwork is nickel plated, which has a warmly radiant, slightly golden tinge, softer than chrome, suiting the aura of the drums. Other details such as the internal name-stamped washers and updated ‘cloud’ badge complete this classy revival.

Performance

If you’re used to modern loud and clattery tom sounds be prepared for a different vibe. Bearing edges are cut at 30 degrees giving a smoother, less aggressive attack than modern drums. The tail-off from the toms is shorter, not so much muted as defined.

I tuned the 14” floor tom batter down for a deeper Krupa rumble and was rewarded with a generous velvety thrum. No real necessity for damping, which rather questions the inclusion of ‘tone’ controls. They’re nice for authenticity though, and practical if used judiciously. Because they’re now so sturdily made, they don’t rattle, slip or tilt, so just by allowing the tiniest kissing contact you can get a subtly foreshortened, almost eq’ed timbre.

The Stick Saver hoops look pretty and somehow create a different, cossetted ambience, splendid on the snare drum in particular. European drums including Sonor and Trixon had similar hoops back in the 1960s and were widely prized.

The bass drum came with both single-ply coated Remos intact and two DW BDP2 pillows inside. Unsurprisingly the sound was supressed. Taking the pillows out allowed the drum to breathe. Even so, the retort was thuddy rather than slamming. A simple felt strip under the resonant head will probably suffice for many.

Incidentally, when I re-mounted the heads I just gave each ‘T’ rod a swipe and they flew in – the threads are so finely engineered. Details like this give you confidence in the overall quality of components.

The snare has a dark yet snappy scrunch. Centre hits are brisk, but followed by a pronounced ring. It’s a musical ring, the result of the thin resonant shell and inwardly curved hoops. Rim shots have a melodious woody clonk, almost like a soft cowbell. This carries over into the side-stick response which is borderline shrill with a flute-like clarity. There is no doubting this is a sensitive instrument.

All-in-all not the most thunderous of kits. Not particularly loud, but sophisticated, rounded and darkly inviting, with a woody, thuddy tone.

Also consider

Specifications

• Review kit sizes: 12”x8”, 14”x14” toms, 20x14” bass drum, 14”x5½” Slingerland Radio King snare drum
• Where built: Drum Workshop’s factory in Oxnard, California, USA
• Other available sizes: (bass drums) 18”x14”, 20”x14”, 22”x14”, 24”x14”; (toms) 10”x7”, 12”x8”, 13”x9”, 14”x14”, 16”x16” and 18”x16”; (snares) 14”x5½”, 14”x6½”, 14”x5”, 14”x7”
• Finishes: Black Diamond Pearl (pictured), White Marine Pearl, Black and Gold or Blue and Silver Lacquers
• Shell makeup: 3-ply mahogany-poplar-mahogany with steam bent solid North American maple reinforcing-rings
• Badges: Vintage style gold ‘cloud’ badge in aluminium, laser-etched with the legend ‘Slingerland Quality Drums U.S.A.’
• Lugs: Beavertail, single tension ‘clam shells’ on bass and toms; Streamlined, double tension ‘cigar’ shape on review snare
• Hoops: Stick-saver triple-flanged steel, nickel plated
• Bass drum tension rods: ‘T’ handle rods with modern cast hooks lined with thin protective felt
• Snare wires: Slingerland Snappy snare wires, chromed steel
• Mufflers: Twin tone control felt pads with nickel plated steel frame and small exterior knurled adjustment knob
• Supplied heads: All drums ship with Remo coated heads sporting the 1970s style Slingerland script logo
• Welcome pack: Contains Radio King pennant, cloth bag for dusting cloth, spare tension rods and drum key with pouch
• Contact: Slingerland

DRUMS WEEK 2025: For as long as human beings have walked the earth, there have been drums – and for almost as long, they’ve been accompanied by cymbals! From hollowed-out logs and frame-mounted hides through all manner of vaudevillian, military and orchestral percussion paraphernalia, the history of drumming is epic and diverse.

This tale writ large and loud ultimately culminates in the modern drum kit, a seemingly disparate collection of instruments that came together at the start of the 20th century and forever changed the face of music.

From jazz and rock ’n’ roll, through pop, rock, soul, country and funk, and on to hip-hop, house, techno, drum ’n’ bass and every other genre of the last 80 or so years, the drum kit, whether real, synthesised or sampled, has been a constant presence. And although many of the playing techniques and styles have changed a lot over the decades, the essential make-up of the drum kit has remained largely the same, centring on the kick drum, snare drum and hi-hats/ride cymbal, supplemented by tom toms and crash cymbals.

If you’ve spent any time hanging around drummers, you may have heard them refer to their drum kit as comprising a number of ‘pieces’.

This only refers to the number of drums in the kit – cymbals aren’t counted. And with the kick and snare being absolutely essential, the rest of the pieces are usually tom toms: a four-piece kit will have one mounted on or suspended over the kick drum – also known as a rack tom – and one floor tom, while a five-piece will add an extra rack tom (or possibly a second kick drum).

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Beyond that, there are really no limits, and any number of rack toms, floor toms, rototoms, octobans, concert toms, gong drums or anything else the drummer fancies can be added into the mix.

As touched on a moment ago, many drummers also employ a second kick drum, although space-saving double bass drum pedals are available as an alternative, enabling the same functionality to be had from the one drum.

Metal works

As for the cymbals, beyond the fundamental requirement of a pair of hi-hats and a ride, there really is no upper or lower limit to the amount of metalwork a drummer might choose to hang around the kit – space and reach permitting, of course.

Some drummers like to envelop themselves in veritable clouds of the things, while others are satisfied with a couple of crashes. If you're looking for examples of some really over-the-top setups, try Googling the drum kits of Terry Bozzio, Mike Portnoy and Neil Peart. They might look kind of ridiculous, but their big-name owners absolutely make use of every component.

Today’s sample-based virtual drum kits pack all of these elements into a flexible software interface for triggering by keyboard, drum pads, manual note entry and, in most cases, an included library of MIDI clips.

Throughout the following pages in this month's set of features dedicated to the beat, we’re going to be dealing with both real and virtual drum kits. Our step-by-step walkthroughs will show you how to record the real thing, program and humanise the sample-based alternatives, and process, mix and enhance both. Let’s get started!

And what of the drum machines?

This issue is primarily dedicated to recorded and sampled acoustic drums, but (of course) no programmer of beats should overlook the characterful, sonically expansive sounds of the synthetic drum machine.

With a history going all the way back to the 30s, the drum machine has gone through endless changes, fashions, declines and revivals, ultimately finding its natural home in dance and electronic music.

Although the sounds made by these electronic boxes might be miles away from their acoustic counterparts, all of them still categorise their sounds as regular drum kit components – kick, snare, toms, hi-hats, etc – and they’re often programmed to play exactly the same sorts of parts that real drummers play, or at the very least interpretations of them.

It’s testament to the longevity and continued relevance of the classics – most notably the Roland TR range – that many of the software plugin drum machines we use in our DAWs today are emulations of them.

It’s not all nostalgia, though: there are also plenty of completely original virtual drum synths on the market, taking the concept to amazing new heights. Some of the best drum apps we've looked at recently include Sugar Bytes DrumComputer, Accusonus Rhythmiq, Mixed In Key Captain Beat and Auddict PercX Pro.

Breaking down the drum kit

Hi-hats

A pair of 12-15" cymbals mounted on a stand and brought together by pressing down a pedal at the base, the hi-hats can be played with sticks (with the cymbals closed most of the time, but often half-open for a ‘splashy’ sound) or pedalled to provide a distinctive ‘chick’ sound.

The most commonly used playing technique is with the right hand (assuming the drummer is right-handed) ‘riding’ the hats on eighth-notes, crossing over the left hand, which strikes the snare.

In some styles (most notably disco), the hi-hats play 16th-notes using both hands, with the right hand moving to the snare for the backbeat.

Tom toms

AKA rack toms. Used to provide syncopated embellishment to grooves and pseudo-melodic meat to fills and solos, tom toms range from 8" to 16" in diameter and are tuned to a specific set of pitches that also incorporates the floor tom(s) at the lower end.

Crash cymbals

Crashes are thin cymbals, generally ranging in size from 8" to 18", with anything below 13" referred to as a splash.

They’re used for accenting significant beats and marking changes in a track, such as the transition into the chorus, and are almost invariably struck at the same time as the kick or snare.

Variations on the crash cymbal include the China type, the crash-ride and, er, the Rocktagon – Google it.

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Ride cymbal

A large (20-24"), heavy cymbal struck with the tip of the drumstick on the body, or the shoulder of the stick on the bell (the bulging section in the centre).

While the majority of eighth-note riding action takes place on the hi-hats, for choruses and middle eights, drummers often switch to the ride cymbal for its bright, floaty, sustained sound.

The bell can also be struck for a shorter, louder, more cutting sound that’s typically associated with rock but is thoroughly usable in any genre.

Floor tom

Essentially extra-deep tom toms on legs, floor toms range in diameter from 14-18" and sit next to and behind the kick drum. They’re quite simply an extension of the rack toms, providing a deep bottom end to the tom tom frequency range.

Snare drum

A shallow (between 3" and 6.5" deep, usually) drum with a rack of ‘crimped’ springs stretched across the bottom head, the snare provides that cornerstone of popular music known as the backbeat: relentless hits on beats 2 and 4.

The snare can be struck on the head alone, or on the head and rim at the same time – this is a complicated-sounding manoeuvre called a rimshot that’s actually an almost unconscious technique for any half-decent drummer.

The sidestick (often erroneously also called a rimshot), meanwhile, involves holding the tip of the stick on the centre of the head and dropping the butt end down onto the rim. This produces the distinctive ‘click’ that’s been the mainstay of many an '80s ballad.

Kick drum

The kick drum (or bass drum, as it’s traditionally known) delivers the power and bottom end of the drum kit. Measuring between 18 and 24" in diameter, and sitting on its side on the floor, it’s played with the foot using a pedal-mounted beater.

In pop, rock and many styles of dance music, the kick drum generally complements the bassline, directly following it or weaving around it. In house, techno and other four-to-the-floor styles, of course, it simply nails every beat of the bar – surely the most ubiquitous and powerful rhythmic device of the last 30 years.

Many metal drummers use two bass drums for the fast double-kick grooves that are essential to that style.

DRUMS WEEK 2025: For those with money to burn, a top-of-the-range electronic drum set by the likes of Yamaha, Roland or Alesis enables a playing experience pretty much on a par with that of a real acoustic drum kit, thanks to its full-sized mesh heads, stellar multi-sampled sounds, effortless studio connectivity and so much more.

But what about the other end of the scale, where the tentative beginner drummer, perhaps lacking the space or neighbourhood tolerance required to house an acoustic set, will be looking to make their first instrumental investment?

Can a five-piece e-drum set costing a few hundred dollars/pounds really hope to emulate the feel and sonics of a ‘proper’ kit in the same price bracket, and do the unique digital advantages it offers counterbalance any compromise in authenticity or ability to progress behind the kit? Let’s look at all the pros and cons to find out…

Acoustic vs electronic drums: Noise

For many fledgling (and, indeed, veteran!) drummers, the domestically challenging volume levels of the acoustic drum kit are a potential show-stopper - and no one really enjoys playing on deadheads or drum mutes.

Electronic drums, on the other hand, deliver their sampled sounds via volume-adjustable headphone and line outputs every time a pad is struck.

Rubber pads are now mostly reserved for e-kit cymbals rather than drums. While they are far from silent, the difference in volume between these and acoustic cymbals is night and day. And mesh pads, which you'll find on most quality e-kits - even at the beginner end of the spectrum whereyou should find at least a mesh snare pad - are even quieter.

If noise is your main concern as a new drummer, an electronic drum set is definitely the quieter option. There are also many ways to make your e-kit even quieter, which we explore in this feature.

Winner: electronic drums

Acoustic vs electronic drums: Space

Even the smallest full-size acoustic drum kit is a big, hefty collection of things, and the kick drum and cymbal stand legs alone outline a considerable footprint. Again, the beginner electronic drum set walks away with this one; its racking, small pads and kick tower add up to a comparatively compact rig that can often be folded away when not in use, making it even more space-saving.

Winner: electronic drums

Acoustic vs electronic drums: Portability

Another easy win for e-drums, as most modern beginner kits fold down to a readily manageable, almost flatpack arrangement, while the acoustic alternative barely packs down; you could stack acoustic drums in a pinch when the kit isn't being used, as long as you're ok with a bit of set up time when inspiration strikes. Acoustic kits also generally demand separate cases for each drum, plus two more for cymbals and hardware if it’s heading for long-term storage or leaving the house.

Winner: electronic drums

Acoustic vs electronic drums: Cost

Technology being what it is, the saying, ‘You get what you pay for’ obviously applies more directly to electronic drums than it does their acoustic counterparts, and the meaningful difference between a $/£500 drum kit and a $/£6,000 one is less profound than the increase in playability and sound quality that the equivalent upgrade gets you in the e-drum market.

So, while a beginner acoustic kit may well see you through those formative years and some way beyond, you’ll quite quickly outgrow a similarly priced e-drum kit as your skills and aural discernment improve.

Winner: acoustic drums

Acoustic vs electronic drums: Features

Unsurprisingly, the electronic kit holds all the aces in this particular game, providing not only tons of tweakable onboard sounds, glamorous DSP effects, and convenient MIDI and audio output, but also a variety of genuinely useful coaching and training tools that are of huge value to the aspiring newbie.

From exercises designed to develop timing, speed and consistency, to full playalong tracks and Bluetooth connectivity to link up your smart device for jamming to Spotify, it’s here that e-drums trounce the resolutely - albeit reassuringly - low-tech architecture of the acoustic kit.

Winner: electronic drums

Acoustic vs electronic drums: Playability

There’s simply no comparison between the natural feel and directness of a real drum head and the hard, triggering response and smaller target area of an 8” mesh or rubber pad. Thankfully, most budget electronic kits these days include a much more ‘realistic’ mesh head for (at least) the all-important snare drum - ideally dual-zone for rimshots - which we would argue is a must-have.

For added realism, a kick drum tower, as opposed to a beater-less pedal, should also be on the e-drummer’s shopping list, along with a dual- or triple-zone ride cymbal if possible. Even with all those boxes ticked, though, the acoustic kit still can’t be beaten in the playability department.

Winner: acoustic drums

Acoustic vs electronic drums: Playing live

With budget e-drums not necessarily blasting out the most convincing sounds, and requiring some form of electronic drum amplification to be heard in a live setting - be it through the venue PA or a dedicated amp and speakers - the acoustic kit clearly has the edge on stage when it comes to rock, jazz and other electric/acoustic styles.

Having said that, the MIDI output of the e-drum kit facilitates velocity-sensitive triggering of synths, samplers and drum machines, either hardware or laptop-hosted software, opening up an endless universe of tonal possibilities that transcends the earthbound limits of acoustic drums. If your band is of an electronic bent, this alone could seal the e-drum deal.

What's more, many modern e-kits are eschewing the traditional rack with flat pads aesthetic in favour of full-size wooden shells with triggers built in - even at the more affordable end of the spectrum. So, if you've been unsure about using an e-kit on stage, those worries should have all but evaporated by now.

Winner: draw

Acoustic vs electronic drums: Recording

The samples built into your affordable e-drums aren’t really going to cut it as a bona-fide acoustic kit emulation in the studio any more than they will on stage - but once again that MIDI output proves an invaluable inclusion.

Connecting it to your Mac or PC lets you use those pads to instead trigger amazing multi-gigabyte sampled drum kit plugins such as Toontrack’s Superior Drummer 3 or FXpansion’s BFD3 in any software DAW, and capitalise on the creative power that MIDI recording and editing brings to the table. It's pug and play recording at its finest.

Committing an acoustic kit to ‘tape’, meanwhile, calls for a decent set of drum microphones, an engineer who knows what they’re doing, and a properly treated recording space - that’ll be a recording studio, then. We're still strong advocates for recording 'real' drums, but there's no denying that it's the more labour-intensive and technical approach. For beginners, simplicity is key.

Winner: electronic drums

Acoustic vs electronic drums: Transitioning between kits

The final consideration in our percussive wood/mesh face-off is how readily technique developed on e-drums translates - as, ultimately, it must - to the acoustic kit.

To make this crucial switch as painless as possible, mesh pads (for the snare at the very least) and a kick drum tower are essential, as these will get you significantly closer to the physicality of drumsticks/beater on Mylar than rubber pads and a beaterless pedal ever could.

Even with those criteria fulfilled, though, moving from the 8” pads of the entry-level e-drum kit to the 14” snare and 10-16” toms of the real deal is always going to involve a period of adjustment.

Winner: N/A

Acoustic vs electronic drums: Verdict

So where does all this leave us? Well, in a nutshell, for the novice drummer, an acoustic kit is the better choice from a developmental perspective, and every effort should be made to accommodate one if and when at all possible.

However, when space and/or noise are issues, today’s affordable e-drum setups make more than acceptable substitutes, especially if you opt for a model with mesh heads (on the snare at least) and a kick drum tower.

And, of course, onboard training tools, ‘produced’ sounds and MIDI output all make for compelling extras, especially if you’re looking to integrate your drums into a home studio.

What is it?

Originally launched by German instrument manufacturer and distribution giant GEWA in 2009, the DrumCraft brand was surprisingly short-lived and faded from existence just a few years later. Revived and revamped by Thomann in 2022, the company now offers an ever-growing number of kits, standalone snares and hardware solutions.

Delving deeper into DrumCraft’s three main kit ranges available, we’ll start with the entry-level Series 3. Aimed at beginner to intermediate players, this option uses poplar shells, comes in three finish options and four size configurations (including a cute junior setup and even one with twin bass drums). The Series 4 is the mid-range lineup aimed at intermediate or price-conscious players. It offers five finish options, mahogany/poplar shells and three shell-pack configurations. Lastly, the Series 6 (we’re not sure what happened to Series 5) is the drum builder’s flagship range, which boasts suspension-mounted tom hardware, maple/walnut shells and six colour options.

The latest addition to the range, and the focus of our review, is the brand spanking new Urban Beats kit. Unlike the plethora of size and colour options available with Series 3, 4 and 6, the Urban Beats is a standalone setup with a fixed three-piece configuration of 20”x12” bass drum, 12”x8” rack tom and 14”x13” floor tom. There is also only one finish available, which is a rather fetching matt black wrap. Think along the same lines as the Ludwig Breakbeats, Sonor Jungle, Tama Club-Jam and Dixon Little Roomer compact ‘busking’ style kits – ideal for those looking for something more portable or a kit with a smaller footprint.

The Urban Beats shares much of its DNA with the entry-level Series 3, both of which are constructed using 7-ply poplar shells with 45-degree bearing edges, aiming to “deliver a warm tone that allows for a wide range of applications”. Both also feature the same chrome shell hardware, which includes triple-flanged hoops and DrumCraft’s P-shaped lugs.

In terms of price, the three-piece Urban Beats kit comes in at a mere £289 at the time of writing. An extremely low price for a brand new drum kit, no doubt, but do bear in mind (especially if you’re eyeing this up for a first drum kit) that you’ll need a lot more to get started than just the three drums included in this pack – most pressingly, a snare drum!

Despite the low cost, it’s a little surprising that the set does not include a snare, considering that every single one of DrumCraft’s other kits does come complete with one (as do each of the above-mentioned busking kits). In comparing the Urban Beats to the Series 3 studio kit which uses very similar sized shells (20”x16” kick, 10”x7” & 12”x8” rack toms, 14”x12” floor tom and 14”x5” snare), it becomes apparent that £170 more will not only afford the snare drum but also an extra rack tom, a bass drum pedal and hi-hat stand.

Check out the Thomann website for up-to-date prices on each kit. There are even standalone drums available as add-ons.

Performance

In the box, the bass drum and floor tom come disassembled and nestled one inside the other, while the rack tom is already fitted with drumheads and good to go. The standard of the shells is generally good, although we notice there are some imperfections to the bearing edges of the floor tom as we fit the provided Remo UC heads. The kit oozes class in matt black, which is contrasted beautifully by the shining chrome hardware. One slight gripe is that the joins aren’t very well hidden from certain angles.

Although there is no full hardware set included, inside the box we also find the floor tom legs with memory locks, a Yamaha-style ball-joint tom arm (which uses a thick tube to slide into the tom rather than Yamaha’s thinner hex style), a sturdy boom arm for mounting a cymbal alongside the tom arm from the drilled bass drum mount, plus a lightweight cushion for dampening the bass drum. This can be secured in place using the velcro strip, which affixes it directly to the inside of the drum shell, leaving some room for adjustment. It’s not quite big enough to make contact with both the batter and resonant head, despite the bass drum’s shallow 12” depth, so we opted for pushing it up against the batter head.

Considering the unported reso head and shallow depth, we’re pleasantly surprised by the thump emanating from the bass drum. It’s drier than expected and offers plenty of versatility at different tunings. It feels sturdy to play, too, thanks to the telescopic bass drum spurs.

The floor tom is relatively cooperative and it doesn’t take long to get a pleasing boom from it. The tuning range isn’t vast, but it works well in medium to higher tunings. This is fairly typical of the cheaper ‘factory’ Remo UC heads, which lack low-end and usually make tuning a trickier ordeal. It’s always worth factoring in better quality heads into the investment of a new kit as it really makes an enormous difference.

Verdict

Overall, Urban Beats is a good-looking kit which won’t break the bank. It's a potentially great option for beginners although additional hardware would need to be factored into the budget.

Hands-on demos

DrumCraft

Alternatives

Specifications

The hit Alesis Crimson electronic drum kit just got an upgrade. This mesh-head favourite has been a winner with cost-conscious drummers since its release in 2021, and now the Crimson III bears a significant feature hike, aimed to put it back on top around that all-important 1k price point.

The Crimson III’s main tweak is in its drum module – previously perhaps the weakest aspect of the Crimson II given the quality of the rest of the hardware.

The Crimson III once again offers nine pads in total. There’s a 12″ snare, two 8″ toms, a 10″ floor tom, a 14” ride cymbal and two 12” crashes and a 12” hi-hat set up. The 8” kick pad comes mounted on a stand.

All the toms are pleasingly dual-zone – allowing for the triggering of different sounds depending on where you hit them – with the ride featuring three zones for ultimate playability. While there is a hi-hat pedal supplied the unit once again comes without a kick pedal, allowing the user to spec their own favourite.

Elsewhere the entire kit comes mounted on a four-post tubular rack and the snare stand is pleasingly double-braced for durability.

In fact, the only visible upgrade to the kit itself are improved mesh heads, the giveaway upgrade between the II and III variants being that the new heads are white, rather than black as previously. Doubtless these ‘more realistic-looking’ heads will turn a few… er… heads, when compared to the fake and functional black finish previously.

The brains of the operation

However, the main upgrade comes in the shape of an all-new Crimson III drum brain. The new Crimson module has 80 kits on board with 40 presets and a further 40 being user definable. All in all there are now 470 multi-sampled individual sounds, all of which are lifted from the BFD libraries.

InMusic – the giant European gear brand – bought Alesis in 2001, of course, and subsequently snapped up FXpansion, the makers of the much-loved BFD drum plugin in 2020. The Alesis Crimson III sees the company putting the pair together at last, representing a major hike in the quality and range of the III’s on-board sounds.

Additionally, there’s even a set of 100 songs to play along with, plus room for 10 user-programmed songs recorded using the module’s built-in sequencer.

And physically the Crimson III brain has had a number of upgrades too. There’s now a quick and easy six-fader mix section (beating the one-knob menu diving required on the less control-laden mkII) and upgrades to the number, size and quality of the screen and surrounding buttons.

There’s the familiar D-Sub connector for plugging in the pads and round the back there's the option to add more pads via two more triggers (assigned to Tom 4 and Crash 2) and the usual complement of MIDI, USB, stereo out and headphones.

There’s also a stereo AUX in so you can play in music directly from your choice of source and play along and Bluetooth compatibility so you can do the same without even needing a connection.

There’s an SD card slot so you can record your performances as audio (in WAV or MP3) or as MIDI files for exporting to a DAW for further tweaking. Plus – all new – you can now import your own samples into the unit, if that expanded BFD library doesn’t hit the spot.

Want more? How about a thrown-in 90 day subscription to top tuition site Drumeo and a copy of the BFD Player software that comes with the core BFD Player library plus the Dark Mahogany expansion pack?

Looks like Alesis and InMusic have thought of everything, with the kit available now for a keen €1,199.00.

Find out more here and purchase from Thomann here.

What is it?

Launched as far back as 1995, Millenium Drums is the in-house drum brand for the gigantic musical instrument retailer, Thomann. Furnishing school music rooms and practice spaces all across Europe, most drummers will be no stranger to this German brand. With a strong focus on providing affordable entry-level products, Millenium offers a comprehensive range of both acoustic and electronic drum kits.

The MPS-850 boasts an array of features, many of which punch impressively above its relatively low price point. We’ll delve into everything this kit has to offer over the course of this review but here are some examples of the more note-worthy attributes.

Firstly, the generous amount of hardware included in the kit. There are four mesh tom pads (2x8” rack toms and 2x10” floor toms), a 10” snare pad and 4x12” cymbal pads (hats, ride and two crashes). The bass drum tower uses an 8” pad which is also mesh. The benefit of a mesh head is that despite not having any effect on the drum’s sound, it can be tensioned to customise the feel of each pad. They also tend to be easier on the wrists than rubber pads.

A basic e-kit configuration would normally include just one crash and three tom pads as standard, so it’s interesting to see this ample 10-piece setup for such an affordable price. The kit is also supplied with a bass drum pedal and full hi-hat stand (rather than a separate foot controller) – another feature one might not expect without spending a little more. In much the same fashion as familiar offerings from other e-kit manufacturers like Roland, Alesis and Yamaha, the bottom hi-hat is substituted for a control sensor, which reacts to pressure from the top hi-hat pad. This controls the open and closed hi-hat sounds coming from the module and offers a more realistic hi-hat movement when compared with a fixed pad.

Each pad is dual-zone which in the case of the drum pads means separate head and rim sounds, and in the case of the cymbals means separate bow and edge sounds. In a surprise turn, the ride pad is actually triple-zone which means that the module can differentiate between individual bell, bow and edge playing. The ride pad has a more pronounced bell shape than the crashes to allow for this. Each cymbal can also be choked (muted) by hand.

The sound module itself boasts 550 individual voices, 30 preset kits and room for 20 user kits, 100 built-in songs and effect sounds, metronome, recording functionality, in-built FX, USB MIDI, USB memory, MIDI in/out, physical volume faders, separate master and headphone outputs and volume control (lots of similar range kits don’t have this), aux input, and custom sample import (which is practically unheard of at this price).

Pricing

• Launch price: £499

The kit we have for review, the MPS-850, is Millenium’s former flagship model which has recently been superseded by the MPS-1000 which utilises full-sized acoustic shells.

Performance

The kit is fairly straightforward to assemble (even for the uninitiated), and thanks in part to clear assembly instructions, the sturdy four-poster rack is up in little time. The included drum key is a must here as the vast majority of clamps use square-headed bolts. We found that the total floor space taken up by the rack was 56cm (22”) deep and 132cm (52”) wide. Fairly compact then, for a 10-piece kit.

Once the drum and cymbal pads are mounted to their respective brackets and arms, all that remains is to connect the jack input of each pad to the pre-labelled cable loom. The other end secures to the module via a serial connection which also locks it to the rack. It’s worth noting that tom 4 and crash 2, rather than using this loom, connect using additional 1/4” jack inputs on the module. With this configuration, no further hardware expansion is possible.

The MPS-850 comes with almost everything you need to get started. All you’ll need in addition to what’s in the box is something to sit on, plus a pair of headphones or speakers. There’s even a pair of sticks in the box. The bass drum pedal mentioned above is a welcomed addition as that’s not always something that comes included – it plays fairly well too and is more than ample for any ability level. The beater is double-sided, with felt on one side and plastic the other. Millenium recommends that the plastic side only be used on the mesh head as (anyone who has done this before will agree) the friction from a felt beater will tear the mesh to shreds over time.

Despite a wealth of functionality, if anything lets the MPS-850 down it is unfortunately the module sounds. The samples that make up the 30 factory kit presets are on the basic side, which for some, could be a deal-breaker for this kit. Some of the hi-hat samples are a little cutting, for example, sounding much better lowered in the mix which can be done using the faders on the module. The presets are roughly a 50/50 mix of acoustic and electronic style kits which include a broad range from pop, rock and percussion to hip-hop and house.

Verdict

For the casual player who’s not too fussed about top-tier sounds then this set could well be a contender for your hard-earned cash. As e-kits go, £500 is on the cheaper end which will inevitably bring some drawbacks. The kit is far from unplayable though and some of the samples are better than others. The ability to create and save custom kits using the 550 individual voices in the module means that it is possible to incorporate favoured kick, snare, tom & cymbal combos into a brand-new kit. These sounds can also be pitched and tweaked further using the inbuilt EQ, compression and reverb.

For those who are attracted by the hardware and not so much by the kit’s sonic capabilities, the MPS-850 could make a capable MIDI controller for VST software such as Superior Drummer, Steven Slate Drums or Get Good Drums. This would entail connecting the kit to a laptop via the MIDI in/out ports and using it to trigger sounds from within the software.

The module has a ton of built-in play-along loops which span almost any given genre – ideal for practice. Plus, there’s always the aux input for hooking up an external device.

In terms of overall playability, the kit reacts well with a reasonable dynamic range and no noticeable latency between striking a pad and hearing a sound. The module keeps up with the speediest of fills that we can throw at it and is generally satisfying to play. One gripe however is that the hi-hat control isn’t always 100% accurate in opening and closing. Also, when playing particularly fast double-stroke rolls on the snare, some ‘machine gunning’ can be heard – this is the effect created by the same sample being re-triggered in rapid succession.

The drum pads are rather loud acoustically which isn’t noticeable whilst wearing headphones but could be a consideration for those with less-tolerant neighbours or housemates. The mesh heads themselves aren’t an issue but hitting the rims with any force emits an audible ‘crack’.

Hands-on demos

Millenium Drums

Alternatives

Specifications

Always expanding and ever improving, the recently resurrected DrumCraft brand has just announced another new, attractively-priced drum kit aimed at the beginner and intermediate beat-maker.

Their new Urban Beats kit features high-quality poplar shells and comes in a slick, stage and street-credible matte black wrap finish. The eye-catching new kit features a compact form for easy placement on stage or at home and comes complete with a 20" x 12" bass drum, 12" x 8" rack tom, 14" x 13" floor tom. Each comes fully equipped with Remo drum heads for “a powerful sound”.

Neat features that keep the Urban kit's bulk down include that extra-slim kick drum and a versatile and adjustable tom holder to keep the kit as tight as you want it to be. Additionally, the kit comes complete with a cymbal mount that’s fixed to the bass drum to save floor space.

The poplar shells are 7-ply and feature 45-degree bearing edges which its makers promise delivers “a warm tone that allows for a wide range of applications”.

Similarly, DrumCraft promises that with the right amount of damping and adjustment (all of which is possible right out of the box) the Urban Beats is ready for any style of play, from acoustic jazz to pop, funk and hip-hop, all with a matte black look that’s sure to impress.

The DrumCraft brand started out as part of the GEWA drum and percussion empire, specialising in budget and beginner kits before being discontinued in 2010. However, in 2022 the all-seeing, all-knowing Thomann gear giant stepped in to resurrect the brand’s vibe and now continues to offer quality kits at the keen prices it was famous for.

Find out more about Urban Beats here.

The reborn DrumCraft brand only goes from strength to strength and now there’s even a new Junior kit in its Series 3 range, hitting the spot as the perfect introduction for new drummers.

The DrumCraft brand started out as part of the GEWA drum and percussion empire but was discontinued in 2010. Specialising in budget and beginner kits that self-same gap in the market continued to exist, however, and in 2022 the all-seeing, all-knowing Thomann gear giant stepped in to resurrect the brand’s ethos and continue offering quality kits at the keen prices it was famous for.

Their reborn Series 3, 4 and 6 ranges offer increasingly pro-features and quality materials meaning that there’s something for everyone, from single snares right through to hardware and stands. And now there’s even a junior option in the range.

Their new Junior configuration of their popular Series 3 is designed to cater specifically for young, upcoming drummers who perhaps don’t have the biggest floor space for the most expansive kit. As a result Junior Series 3 features smaller drum sizes, but still packs a punch, being a full-featured, playable kit designed for junior players and compact spaces.

The ready-to-play five-piece kits feature an 18” x 14” kick drum, 10” x 7” and 12” x 8” rack toms, a 14” x 12” floor tom and a 13” x 5.5” snare.

And continuing the ‘something for everyone’ mantra the Junior is available in three kit finishes. From a classic, jazzy Natural to a hard-rocking Black with a subtle retro Turquoise Sparkle in between.

The DrumCraft Series 3 Junior is available now, direct from Thomann, starting at £429.

Find out more about the range and options at drumcraft.com.

You can’t move for music-related Youtube channels or podcasts these days. Frankly, if we mentioned every time a new one popped up online we’d never have any space for anything else on these pages. However, it is worth giving this one a shout out. Especially if you’re a Tool fan. Or a drummer. Or, indeed, both.

Danny Carey is the man behind the kit for the LA progsters and now has his own Youtube channel. One of the highlights of his initial batch of videos is one, filmed just above and behind him, of him warming up before a gig in May. It shows just what an extensive kit he has, one that surrounds and encompasses him in a cockpit of shells and cymbals. Check this out:

The video also highlights that Carey uses every single one of those many pieces, his limbs flying across the kit as muscle memory takes over. He’s akin to an athlete warming up before a sporting event, and playing, say, a two-hour set on drums for Tool is certainly physically and athletically demanding.

In another clip, Carey takes viewers on a guided tour of the huge kit that he uses when he’s on tour with the BEAT supergroup, the King Crimson tribute project that also features Steve Vai, Adrian Belew and Tony Levin. In another, we see Carey’s tech Joe Slaby do a quick-fire Q&A with the 63-year-old drummer.

“Who was your favourite drummer when you were 12 years old?” asks Slaby, to which Carey replies, without hesitation: “John Bonham”.

We also find out that the one spot in the world that he’d like to tour but hasn’t yet is South Africa, and that he once asked Stewart Copeland of the Police for an autograph. Interestingly, Carey says his best ever concert experience isn’t actually a Tool show, but seeing Yes during their Going For The One tour in 1977.

Fascinating stuff for both drummers and Tool fans alike. Carey and the BEAT group are currently on an extensive North American tour that runs through to December 18. 

Roland TD716 review: What is it?

Earlier this year, this reviewer was asked to speculate on the future of electronic drum sets. Less crystal ball, and more educated guesses, these predictions were partly based on no-brainer development of technologies that already exist, and partly wishlist-fulfilling goals that we’d all love to see possible from our kits.

The great thing about living in 2024, is that ideas can become a reality - and quickly. Mobile phones might have plateaued with an annual ‘slimmer and lighter’ complacency, and your childhood dream of being able to watch every episode of your favourite show whenever you feel like it is now commonplace. But, there’s still excitement in electronic drum development. Roland has just unveiled its brand new flagship V71 module, which forms the backbone of three new electronic drum kit configurations, collectively titled the 7Series: TD716, TD713 and VAD716.

For this review, Roland sent us the top-level V-Drums kit, the TD716. It comes as a six-drum, three-cymbal and hi-hat setup, as does the TD-713, but the main difference is that the KD-18 bass drum on the TD-716 is a real-shell, 18-inch drum, as opposed to the TD-713’s KD-12 bass drum pad/tower. The TD-716 also includes Roland’s new PD-10X and PD-12X tom pads, where the TD-713 uses PDX-100 pads, as well as a more lightweight rack.

The V71 module takes its place at the top of the Roland brain family, replacing the TD-50X, which in turn was a mid-life upgrade to the TD-50. For the V71, we get a number of all-new benefits, starting with an overhauled sound set. So far, so expected - but the huge news here is that Roland has turned a corner it’s never navigated before, and that is multi-layered, round-robin sampling and playback in a bid to open one door while your DAW closes.

The sound upgrade is joined by a number of other new features including WiFi and Bluetooth connectivity, the latter deemed too ‘consumerist’ in the development of the TD-50/X, but an addition we think will be welcomed by many users.

“Why do I want WiFi? I’m playing drums, not doing emails!” we hear you cry. Well, another new feature is the ability to connect the V71 to Roland Cloud - Roland’s online resource for expanding your gear. E-drum fans will be familiar with DW’s (now part of the Roland stable) DWe kits, and its Soundworks software. Well, if you’ve been waiting for the blossoming of the Roland/DW cross-pollination, here’s your first bud, because (as we’d expect) Roland is using Soundworks to partly-fuel its module sounds.

Before you throw an audio interface in our direction, it’s important to know that this has been implemented differently to how you might expect. While the DWe concept means you have to connect to a computer in order to play the Soundworks plugin (and you’ll need to do that regardless of which kit you use), Roland has mined the Soundworks recording sessions and ported the raw sample data into a module-friendly format. In addition to this, it has carried out new sessions of its own in order to populate the module, with everything captured at 32-bit/192kHz resolution.

With the TD-50, we saw a key introduction to Roland’s digital triggering technology, which does away with analogue connections for the snare drum, hi-hat and ride cymbal pads in favour of a digital, USB socket. This is continued with the V71, with the rest of the pads connecting via traditional jack cables, and once again (much to our delight) Roland has opted for individual jack connectors at the module end, rather than a pre-wired and tied loom.

But those pads have been overhauled too. First up is the PD140-DSX digital snare drum, which brings all of the same multi-positional benefits as its predecessor (PD-140D), but takes things even further. It starts with the introduction of a digital snare throw-off (one of our favourite features from DWe), allowing us to physically switch the snares on and off as-per an acoustic drum. But Roland has also added a strainer, so tensioning the virtual snare wires to our tastes is now also possible.

The new ‘low-profile’ PD-10X and PD-12X tom pads have also had some light shined on them, and as with the snare, the first visual clue is the repositioning of the rim bumper. The thick, black rubber bezel we’re used to seeing on V-drums pads has now moved to sit inside the metal rim, sitting pretty much flush to the metal in order to avoid stick noise, but from the audience's perspective, it’s much less noticeable. Instead, the pad’s die-cast rims are visible, and while nobody is going to mistake these for ‘real drums’, it says to us that Roland’s not resting on its laurels. The real proof of that, sits underneath the head, where we find the introduction of a four-cone trigger system. The response is still dual-zone (head and rim), but the idea is that more cones/sensors eliminate hotspots, and combined with the sample playback architecture, minimise the risk of dreaded ‘machine-gunning’ when playing the toms.

The drums are joined by the VH-14D hi-hats, CY-18DR ride cymbal, and in our configuration, a pair of CY-16-RT crashes (16 and 14 for the 713), which, while not new, do give us the digital triggering benefits we’ve already mentioned for the hi-hats and ride, along with the physical response and sizing of Roland’s latest and largest thin crashes.

Finally, the whole lot is mounted to Roland’s MDS-STG2 stand, which, as we’ve seen on the TD-50KV2 offers road-ready levels of support, along with a nifty conduit which keeps the cabling - for the most part - hidden along its travels.

Roland TD716 review: Performance

With everything setup, as always, our first stop is to familiarise ourselves with the module. This is made easy by the crisp, colour display which forms the focal point of the V71. At first glance, the module looks to be populated fairly densely, with the volume sliders for each pad, a couple-of-dozen buttons, cursor control, jog wheel and a number of volume controls. But in reality, operation is incredibly easy, especially if you’re already used to Roland’s navigation processes.

The sliders are the Crunchy Nut Corn Flake of module features, in that we’re reminded just how often we want to quickly adjust the volume of a kit element without delving into secondary menus and screens. The same can be said for the other volume controls, which take care of master output, headphone level, aux-in and Bluetooth volume, click and internal song levels. While we can’t say we’d prefer this over a touchscreen for home and practice use, we can appreciate that hands-on, moving controls have their place in a stage scenario, and it’s a push to say it’s better or worse. Just different.

The same things can be said for the six ‘F’ buttons which sit directly below the screen, and the cursor button/jog wheel controls that help us move around. It’s fast, responsive and while some of the deeper editing functions may require a few more button-presses to alter parameters, at no point did we feel bogged-down in menu-surfing. The layout and accompanying visual representations - from the graphic display of kit setups to the plugin-style representation of effects processors - make us feel like we’re doing exactly what we are: operating a pro-level drum module.

Without a doubt, one of our favourite new features on the TD716 is the PD14-DSX snare drum. Our initial preconceptions of the head/rim bumper layout had us slightly sceptical about how it would respond physically. Depending on your playing style, rimshots are either your go-to backbeat articulation, or an occasional accent, but in both contexts, you need the fulcrum-like placement of a rim to realistically execute it. Physically, we found it to respond exactly as designed - out of the way when you’re not attempting to hit it, but right there when you need it.

Likewise, there’s zero barrier to executing cross-stick sounds: no switching of modes, no need to apply extra pressure to the head. You simply play the crosstick as you would on a snare drum, and in the case of nearly every acoustic kit preset, are rewarded with a beautifully realistic, woody sample. If you dislike the ‘Everybody Hurts’ ballad sample that we’re often confronted with all too often, you’ll love this.

But the jewel in the PD14-DSX’s crown is the throw-off. Danny Carey impersonations, drum-free extended song intros and faux-timbale sounds aside, it’s not that often that you’re required to turn the snares off and on quickly. But the fact that it’s here is irresistibly addictive to play with, and (to our minds) gives a clue as to how seriously Roland is taking the task of transitioning between acoustic/electronic drums.

The icing on the cake is the strainer, which actually forms a lot more substance. The effect of adjusting the virtual snares is, at times, subtle, and depends largely on the wider processing (room sounds, reverb etc) of the kit. But it’s nothing short of a brilliant addition. On the more organic ‘kit-in-a-room’ presets, it’s very noticable, and we could take our snare drum sounds from sustained and mellow to tight and almost choked, just like an acoustic snare.

There’s a lot to get into with this kit. But, we can’t really go any further without talking about sounds. As the top dog in the e-kit yard, Roland is often under the microscope. The last couple of generations of V-Drums have come with a huge focus on triggering technology, build, dimensions and response. But as VSTs become ubiquitous, and pressure mounts from competitors, it seems that Roland’s head is firmly above the sand. The presets housed within the V71 module are genuinely impressive to play, and just as with the Alesis Strata Prime I tested earlier this year, it doesn’t take long to forget that you’re playing sounds from a drum module rather than a computer.

It’s loaded with authenticity, and plenty of variation all hinging around acoustic kit presets which sound brilliant for jazz, funk, rock and metal. The snares are dynamic and lively, with acoustic-style ring where you want it (removable via V-Editing where you don’t), and each one is processed appropriately. Gone is the synthetic, loose attack present at times in modules from Roland - and to be fair, other manufacturers - replaced with punchy, transient-heavy processing while remaining natural.

There’s body and character too, with bass drums delivering proper acoustic thump and slap, without sounding like they’ve been cooked-up in a lab. The same can be said of the more ambient-sounding kits, where the reverb and room sounds are full and natural sounding.

There’s a lot more to responsive sounds than just the samples. There’s a cohesion between the triggering systems and solutions that are in place, and the playback engine. Round-robin sounds mean that you’re never hearing the same sample played back-to-back, so just as there are countless variations available when you hit an acoustic drum, Roland has equipped the V71 with up to 16,000 variations on the digital pad voices, when you strike the pad, it’ll pick from this pool to make sure that there’s never consecutive playback of the same sample.

At the time that we had the TD716 for review, the Roland Cloud functionality was unavailable for testing. This is understandable given that this is Roland’s top-secret flagship launch, and access to a user-accessed web-based portal would risk a pretty serious leak. Instead, we had the same resources loaded onto an SD card. The kits are scrollable, with previews available before you choose to import them. These are organised as packs, with each pack containing multiple kits.

Importing is easy, with simple option prompts between the selection buttons and cursor. Loading the kits from the card into the module takes a few seconds - obviously with the sounds sitting natively on a card there’s no download speed to contend with. But even with that factored in, it’s quick, convenient and will continue to evolve.

Purchasers of the TD716 will get a time-limited trial of a Premium Roland Cloud account, and during this time you can download sound packs, individual instruments such as samples of the DW Tru-Cast snare as well as jam tracks to play along with.

Roland TD716 review: Verdict

There were a few questions in our head that we were hoping the TD716 would answer before we got to play it. First was regarding sounds - not only has Roland come up with a gig-worthy solution to getting realistic acoustic sounds from an electronic drum kit, but it’s done so impressively. These aren’t just ‘good for a module’, they’re genuinely useable, realistic and ultimately very enjoyable to play. Not only that, but the presets are tasteful and very well put together. There’s no learning curve to getting a great sound, because they’ve already been set up and optimised for you - and as we type this, it’s a reminder that at no point during our review was it necessary to go near trigger configuration menus.

The next questions were how would the DWe technology influence Roland’s next big output? We got our answer, and it’s ‘Very positively’. The PD140-DSX is a triumph, and placed next to the VH-14D hi-hats and CY-18DR, bolsters the TD716 with a pretty formidable triple-pronged triggering arsenal. Throw in Soundworks compatibility from within the module and we’ve got to use the phrase ‘game-changer’ for the second or third time this year.

Finally, for TD-50/50X or TD-27 owners, is it worth the upgrade? If you’ve recently purchased a top-end Roland module or kit then we’re sorry to be the bearers of bad news, but it’s a blunt ‘Yes’.

The TD716, and more widely, the V71 module are not cheap. If you’re thinking of saving some money and going for the TD713 instead, you’ll need to be prepared to make some concessions on the tom and bass drum pads and rack, but it is a lower entry point. There’s very little to fault with the whole configuration, and it makes us excited to try the VAD versions. Phones might just be ‘slimmer and lighter’ and we’re still waiting on the hoverboards Michael J Fox promised us, but for now it appears that Roland has put a big crack in the nut its fans have been hoping for.

Roland TD716 review: Video demos

MusicRadar

Roland

Roland TD716 review: Specifications

• Pads: 1x KD-18 bass drum, PD14-DSX snare drum, 2x PD-10X, 2x PD-12X tom pads, VH-14D hi-hat, CY-18DR ride cymbal 2x CY-16 RT crash cymbals
• Module: Roland V71
• Kits: 200 (70 presets plus expansion via Roland Cloud)
• Connectivity: 14x trigger inputs, 3x digital trigger inputs, master L/R output, 8x direct outs (4 mono, 4 stereo, all balanced) headphone outputs x2, mix input, USB C, Bluetooth, WiFi, SD Card
• Stand: MDS-STG2
• Contact: Roland

Mapex has refreshed its entry-level drum set offering with the new Comet series, aimed at giving aspiring drummers “An accessible road to finding your musical voice.”

The Comet range builds on Mapex’s previous Tornado beginner drum sets with some big improvements, starting with its standard SONIClear bearing edges, which ensures optimal fit across the surface of the drum head, making tuning quicker, easier and more stable.

Mapex Comet series drums feature 9-ply, 7.2mm poplar shells, and are offered in three different sized, five-piece configurations complete with 360-degree rack tom holders, hardware and cymbals. Each kit is available in a choice of three wrapped finishes: Dark Black, Indigo Blue and Infra Red.

First up is the full-size Rock configuration (22”x16” bass drum, 10”x7”, 12”x8”, 16”x14” toms, 14”x5” snare drum), next is the Fusion-size kit (20”x16” bass drum, 10”x7”, 12”x8”, 14”x12” toms, 14”x5” snare drum), and finally there’s the Junior kit (18”x16” bass drum, 10”x7”, 12”x8”, 14”x12” toms, 14”x5” snare drum).

Each configuration comes with Mapex-branded 14” hi-hats and a 16” crash cymbal, but as well as this, you get all the hardware you need to start playing straight out of the box, with a hi-hat stand, cymbal stand, snare drum stand, bass drum pedal and stool also included.

“Mapex is dedicated to a sound-first principle in all product development,” says Mapex USA Brand Manager Jeff Mulvihill. “For others, sound isn’t always the priority when instruments are developed for this segment of the market, but we give the same amount of thought to sound as we do to functions, features, and prices to present an extremely high-value experience, sure to produce Drummers for Life.”

Mapex Comet series drums are available now, with a street price of £449. For more information, head to the Mapex website.

DWe: What is it?

Just over a year ago, DW lifted the lid on its DWe series, which sees the revered US drum builder planting two feet firmly in the world of electronic drums. It’s the result of a project years in the making, preceding DW’s acquisition by Roland by some time, and on the face of it is a fairly simple concept: take DW acoustic drums and equip them with electronics. Of course, saying something out loud is a lot easier than actually doing it, and what we have is a detailed, ground-up approach that involves a DW acoustic drum kit, groundbreaking triggering technology, and a radical integration of software and hardware. There’s a lot to get into, so let’s delay no further.

As we just mentioned, there are three main elements at play when it comes to the formulation of a DWe kit: the drums, the triggering and the sound generation. We’ll get to all three, but first up are the drums themselves. Yes, we’re calling them drums, because that’s exactly what they are. DW is keen to point out that this isn’t a ‘hybrid’ kit, but rather an ‘acoustic-electronic convertible’ set. The shells themselves are made in DW’s Oxnard, California factory (the same place that Collectors Series kits come from), but they’re not badged as Collectors. Instead, these shells are named e33. They’re 100% maple, with a 9-ply, VLT 333 layup. They can be fitted with acoustic heads and played just like what they are: acoustic drums, or, they can be fitted with mesh heads (as is our review kit) and — as we’ve said of multiple real-shell electronic kits before — deliver the closest feel in terms of kit size and placement to an acoustic kit, with the sounds generated electronically.

DW offers DWe shells in three finish styles, with colour options within each (FinishPly wraps in White Marine Pearl and Black Galaxy; lacquered Midnight Blue Metallic and Black Cherry Metallic; and one Exotic finish in Candy Black Burst over Curly Maple). Similarly, there are multiple configurations available, each with the same finish options. 

There’s a bop-sized four-piece offering a 20”x14” bass drum, 12”x9” and 14”x12” rack and floor toms and a 14”x5” snare, plus a three-piece cymbal set (hi-hats, crash and ride) and hardware pack ($7,699). Or, as per our review kit, a five-piece including a 22”x16” bass drum, 10”x8”, 12”x9” and 16”x14” toms, plus 14”x6.5” snare. 

This setup comes with an additional crash and stand for the cymbal and extra tom in the hardware pack ($8,999). As well as the ‘full’ setups, each configuration is also available as a shell pack ($4,499/$5,399) comprising the drums only, and all of the components are available individually, starting with a non-configuration 8”x7” rack tom.

The drum shells are joined by cymbal pads too, but these aren’t your usual Roland, Yamaha et al. rubberised pads. They’re metal, just like real cymbals, with a two-piece, 14” hi-hat, 16” crashes and an 18” crash/ride available individually or in packs. They’re all three-zone, with a 360-degree playable area on each zone of every cymbal, and like the drums, they feature wireless triggering.

Ah, yes, the wireless triggering. One of the big design game-changers with DWe comes from the fact that (as you might have noticed) there are very few wires involved. When it comes to the triggering, there are none, in fact. 

That’s because every piece of the DWe kit is equipped with wireless trigger technology. For the drums, this culminates in a multi-sensor starplate which clips into a mounting bracket. In the centre of each is what DW calls an FSR (Force Sensing Resistor), while piezo triggers provide the edge zone for each shell. 

Electronically, the toms offer centre, rim, and rimshot zones, as well as pressure-sensitive pitch bend when you place a stick or your hand on the head. Meanwhile, the snare drum expands on this with an additional edge zone as well as cross-stick detection, making it five-zone. However, as we’ll find out later, this is actually doubled by one of our favourite features of the DWe kit to a total of 10 zones.

The wireless triggers are powered by batteries in order to transmit the trigger signal wirelessly, which may set alarm bells ringing of a regular need for replacement but to aid battery life, the triggers have been designed to lay dormant until they detect a strike. 

When they do, they spring to life and send the signal, then return to their idle state to minimise power usage, and it also means you’re never going to accidentally leave them switched on by mistake.

This brings us to the final piece of the puzzle: sound generation, and we’ll throw the cold water immediately - you need a computer. Now, we’ve often said before that ‘real shell’ kits are primed to act as ‘dummy’ controllers - that is, a real-feeling kit with triggers and the ability to interface with a computer, allowing you to use whatever sound-generation method you like. 

That’s because, with so many software drum sample packages out there, the potential for multi-mic’d, multi-velocity-sampled sounds is infinitely better than what you’re likely to find in even a high-end drum module. That’s exactly what DW has done, except rather than pushing us towards other software brands, it's undertaken the frankly, mammoth task of creating its own sound library from scratch. 

This comes in the form of DW Soundworks, which like Toontrack Superior Drummer, BFD, and Steven Slate Drums, forms a suite of drum samples inside your computer. Soundworks is available as a standalone product, meaning you don’t have to own a DWe kit to use it, but if you purchase a kit it’s included. It’s downloaded via Roland’s Cloud Manager (one of the few overlaps between DW and Roland here), and our download was in the area of 60GB. 

Naturally, the samples are all from the DW brands flock: Pure Maple, Maple-Mahogany, pure Almond and 50th Anniversary kits from DW, a Slingerland Vintage 1958 3-ply kit, and a Gretsch USA Custom, with expansion packs continuously set to evolve. 

At the time of writing, DW has already introduced an expansion pack of its latest True Cast snare, and given the wide-sweeping nature of the DW artist roster, we wouldn’t be surprised to eventually see some highly desirable artist packs one day (although this is purely speculation at this point).

Now, with these three elements, we obviously need a way to make the triggers talk to the computer, and in turn, the computer talk to our headphones/PA system if we want to hear drum sounds. This is achieved by the DWe Wireless Hub and DWe RTAP. Both are USB-C boxes that hook up to your computer. 

The Wireless Hub receives the signal from the triggers and sends it into the software for conversion, it also includes a five-pin MIDI output which connects as a breakout cable via a mini-jack socket. The RTAP is essentially an audio interface, handling the audio outputs from the software with L/R outputs, a headphone socket, stereo mix input for monitoring of additional sources, and a pair of large volume controls. You’re not limited to using this, and if you already have an audio interface with, say, multiple output busses then that will also work for more complex routing. Both boxes are powered via their USB sockets, so as long as your laptop is plugged in, you’re not going to lose power.

DWe: Performance

Naturally, that’s quite a lot to digest - not only is this unchartered territory for one of the most desirable acoustic drum manufacturers on the planet, but it’s a whole new eco-system for us end users, even if you’re well-versed in hooking up your e-kit to a computer.

We’ll start from the beginning. Putting the drums together is very much like putting together any other DW kit - the mounts are the same, and the hardware pack is DW 5000, with our review setup comprising a snare stand, hi-hat stand, bass drum pedal and three cymbal stands. Our review kit is the 22/10/12/16 with a 14” snare configuration,  finished in White Marine Pearl FinishPly, and make no mistake, it looks the business.

We were provided with a copy of SoundWorks to familiarise ourselves with the software, however, DW also supplied it pre-installed on a loaned MacBook Air which we used to review the kit. With the kit assembled, we plugged in the Wireless Hub and RTAP, and like magic, it recognised everything straight away. The signals from the triggers pass seamlessly to the hub, which pumps it through the software and in our headphones…we hear drums! We were a little sceptical about the MacBook Air’s potential ability to translate everything without latency, but it didn’t trip over once. SoundWorks informed us that there was a new firmware update available for the triggers, which is literally a button press to initiate, and the whole thing updates itself in a flash. This might all sound trivial and ‘adequate’, however, if you’ve ever spent time updating music-making software, you’ll understand the potential tedium, which thankfully we didn’t experience here.

On to the drums, then. Across the board, the response feels very much as you might expect - they’re fitted with DW-branded, Roland mesh heads after all. So there are very few surprises to be had there, except one point that you might not have considered: the resonant heads. These add a slight sustain to the usual dead attack of mesh heads, and obviously, you’ll experience resonating at whatever pitch they’re tuned at. In the room, we found this didn’t translate to a particularly loud increase in volume, but it is definitely noticeable.

It all feels very realistic in use, though, particularly with the addition of the pressure-sensitive pitch bend on the toms. One feature we’d like to see would be rim bumpers across the drums. These are available from third-party retailers and don’t cost a lot, but they do aid with keeping the noise down while you’re playing electronically, and we were surprised to see that DW hasn’t included them as standard.

While Roland’s VAD kits use a pad embedded into the bass drum ‘head’ (a solid board), which produces a defined thud, DW has stuck with a straight mesh head, coupled with a traditional resonant head on the front. The feel is spongier, with less weight on impact which could result in less transfer of noise if you’re playing this upstairs. We should point out though, that we set the kit up in an upstairs room and there really wasn’t an appreciable difference in noise between this and an electronic bass drum tower through the floors. Overall, though, it’s a natural feel that really won’t take a lot of getting used to if you’ve come from using a mylar bass drum head. It feels solid and also worked well with our double pedal. As long as you keep the tension down you should find it relatively seamless.

On to the cymbals, and acoustically this is the biggest departure from what you might expect from an electronic cymbal. As we’ve already mentioned, they’re metal, and no, that doesn’t mean they’re going to sound like real cymbals. The metal part is simply the playing surface, which caps the electronics housed inside. They swing and move if you want them to, or you can bolt them down to remain more static, and playing-wise, they’re very authentic. 

The transition between the zones — particularly on the ride cymbal — is smooth, and the definition between bell and bow, perhaps because the playing surfaces are separate, feels very natural. Choking is fast too, with no scrabbling to find the switch.

The hi-hats are great, once again confirming that unless you’re used to playing under-sized acoustic hats, you won’t want to go back to playing smaller electronic ones after you’ve tried them. We configured the clutch/pedal response via SoundWorks, which holds your hand through the short process, and once you have them dialled in, it’s a case of set-and-forget, with closed, half-open and open pedal heights all transmitting well, plus shorter barks working smoothly. 

There is an elephant nudging towards the room though, and as with the drum rims, it’s a noisy one. With that real-feeling metal playing surface comes noise. A strike of the stick against any of the cymbals yields a fairly loud (albeit short) ‘clack’. It’s less obvious if you’re using closed-back headphones or in-ear monitors with a decent seal, and obviously, in a louder environment, this isn’t going to be an issue. However, if your intended use for this kit is a low-volume practice kit at home, it’ll add significant airborne noise while you play.

The DWe snare drum is perhaps our favourite part of the kit. Not only does it feature DW’s three-position strainer, giving you ‘presets’ over your acoustic snare tension, but it’s equipped with a DW Mag throw-off - lightning fast, smooth, and ultra-sensitive to flick on or off, it’s one of our favourites. But so what? Well, it’s not just a Mag throw-off, because it’s digital (digiMag, to give it its full title).

Switch it off and SoundWorks reacts, swapping your snare drum samples to snares-off, and it does it instantly. That’s because the snares-off samples are already loaded when you select your kit preset within the software, and flicking the throw-off just tells the software to use the alternative sample set instead of the standard one. 

We found that it doesn’t always extend to the room mic positions of the other drums, and there’s still a little bit of sympathetic snare buzz apparent on some of the kick and tom hits, but not enough for it to detract from the objective. 

Plus, it’s worth remembering that this is a controller function rather than physically changing the electronics - to remove any trace of the snare wires from all microphone positions would essentially require SoundWorks to load two full multi-sampled kits at once, keeping the second set on call on the off-chance you want to pretend you’re Danny Carey for a bit. This would eat up twice as much of your computer’s RAM and chew through a considerable amount of processing power. The implementation here is brilliant, a simple yet effective move that will have anyone who owns a Roland PD-140DS eyeing the mysterious ‘Func’ button on the underside of the drum and wondering if it could be made to do the same.

So far, we haven’t really gone into much detail about SoundWorks, and to cover it fully would be a review in its own right because as you might imagine, it’s vast. In fact, soundWorks is a standalone product in its own right and doesn’t require a DWe set to play the sounds, it can receive MIDI from any kit or controller meaning that DW has its sights set on this becoming your drum package of choice, even if you’re using its built-in MIDI grooves, or programming parts from a keyboard. 

But from our perspective as drummers, this is our drum module rather than a producer’s tool. It’s a huge achievement on DW’s part, first for recognising that electronic drum kits (or acoustic-electronic, in this case) need to move beyond what is by today’s standards, a limited amount of dynamic sample layers and microphone positions. Obviously, this is executed by bringing a computer into the equation, but DW has built the sound library from the ground up, as Chad Wackerman told us at the unveiling, “We blocked out a studio for a couple of months. Every drum was miked with 15 mics in various parts of the room, within the software you can choose which mics you want to have for each individual drum or the whole set.” 

It’s not just equipped with drum sounds, though. The whole environment is a suite of drum sound design with the usual adjustments for trigger dynamic response to hand, but also processing in the form of EQ, dynamic effects such as compression and total control (as Chad says) over the individual balance of not only each drum, but its presence in overhead and room mics too.

The sounds themselves are based around the kits, with each kit containing presets for various environments including a smaller booth, studio and more, meanwhile, there are presets that point towards specific genres as you might expect.

In many cases, we preferred the drier-sounding kits with less processing, which tended to give a more natural ‘kit in a room’ sound rather than the full-blown bombast of the more ‘mix-ready’ presets. This is likely to translate better if you’re using the kit live in regular gigging environments too, offering a more authentic ‘live sound’ rather than a replication of a record.

There’s something for everyone, though, and the individual kit pieces are freely interchangeable, so you’re not stuck with a kit where you love the snare but would prefer different toms. Just swap them out and you can design your own custom mix-and-match set, just as you can within most modules. 

One of the most intriguing parts of SoundWorks, is the Instrument Designer. This part of the software allows you to import your own samples for triggering, but this isn’t just a simple one-shot add-on feature. Here, you can import multiple dynamic layers (up to 18), as well as round-robin alternatives, articulations and multiple mic positions. So, let’s say you have a collection of snare drums (or even an entire acoustic kit) that you’d like to incorporate into your DWe kit virtually, you can. 

Now, this isn’t as simple as recording a quick hit on your phone, you’ll need to mic it up — most likely with a lot of microphones — and edit and prepare the samples, which takes a lot of time and effort, and is also exactly how libraries such as Soundworks are made. It also means that if you’re so inclined, you could potentially re-sample your favourite multi-samples from other sound sources too…

There are, of course, plenty of plugin samplers available already which allow you to do this, but here, it’s integrated into an environment that is designed primarily for drummers, and it also means that if you’re using SoundWorks as your primary sound generator, it’s all there alongside the DW-produced sounds. 

DWe: Verdict

DWe is an incredibly tough product to apply a score to, and it’s important to keep in mind that there are two halves to the package. First is a premium-level acoustic kit, which is also loaded with groundbreaking triggering technology. These are USA-made DW drums - forget the ‘e’ part, and remember what that costs in the analogue world of wood and metal. But the cost is a reality (our review setup is a dollar short of $9,000), and it’s one that will immediately rule this setup out of a lot of peoples’ budgets.

It’s brilliant, no question, and we’ll be watching with bated breath to see how DWe not only develops in its own right, but the potential for this to be applied across other areas of the company (DW Design, or PDP now that Gretsch has left the fold), not to mention Roland.

This brings us to another consideration - at the moment, the wireless triggering means that this is very much a ‘closed’ system, at least hardware-wise. Yes, you can save some money and go for a shell pack, but you’ll still need to consider cymbals if you’re planning on using this in its fully electronic guise. SoundWorks receives MIDI, but there’s no option for simply incorporating non-DWe gear into the triggering setup in a cohesive, integrated way apart from external trigger-to-MIDI converters, which while perfectly possible, somewhat complicates things.

Finally, comes the question of SoundWorks. We love the fact that DW has made the jump to a world beyond cursors and small screens, but it does force you to make a decision about using a computer, and that’s not really the issue. The problem comes that once you make that leap, your options are no longer limited. As we already know, there are myriad libraries available out there, many of which deliver sounds created by million-selling producers for a very small relative amount of money. 

These, as well as SoundWorks can be triggered from any electronic kit with MIDI capability, and as such the removal of the self-contained module/kit format presents a strange dilemma. Your sound-generation options improve and widen, which opens the possibility of triggering them from any MIDI-equipped electronic kit. That’s an extreme baby-out-with-the-bath-water argument, though. SoundWorks stands up, and we love the more ‘organic’ sounds included with it, as well as the idea of being able to load in not only custom sounds but ones captured in the same detail as the core library. This feature alone means that Soundworks is bringing something new to the table, while also matching the quality of some of the more established software libraries. For now, the range of sounds is still small by comparison to say, Toontrack’s offerings, but as we’re already seeing, these will grow over time, and there’s something to be said for not scrolling through hundreds of presets.

We’ve focussed on the electronic aspect of this kit for our review, largely because that’s the big talking point. As a concept DWe is breaking a lot of ground - we’ve lost count of the times we’ve watched guitarists and bass players dramatically change their rigs, swapping rigid vintage designs for the flexibility of digital boxes, wondering when we can convincingly do the same with our kits. It’s encouraging, and in the blinking competition of accepting that a step-change in sound generation is what’s required, the fact that DW has squinted first might well encourage other manufacturers to follow suit.

It’s this kind of thinking (no surprise that Line6 founder, Marcus Lyle had a hand in the DWe design) that will make ‘electronic drums’ thought of as just, ‘drums’. We maintain that the future of electronic drums as a replication of acoustic kits will take the form of acoustic shells housed with electronics - it’s the closest and most familiar way of playing triggered acoustic sounds. If this is DW’s starting point, then we think the future is looking very, very interesting.

MusicRadar verdict: DWe gives us a glimpse into the possible future of electronic drums. The wireless triggering not only saves time, but looks brilliant, and the speed and reliability of the triggering are flawless. You’ll need to use a computer in order to generate sound, which further adds to the already high price. As a proof-of-concept, it’s hard to fault, even if we’d need to sell our car and some organs to buy one!

DWe: Hands-on videos

MusicRadar

rdavidr

sweetwater

65drums

DWe: Specifications

• Drums: Real wood, 100% maple acoustic/electronic convertible shells
• Triggers: Wireless
• Sizes: 22”x16” bass drum, 10”x8”, 12”x9” and 16”x14” toms, 14”x6.5” snare
• Cymbals: 14” hi-hats, 16” crash (x2), 18” ride, three-zone, metal playing-zone, chokeable
• Sounds: 60GB core library with DW SoundWorks software
• Accessories: DW RTAP audio interface, Wireless Hub
• CONTACT:

Who says that entry-level drums need to be limited on finish options? Not Yamaha, as the Japanese giant has just pulled the curtain on five new finishes —  three glitter options and two solid colours — for its Rydeen series, which further fly in the face of its price tag.

Joining the list of colour options for 2024 are Orange Glitter, Turquoise Glitter and Champagne Glitter, alongside Gloss Pale Blue and Sky Blue (see the gallery below), and the new finishes will be available across the Rydeen line-up.

Yamaha’s Rydeen series shells are 6-ply, 100% poplar, with bass drum-mounted toms (Yamaha CL940LB ball clamp tom holders included), and make use of Yamaha’s standard-sized 22.2mm hardware, making attachment of additional Yamaha hardware accessories easy. 

Rydeen kits are available in two five-piece configurations (bass drum, 2x rack tom, floor tom and matching snare drum) with a standard 22”x16”, 10”x7”, 12”x8” 16”x15” and 14”x5.5” setup, or a smaller-sized version with a 20”x16” bass drum and 14”x13” floor tom.

Each bass drum is fitted with a P3-style head for pre-muffled bass drum sound straight out of the box, and the bass drums also include matching-finish, inlaid hoops on both sides.

For more information on Yamaha Rydeen drums, visit the Yamaha website.  

Gretsch Drums has announced a new series of beginner acoustic drum sets with the release of its new Renegade kits.

These five-piece setups are full-size featuring basswood shells, classic Gretsch lugs and Gretsch logo-branded bass drum heads, and come with everything you need to start playing drums straight out of the box. 

Starting with the drums, you get a 22”x16” bass drum, 10”x7 and 12”x8” rack toms, a 16”x14” floor tom and 14”x5” matching wood snare plus tom holders. But as well as this, the Renegade comes with a hardware set including a cymbal stand, hi-hat stand, snare stand, bass drum pedal and throne, plus a pair of sticks.

Also included is a two-piece, brass cymbal set with a pair of 13” hi-hats and a 15” crash/ride cymbal, so you can get set up and start playing immediately. 

Gretsch Renegade comes in a choice of four sparkle wrap finishes - Grey Sparkle, Ruby Sparkle, Blue Sparkle, and Black Mist. They’re available now, priced at $599/£529.

For more information, or to find your nearest retailer, visit the Gretsch Drums website.

Yamaha's DTX range of electronic drum sets spans from compact entry-level rubber-padded offerings, through higher-specced modules with mesh-head kits to full-on pro-level set-ups. Having reviewed them at all levels, we can tell you they stack up extremely well against the best of their rivals' offerings for both performance and value. 

So it's been a source of some frustration that previous Cyber Mondays have come and gone without a sniff of a proper discount on DTXs. It's a very different story this year, though, with discounts available across the range at Sweetwater.

These are the Yamaha DTX kits and deals we think you should be taking a very serious look at this weekend...

Perfect for beginners

Moving on up

Pro-worthy 

Discover more unmissable ekit deals over at our Cyber Monday electronic drums deals hub.

DrumCraft, the acoustic drum brand revived in 2022 by European retailer, Thomann has announced the release of its new Series 3 Double Bass kit.

The new addition joins the existing Standard and Studio configurations on offer from DrumCraft’s entry-level range, adding more choice for those who want a dual-bass drum setup at an affordable price point.

But as well as the additional bass drum, The DrumCraft Series 3 Double Bass configuration also expands the tom count, comprising the same sizes as the Standard five-piece kit, but with the 14”x12” floor tom from its Studio configuration also included. Of course, it's offered in one, metal-friendly finish: Black.

DrumCraft Series 3 Double Bass kit

• 22”x18” bass drum (x2)
• 10”x7” rack tom
• 12”x8” rack tom
• 14”x12” floor tom
• 16”x14” floor tom
•  14”x5” snare drum
• 6-piece hardware pack

DrumCraft Series 3 drums are made of 7-ply, poplar shells with 45-degree bearing edges. As with all Series 3 setups, DrumCraft has bundled the Double Bass configuration with a complete set of hardware too. It comes with a snare drum stand, 2x cymbal boom stands, 2x bass drum pedals and a hi-hat stand.

The DrumCraft Series 3 Double Bass kit is available now, priced at £798/€916/$996 inc. hardware. For more information, visit the DrumCraft website, or to check out the latest price at Thomann, click here.

It’s been 13 years since UK amp legend Marshall acquired the Natal brand, and now the revived percussion company has announced its Zenith kit: a modern-made drum set that harks back to vintage design and styling which Natal says “Eloquently captures the musical fusion of the 50s and 60s from both sides of the Atlantic in a drum kit that has been proactively made to suit a variety of playing styles.” 

At launch, the Zenith is available in a single, three-piece shell pack configuration comprising a 22”x16” bass drum, 12”x8” rack tom and 16”x16 floor tom, with additional shell sizes available on request (not details on those just yet).

Each drum features a 6mm, three-ply shell (1.8mm maple/2.4mm ash/1.8mm maple), complete with maple reinforcement rings across all drums (2.4mm on the toms, 4.8mm on the bass drum).

The rack and floor toms feature a 30-degree bearing edge, while the bass drum is cut to a rounded 45 degrees.

There’s new hardware, too, with low-mass tube lugs adding to the vintage aesthetic, and Natal’s ‘Sun’ lug-mount logo has been shrunk down to a more delicate, classy-looking size to match.Natal has also added an all-new badge design, which serves as a stylish through-shell air vent and logo simultaneously.

The old-school vibe extends to the finishes too, and Zenith is offered in five vintage-style wraps including Forge Black, Forge Blue and Forge Red, plus two sparkle finishes (Silver Frost and Pink Frost). In each case, the natural maple bass drum hoops are inlaid with the matching finish, and the Zenith ships with Natal-branded Evans heads throughout.

Natal Zenith is available now, priced at £999. For more information, or to find a Natal dealer, visit the Natal website.

You know the Yamaha Stage Custom: it’s the mid-priced drum kit that’s given thousands of drummers their start since its introduction in 1996. But, despite its undeniable success, the $749 Stage Custom Birch sits in the ‘affordable, reliable, gigging workhorse’ category rather than being an ultimate dream machine.

But, if you’ve ever turned your nose up, or merely wondered why the Stage Custom is such a dependable intermediate set, Yamaha’s latest demo videos have the answer. The videos features the latest incarnation of Yamaha’s Stage Custom Birch, finished in the recently-announced Deep Blue Sunburst lacquer. 

Tank and the Bangas drummer, Joshua Johnson puts the kit through its paces, aided by a crisp sounding set of Zildjian K Custom Special Dry cymbals ,drumming along to the band’s songs Why Try and Oak Tree. 

The funky, neo-soul tunes provide the perfect backdrop for Joshua’s varied grooves and tastefully executed chops, navigating his way around the 8”/10”/12”/16” tom setup with some impressive fills that show off the kit’s tuning range.

Curiously, Johnson has opted for a clear, rather than coated snare head, prompting some viewers to comment that they will try out this rare choice for the first time, or at least the first time in a long time. 

Now, obviously, these video features multiple microphones and likely a decent amount of EQ and compression processing. It also appears that the stock heads have been swapped for USA Remo Ambassadors or Emperors. But ultimately, it’s the sound of the drums captured under mics, and proof that with the right tuning this mid-priced staple is still going strong.

Yamaha Stage Custom Birch kits are made from 100% birch shells and come in two ‘Standard’ configurations (22”/10”/12”/14” or 20”/10”/12”/16”), with add-on drums available in diameters ranging from 8” - 24”.

They’re fitted with a host of Yamaha features including Y.E.S.S. suspension mounts, Absolute lugs and hardware found on Yamaha’s higher-end kits, and a choice of eight lacquer finishes.

Ludwig has unveiled two new additions to its line-up with the Ludwig Continental and Continental Club, both of which are aimed at intermediate players looking for classic Ludwig features and finishes at an accessible price point.

With an all-new badge, both Continental setups - not to be confused with the Centennial - are designed by the Ludwig team in Monroe, North Carolina, and according to Ludwig, are the result of three years’ research and “creative fine-tuning” in order to offer a “timeless American design for a Continental market".

Ludwig Continental

Starting with the Continental, we get 7-ply, 7.2mm hybrid maple shells (that’s the same ply-count as the Classic Maple series, but 1.2mm thicker), with un-drilled bass drums as standard. However, Ludwig also gives the option of adding a classic rail mount and Vibraband suspension mount for rack toms.

The Continental is available in three configurations and a choice of classic finishes including Natural Maple, Silver Sparkle, the Bonham-friendly Green Sparkle and Black satin finishes. Each setup includes a 14”x6.5” snare drum.

• 22”x16”, 12”8, 16”x16”, 14”x6.5”

• 24”x14”, 13”x9”, 16”x16”, 14”x6.5”

• 26”x14” 13”x9” 16”x16”, 14”x6.5”

Ludwig Continental Club

Ludwig describes the Continental Club as “A love letter to the vintage style of the 1970s” inspired by the Club Date series. Once again, the Continental Club features 7-ply shells, but this time in hybrid cherry.

As such, Continental Club is available at launch in a single 20”x14”, 12”x8”, 14”x14” configuration, in Blue Sparkle and White Marine Pearl. The Club comes fitted with the rail mount and Vibraband tom mount, plus vintage-style gull wing bass drum spurs. Ludwig tells us that more size options will follow later this year.

The Ludwig Continental starts at £1,295, while the Continental Club is priced at £1,199, and all kits/configurations are shipping now. For more information or to find a stockist, visit Ludwig’s website.

We were impressed with the Millenium MPS-1000 electronic drum set when we put one to the test last year, offering full-size drum shells in a familiar acoustic-style setup at an incredibly affordable price point.

Now, Millenium has expanded its MPS-1000 line-up with the addition of two new finishes, and an all-new configuration.

First up, the MPS-1000 is now available in a classic rock-style one-up/two down configuration featuring a 20”x16” bass drum, 13”x5” snare drum, 10”x6” rack tom, plus 14”x14” and 16”x16” floor toms.

However, while the MPS-1000 was formerly only available in a Grey Line wrap, Millenium has also added Plain White and Natural options to the range, adding that the former will "blend seamlessly into any environment with its timeless look", while the latter is aimed at those who want a more organic aesthetic on stage.

Cymbal-wise, each MPS-1000 kit includes a 13” stand-mounted hi-hat pad, 2x 15” dual-zone crash cymbal pads and an 18” triple-zone ride cymbal pad, with the crashes and ride both choke-able.

The MPS-1000 module is packed with features too, with over 800 internal sounds, Bluetooth, USB MIDI, user sample-import functionality and more.

The Millenium MPS-1000 starts at £938/€1,065. For more information, visit the Millenium Drums website.

If you’ve ever been in the fortunate position to catch a drumstick launched into the crowd by your favourite drummer, you’ll understand the joy of owning gear (no matter how small) played by one of your influences.

But for some, there’s no need to stop there. Celebrity-owned gear has become more accessible than ever thanks to digital-auction sites and retailers such as Reverb removing the barrier of geography and access, taking sought-after gear out of the attic and placing it in front of potential buyers anywhere in the world, often direct from the artist themselves. 

It doesn’t have to be limited to back-ups or gear used for one-off performances, either. So, with our search filters set to 'highest price first', we’re looking at just a few of the drum kits, snares and cymbals owned or used by household-name drummers, that are available to buy right this very minute. The only obstacle is the asking price.

Buddy Rich’s 1970s Zildjians: £35,750

Buy it here

Gulping at the price of replacing the crash cymbal you’ve just cracked? Look away now. Here we have a set of 1970s Zildjian cymbals owned by up-and-coming jazz-hopeful, Buddy Rich.

The relatively understated Reverb listing confirms that these cymbals were given to the seller (a close friend of Buddy Rich and his daughter, Cathy), and incredibly, is apparently just one collection of some of the drums an cymbals passed-on by Rich to the seller over the years. 

The ad doesn’t specify whether the additional cymbals placed outside of the spotlight are included in the sale, but we can safely assume that the New Beat hi-hats, 8” splash, 20” Ping Ride, what appears to be a pair of 18” crashes and the China definitely are. 

Cathy Rich has seen them and provided signed confirmation that these belonged to Buddy, we’d probably ask for some more pictures or perhaps a complete list of sizes before pulling the trigger though.  

Ex-Oasis drummer Tony McCarroll’s Definitely Maybe Pearl Export kit: £41,000

Buy it here

Before Alan White, Zak Starkey (yes, son of that Starkey) or Chris Sharrock, there was Tony McCarroll. It’s no secret that Tony had a difficult time in Oasis, but no amount of inter-band arguments or legal disputes can change the fact that it’s Tony McCarroll who was the drummer on Oasis’ early hits. He did it with a battered beginner drum set that will be familiar to thousands of us: the humble Pearl Export.

You can bag the kit that Tony used on Definitely Maybe, and also used for videos, TV appearances and Oasis’ early tours right now for £41,000, which is only roughly £40,800 more than the going rate of a late-‘80s Export. Or, if you’d prefer to keep your house, we spotted one of Tony’s signed sticks going for a more reasonable £50.  

Steven Adler’s Appetite for Destruction kit: $49,995

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There’s no arguing, Guns ’N’ Roses’ Appetite for Destruction is up there as one of the greatest rock albums ever recorded. Steven Adler may have been out by the time Use Your Illusion I and II rolled round simultaneously four years later, but we think his role in Appetite was the perfect counterpart to Axl, Slash, Duff and Izzy.

If you agree and have a spare $49,995 burning a hole in your pocket, you might consider heading over to Donn’s Drum Vault. Adler used these ’80s Gretsch shells (22x16, 12”x8”, 13”x9”, 16”x16”) which are joined by a 14”x5” 1920s Ludwig Brass Standard and a set of Zildjians. 

DDV has authenticated the kit, which was part of Paul ‘Jamo’ Jamieson’s rental collection, and for a few extra bonus points, the shells were used on Phil Collins’ Against All Odds, while the Ludwig snare also supplied the backbeat for multiple Grammy-award-winners: Lady Gaga’s Shallow and Bruno Mars ft. Mark Ronson, Uptown Funk.

Vinnie Paul’s Pearl signature snare drum prototypes: £49,999 each 

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Before he switched to ddrum, Vinnie Paul and Pearl drums went hand-in-drumming glove, and his signature snare drum was something to behold. A 14”x8” maple-shelled whopper, clad in a snakeskin finish and featuring spiked tube lugs, the regular production versions are coveted by metal fans and sell in their own right for a fair amount.

But here, we’re presented the chance to own not just one, but two of Vinnie Paul’s artist prototypes. Essex Recording Studios acquired both of Vinnie Paul’s development-stage signature snares from Vinnie’s estate, and they can be yours for a cool £49,999 each. Why are there two? Well, Vinnie wanted to try a couple of snakeskin patterns before deciding on the final production model finish, of course. 

Rick Allen’s Def Leppard 80s Ludwig kit £12,999

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Okay, we could have gone with Living Colour drummer, Will Calhoun’s Sonor Hilite kit, but it’s £26,000. So instead we’ve gone with a comparative workhorse in Rick Allen’s ‘80s chrome-wrapped Ludwig. 

This shiny beast saw action on the road with the Leppard throughout the ’80s including the Pyromania tour, and comprises a 22” bass drum, 13” and 14” racktoms, a 16” floor tom and a Bonham-approved 14”x6.5 Ludwig Supraphonic LM402 snare.

There’s a fully-populated stick bag and a drum stool included, but unfortunately £13,000 doesn’t buy you the previously-removed bottom heads, tension rods or rims.

The mics deployed and their precise placement in and around the drum kit can have a massive impact upon the resulting recordings.

So, while there are no hard and fast rules, here we'll look at some of the most popular options for getting quick and easy results.

1. Choose the right mic: dynamic

First is the dynamic mic, which will often be used on the snare, bass drum and sometimes on the toms. A dynamic mic functions just like a speaker, only in reverse, with the movement of the diaphragm in turn moving a coil in relation to a magnet, creating an electrical signal.

This mic is good for picking up mid-range and is sturdy enough to take the occasional miss-hit. Most dynamic mics use a cardioid pattern, which means they reject sounds coming from behind them while also boosting bottom-end when placed close to the subject.

2. Choose the right mic: condenser

The other type of mic that is frequently used is a condenser mic which, unlike the dynamic mic, needs power sent to it from the desk or pre-amp. This 'phantom power' is sometimes available on individual channels of a desk, though it can be sent globally to all mics without affecting other dynamic mics.

This power supplies a small amplifier inside the mic that increases the signal picked up by the movement of a diaphragm, this time a capacitor. Condenser mics also tend to be more sensitive than dynamic mics because of the low mass of their moving parts but usually have built-in pad switches (10 and 20 decibel increments) to enable them to handle the levels us drummers are capable of delivering.

3. Bass drum miked inside: miking the bass drum from the inside has the advantage of isolation, weight and definition

One problem often encountered when miking the bass drum comes if the drum is fitted with a full front head. In this case, placing a mic in front of the drum will work, but it can lack the definition and isolation of placing a mic inside the drum (as above).

But, there are a couple of options…

4. Bass drum miked outside: using two out-of-phase mics in front of the bass drum will capture the ambient sound of the front head

Firstly, miking the batter side of the drum will have more definition, while adding a second mic in front of the drum 'out of phase' (more on this shortly) will capture the ambient sound of the front head. However, the pay off for having the mic outside of the drum is more bleed from the rest of the kit and less attack than if it were placed inside.

5. X/Y overhead miking: two mics placed directly above the kit captures the stereo image with no phasing problems

There are really two main options here, an X/Y (or coincident) pair or a spaced pair. The X/Y configuration involves placing the two overheads directly above the kit with their capsules next to each other. This is a good way of capturing a stereo image of the kit with no phasing problems, as the sound of the kit reaches both mics simultaneously.

6. Spaced pair overhead miking: spreading the overhead mics further apart captures a wider stereo image of the kit

For a wider stereo image, spreading the mics apart as a spaced pair is more effective. However there is now a risk of phase cancellation - where the signal from the source reaches each mic at different times, thereby cancelling itself out. We can check for phase cancellation by taking two channels and using the pan control to sum them to mono. With one fader up as the other is blended in, the sound should remain full

with good bottom-end. If out of phase, the two channels will sound hollow when heard together. The solution is to either move one of the mics until this improves, or reverse the polarity of one mic. In the digital domain the waveform can be inverted after it is recorded for the same effect.

7. Snare miking position #1: a snare is miked from the top, with the mic pointed to the centre

If given another mic and channel, the next drum we would want control over would be the snare. The snare would usually be miked like the toms, from the top, three fingers away and at the edge of the drum and pointing at the centre. The three-finger rule can help keep the mic away from unwanted harmonics from the edge of the head and hoop, while aiming it at the center helps capture the stick sound at its point of impact.

Moving the mic away from this point will introduce more 'air' or ambience into the sound and moving it closer, if using a dynamic mic, will introduce low-end as a result of what's called the 'proximity effect'. This can be useful to a point, however if you get too close, the proximity effect will render sound unnatural or unusable.

A dynamic mic is usually the mic of choice here and, surprisingly, the relatively cheap Shure SM57 wins over more expensive alternatives thanks to its ability to capture the mid-range and handle the high SPLs (sound pressure levels) a loud 'two and four' backbeat is capable of delivering. On the subject of miking the snare, if you are playing a cross-stick part, as well as turning the stick around to play with the butt end, pointing the mic at the point where the stick hits the rim can help capture a stronger sound.

8. Tom miking: you can get a more defined tom sound by bringing the mics lower

With a four-mic set-up, neither of our overhead options, although giving a natural representation of the kit and clear cymbal sound, will give much definition from the toms. So one final overhead option is to bring the mics down low. This approach is more effective on smaller set-ups such as four- or five-piece kits which, with a mic

looking at the kit between the hi-hats and first tom and another looking over floor tom towards the ride cymbal, both set equidistant from the snare and bass drum, will give a fuller sound than with the mics above the kit.

In the case of the toms, you'll also hear their sympathetic overtones ringing away as other drums are hit. When miking the toms, the choices are varied - the most popular being dynamic mics or small condensers. However, depending upon the budget, large diaphragm condensers can sometimes be used.

9. Hi-hat miking: hi-hats should be miked using a small condenser mic placed 2"-3" away

If we have channels left, the next part of the kit we would mic would probably be the hi-hats. These would usually be miked using a small condenser mic from above, 2"-3" away and sometimes pointing away from the kit. The proximity effect has to be taken into consideration here - get too close to the cymbals and they will take on a gong-like quality. This can be EQed out but is best avoided. Another thing to avoid is placing the mic so that it faces the point where the air escapes from the hi-hats (also a good reason not to have a fan pointing right at the kit on hot gigs).

10. Snare miking position #2: A second mic below the snare will capture the sizzle of snare wires

Some people like to also mic the bottom of the snare. This can work well when blended in with the top snare mic, as it helps to capture some of the sizzle and pop of the snare wires. To do this, one of the mics should have its phase reversed.

11. Room miking behind the kit: the four-mic set-up

If recording in a nice-sounding room and you have the luxury of spare mics and channels, putting up room mics can provide some useful natural ambience, which can really bring the sound of the kit to life when dialled into the mix.

12. Room miking front: a large condenser mic in front of your kit is a logical place to start

If you are recording in a smaller, not so nice sounding room, a single ambient or room mic set a few feet away from the kit can also be used to create artificial ambience using reverb, but more of that later.

13. Try a sub mic for the bass drum

One additional mic that can make an enormous difference to the drum's sound is a sub mic for the bass drum, and although there are ready made products out there for this purpose such as the Yamaha sub-kick, a driver from an NS10 speaker (though any mediumsized speaker should work), will achieve a very similar effect for a lot less money.

Mounted on some kind of stand and with a microphone cable connected with no ground and plugged into a regular channel with the phase reversed (simply re solder the '+' and '-' the other way around if you can't 'flip' the phase on your desk), this speaker will work as a huge dynamic mic and add serious low end to your bass drum sound.

Alter Bridge drummer Scott Phillips has enjoyed nearly three decades touring the world and playing on some of the biggest stages it has to offer. 

Here, Scott takes time out from soundcheck to give us some insight into the gear he uses to perform live, and why.

Drum shells: DW Jazz Series

Drum shells: DW Jazz Series

“I've been with DW now since 2009 and have been using the Jazz Series shells which are maple and gumwood. I had gone through some of their drums with my tech at the time, and we were looking at different shells. 

"At that point in time, I tended to like the ones without the reinforcement rings, which the Collectors Series have. They sound phenomenal, but I'm just used to playing the ones without reinforcement rings, so we ended up picking the Jazz shells. 

"My sizes are 10" and 12" rack toms and then 16" and 18" floor toms. The kick drum is a 22”x18”. There's just something about the Jazz Series shells. I’ve played the Collectors and a lot of DW's different toms and for whatever reason, the particular heads that I use on those shells just seems to work well. It's a really warm tone, but there's still plenty of attack as well, without it being overbearing.

"I definitely leave more of the tuning to my tech Eddy than myself. But, yeah, I think there's certain intervals that we look for between ‘tom one’ to ‘tom two’, and then to three and four to where there's plenty of separation between all four drums. 

"But the 10” is not tuned super high. It's not sort of timbale-sounding. It's just a nice transition where when I’m playing fills you can really hear the definition between each of the toms, but they all live within the same octave or couple of octaves."

Snare drum: DW Collectors Vintage Brass over Steel

Snare drum: DW Collectors Vintage Brass over Steel

“My snare is a DW Collectors Vintage Brass over Steel. I guess it's sort of a brass finish over a steel shell -  I'm not sure if it's just a finish or actual brass on the outer layer, but it was a snare that I had used when we were recording The Last Hero. 

“We were in LA and I'd just picked up a loaner kit from DW while we were out there, and that was one of the snares they provided. I had some snares of my own that I was using and ended up putting that one up. 

“In the room it just sounded like an absolute gun blast, it was phenomenal. Elvis [Baskette], our producer, was just like 'What snare is that?!' It weighs like, 30 lbs, it's very heavy and thick. I had never really played a steel snare before, to be honest, but this one just had some magic to it so I've been using it ever since.

“I've used a Black Beauty for years on-and-off for recordings and I still do use that and a couple of other snares that I've got, for recordings. But I find that this one, particularly in a live setting doing the larger rooms that we're playing in, just works right in the mix.”

Heads and tuning: Evans

Heads & Tuning: Evans

“I'm using the Evans G2 clears on the tops for all four toms, and then G1s on the bottom. I've used that combo, I think probably since about the day that I moved over to Evans, which had to be probably 1999 or 2000.

“I've tried some of their other Heavyweight tom heads in an effort to try and make them last a little bit longer on tour, and they make for a really great head. They're heavy and still keep their musical quality after four or five shows. 

"But I think we found we got a little bit better resonance from the G2/G1 combo, so we'll change them about every three to four shows - once or twice a week depending on what our schedule is.

“I like to have a little bit of a pitch decay at the end of the note, that kind of thing where you get the attack, but then the resonant note is maybe a step or two lower. But there's no specific thing that I'm asking for or looking for when the heads get changed as far as tone. 

"Eddy's been with me now for about six years, so he knows what he likes and what I like and he's very skilled at making sure the set is consistent from night to night.

“I've never really used coated heads live. I love the tone of coated heads in the studio. But I think for the style of music that we make, I always found the clear heads to be the best choice in a live setting.

“They are completely open. There might be a small piece of gaff tape on one of the bottom heads of the floor toms to keep it from over-resonating. But other than that they're wide open, no gels or anything like that on the toms. 

“We use a little bit of gel on the snare, right at the 12 o'clock position but not much. I've always found it better, and I think Eddy agrees with me that the best-sounding tom is the one that you can tune perfectly, and not the one that you have to mask with the gaff tape or gels or anything like that. 

I think for me, it kind of speaks to the quality of DW and their product, that their shells are very easy to tune and you can make them sound good without having to mask anything."

“I like the crack of the snare to be mid to slightly upper range but not super cranked. I have it to where you can still feel the air movement within the shell itself and not choking the drum to death to try and get more attack out of it. 

"I think we've got a pretty good blend of sort of upper/mid-range tuning and then the mid-range snare tension on the wires themselves. You get a lot of the ghost notes too where you can hear the natural tone of the drum." 

Cymbals: Zildjian

Cymbals: Zildjian 

• Hi-Hat: Zildjian A Custom Mastersound top/A Quick Beat bottom
• Crashes:  Zildjian 17” A Custom Projection Crash, Zildjian 18-inch A Custom Projection Crash, Zildjian 19” A Heavy Crash (or Projection Crash), Zildjian 18” A Heavy Crash (or Projection Crash)
• Ride: Zildjian 22" A Custom Ping Ride
• FX/other: Zildjian 6" Zil-Bel, Zildjian 10" A Custom Splash, Zildjian 20” Oriental China Trash

“I've been with Zildjian since day one. The first set of cymbals I ever bought were Zildjian. I was lucky enough a few years after that once we had gotten signed, I met a phenomenal photographer and sweetheart of the lady named Alyssa Wales who had taken some photos of us very early on and she introduced me to the guys from Zildjian. She really helped me a lot to get those endorsements and I've been with Zildjian ever since. So I'm very, very happy with that. 

“But as far as my cymbal setup goes, I'll start with the hi-hat. The top is an A Custom Mastersound, then the bottom is an A series Quick Beat. That's a combo that I've played for a really long time now. 

“I'd seen in different drum magazines that certain players who I really looked at two were using sort of a combination hi-hat style and I was like, 'Well, I'll try that.' I just love that sound. 

"You can get a really great tightness with those, where the air sort of escapes through the four holes in the bottom. But then when you open it up, it's got a really good sort of mid-range slosh to it. 

“From there on my far left is a 17” A Custom Projection Crash, then towards the centre I've got an 18-inch A Custom Projection Crash, and moving over to dead centre I've got a 10” A Custom Splash. 

“Starting at about my one o'clock position there's a 19” A Heavy Crash. On the last couple of tours and for most of this tour I was using a 19” Projection Crash in that spot, but I broke it about a week ago and the A Heavy was my backup. 

“I used the A Heavies for a lot of my career. They sound really good, they're very loud, but they're also super durable. They would hold up forever, but we were having a lot of stage volume issues with Myles and the level that he's got his mic set to. 

“You know, some rooms are smaller, some rooms are bigger. We had done some touring with Gojira, they were out with us on our 2016 European run. I was looking at Mario and his cymbals sounded fantastic. 

"Mario's a heavy hitter, and I saw that he was playing Projection Crashes. I'm like, 'Well if they work for Mario, I don't hit as hard as him, I should be able to make the switch.' 

“The Projection Crashes are still loud, but they're not nearly as loud as those A Heavies are. So I switched everything over to Projection Crashes. We try to make sure that they're still in the same family, sound-wise, but I definitely want the 17" to sound different to the 18". I use the 19” as a crash, but also a lot as a crash/ride. 

"So I tend to like it lower in pitch, just so doesn't get too obnoxious in the mix. If you're sitting there, hammering away on it, and it's, you know, higher in pitch, I feel like it eats into the mix too much. So something that's lower and sits outside of the vocal frequencies seems to work really well. 

“I've used a 16"/17"/19"/18" configuration before, but I always found the 16" just didn't quite cut through as much. I've done it where it was 18"/18"/20"/18" and there just wasn't enough of a separation between everything. 

"Even two 18” cymbals that are identical models, but completely different in pitch, once you really start laying into them they can start sounding too similar. So we decided to find some things that voice a little bit different, but not too drastically different.

"My ride cymbal is a 22-inch, A Custom Ping Ride. I've used that - not that actual one - but I have used an A Custom Ping Ride since day one. I've never switched, I love the way it sounds. 

“If you lay into it, it will sing, it will resonate. But for the most part that 'ping' really cuts through. I love the way the bell sounds on it, and I tend to do a fair amount of bell work here and there. So, it's a cymbal that I've always used and will probably continue to always use. 

“Right above the ride is a 6” Zil-Bel that I use sparingly, maybe two or three times a night just for a different sort of bell sound compared to the ride. They can 'ping' on for a really long time, but I don't mute it. I remember in recording sessions in the past I would have to go in and overdub it, because it would literally decay for almost, like, 60 seconds.

“It will ring forever! When I was using it during actual takes where they were going to be comped together, there'd be times where maybe I didn't hit the bell on one take, but did on the next. [The engineer] would be like, 'Don't hit the Zil-Bel! Just know when you're gonna hit it and then we'll overdub it in later so we don't have to worry about the decay!’ because it was ringing for so long. 

“In a live setting it's it doesn't matter nearly as much with a nice roar from the crowd and loud electric guitars and bass and all that stuff.  and decay that's within the room. But in the studio, we've definitely had to do some some trickery.”

“Then moving to my three o'clock, I've got a 20” Oriental China Trash, which I've used forever. I used an 18” earlier in my career, and I tend to overplay the China a lot. So I wanted to find something a little bit deeper in pitch that didn't quite stand out so much. 

“My last cymbal on my right is an 18” A Heavy Crash, which again, would normally be an A Custom Projection. A lot of these shows have been arena-size so the stage volume doesn't matter nearly as much because you're in a big wide open room. 

“There's plenty of depth and space between you and the rest of the mics. We still have some plexiglass up, They’re made by Smokin Ace and they’re smaller plexies that sort of sit right around the cymbal itself, but don't completely block the view of the kit. They just keep the cymbals out of the vocal mics as much as possible.

Electronics: Roland SPD-SX

“I'm using a Roland SPD-SX as a brain and then I've got two PD-8 pads that I essentially use as 808 triggers. The one on my left by the hi-hat is strictly for 808 sounds, and then there's one on the right that sits between the two floor toms. 

“I use that on a song called Slip to the Void that's got this keyboard outro. It sort of fades out and then there's one other song - Come to Life has the same sort of triggered outro. We're not currently playing it on this tour but we played it a tonne in the past. 

“[The rubber pads] are all I've really kind of used since we started using the electronics. I've got the sensitivity basically turned off. So if I hit it really soft or really hard, it's still a loud 808 sound at a consistent volume.

“I'm not doing anything really percussive on it. It's single shots, two times per-song, every third or fourth song. That kind of thing. It's not like I need it to respond like a drum, so the rubber works fine for how I use it."

“Those are the only times I really use those pads, then the brain itself is strictly for click tracks and there's a couple of samples. The last album (Walk the Sky) had some some keyboard-heavy parts so we went through after-the-fact and decided 'Well, this would be cool to have/We don't need to use this or we don't even use that…' 

“I'll go through and sort of cue everything up in Logic, especially for songs that we want to have on the click, but their tempo mapped because there's a time signature change or tempo changes that I can't manually do on the fly. So I'll go ahead and pre-program that ahead of time. Then I just load it into the brain, link the pads that need to be linked, hit the trigger and we're off to the races."

Sticks & Hardware

Porter & Davies BC2

“I'm using a Porter & Davies BC2 throne. I came across them a few years ago when my drum throne didn't get shipped over here with the rest of the kit. I had to borrow Barry Kerch from Shinedown's throne for the first couple of gigs. 

“We were in the UK and somebody had recommended Porter & Davies. I used to have a Roc N Soc style throne with one of those giant butt thumpers on the bottom of it.  It weighed about 80lbs! Porter and Davies happened to be very close to where one of our shows were so we called them up, got one sent out, and I love it. 

“It's a comfortable seat first of all, but the driver in it's great, the amplification included with it has been super reliable. It doesn't weigh 100lbs, it's still sort of the weight of the normal seat. So I've been very thankful to come across them.

“It really is [a revelation], it makes a huge difference. When it comes to thinking about touring in general, the amount of trailer space or truck space or whatever you're taking up. 

"You don't need a tonne of subs behind you anymore. It's all in the seat. I get just as much response from the kick drum, bass guitar, 808 and the lower toms - that's what I have in my running through it - as four 18" subs behind you. It just it makes total sense.”

Sticks: Vic Firth Exteme 5B

"Vic Firth Extreme 5Bs are the sticks that I use. I've been with Vic Firth now for over 20 years, and they are just a fantastic company. I've used different sticks through my career and for me, personally, I've just found that Vic Firth is the most reliable and consistent. 

"They do a great job with the manufacturing process and, all the heating and treating and that kind of stuff. I've never had a stick that weighs different to the other, and it's rare that I have one that splits. Normally if I'm discarding a stick, it's just because I've whittled through it over the course of the show." 

Hardware - DW/Gibraltar

"For my hardware, I use the DW 9000 - or rather the 9002, the double pedal - and I normally use a 9000 hi-hat stand. On this particular tour, I've got a 5000. Then all of my cymbal stands and rack system is Gibraltar. 

"I've been with them for about 25 years now. The very first kit I ever bought, I got a Gibraltar rack system to go with it and I've been with them ever since. They make great hardware, I went through and sort of designed this rack myself. 

"A couple of the cymbal stands are actually curved rack tubes that I modified to turn into cymbal stands, just to give it a little aesthetic from the from the audience perspective. But it's all they're rock solid. I've never had an issue with anything failing, knock on wood!”

DrumCraft has unveiled two brand new finishes for its Series 6 kits, expanding on the two limited edition finishes it added in October.

Joining the gloss-lacquered Black to Red and Black to Vivid Blue Fades are two satin versions of the same graduated colour options: Satin Black to Red Fade and Satin Black to Vivid Blue Fade.

The new satin versions of the colour options are designed to complement DrumCraft’s satin chrome hardware, with DrumCraft noting that Satin Black to Vivid Blue Fade “showcases a gentle transition from deep black to an intense night blue, subtly revealing the beautiful grain of the drum shell.” 

Meanwhile, DrumCraft points out that its sunset-inspired Satin Black to Red Fade is “Reminiscent of the red evening sky just after sunset and therefore appears very natural and organic.”

DrumCraft Series 6 drums feature 6.4mm-thick, eight-ply hybrid shells comprising four plies of walnut (on the outer sides), and four inner plies of maple. 

Series 6 drums use a 45-degree bearing edge, while each drum's hardware is finished in a contemporary satin chrome.

The new Satin Black to Red Fade and Satin Black to Vivid Blue Fade finishes are available across all Series 6 configurations, with individual drums also available from Thomann. 

• Standard: 22”x18”, 10”x7”, 12”x”8, 16”x14”, 14”x6.5” snare
• Studio: 20”x16” 10”x7”, 12”x”8, 14”x14”, 14”x5.5” snare
• 2up 2down: 22”x18”, 10”x7”, 12”x”8, 16”x14”, 14”x6.5” snare
• Jazz: 18”x14”, 12”x8” 14”x14”, 14”x5” snare

For more information, visit DrumCraft’s website.

The acoustic drum kit category is full of options, from beginner kits to high-end and custom drums designed to our exact specification and everything in-between. The options keep getting better and better, though, with choices on configuration, styling and finishes offered at all levels.

1. Ludwig Vistalite 50th Anniversary

50 years on from its introduction, the fantastic plastic Ludwig Vistalite is still going strong, and Ludwig chose to reissue it in some amazing finishes for 2022. Whether it’s single colours, tri-bands or candy stripes, your winner this year is clear!

2. Mapex Mars Birch & Maple

Mapex’s Mars kit is a mid-priced classic, and for 2022 it got an overhaul with all-new maple drums now on the menu. Both shell types feature Mapex’s SONIClear bearing edges to enhance shell/head contact, and the SONIClear suspension system to increase resonance. They’re offered in a number of configurations, making this a very appealing all-rounder in the semi-pro category.

3. Premier Genista

Just in time for inclusion in our 2022 polls, Premier celebrated a massive anniversary by revamping its entire range. The Genista is offered in multiple versions, with the Classic, Heritage and brand-new maple-shell edition. We couldn’t be happier to see Premier coming back with a bang, and we think 2023 could be the year that sees the UK brand regain its prolific status.

4. Tama Starclassic Performer

Last year’s winner snuck its way back into this year’s poll thanks to the unveiling of the striking Sky Blue Aurora finish we see here, along with a limited edition 20”/10”12”/16” configuration. Tama has really put the effort in with its finishes over the last few years, giving us exotic styling at workhorse prices.

5. Natal DNA Stealth

Natal’s DNA Stealth kit flips the idea of an acoustic kit on its head, quite literally. The DNA Stealth comes fitted with mesh heads out of the box, alongside a set of low-volume practice cymbals. But, when it’s time to play louder, you can fit the DNA with regular drum heads and pair it with your choice of cymbals, just like any other drum kit. It’s the order in which Natal has approached the kit that makes it so appealing. Hats off!

6. DrumCraft Series 6

Another name to be revived this year is DrumCraft, which has been carefully brought back to life by European retail giant, Thomann. The Series 6 is the flagship kit, offering maple/walnut hybrid shells, precision-engineered brushed nickel hardware and a huge choice of configurations/add-on drums.

NUX DM-210 review: What is it?

NUX are arguably more well-known for their affordable take on classic guitar pedals, but in reality, they do a lot more than that. Since bursting on to the scene in 2006, NUX has established itself as a go-to place for affordable - yet reliable - digital pianos, multi-effects units, guitar amplifiers, wireless systems and of course, electronic drum kits. 

Today we're taking a look at one of NUX's entry-level, beginner electronic drum sets, the DM-210. This lightweight, small-framed kit is equipped with all mesh drum pads, an independent kick-drum - which was specially designed for DM-210 - as well as a few welcome extras. 

We all know drums just sound better with some accompaniment - and luckily, the NUX DM-210 has three options allowing you to jam. The song button on the module allows you to access a bank of demo songs prepared for you by the folks at NUX. These range from upbeat fusion rock to chilled pop and can be played with or without the click track. If you fancy playing along to your own music, then you have two options. Simply hook up your laptop, phone, or tablet via the integrated Bluetooth or aux-in. 

In terms of sounds, the DM-210 comes loaded with 15 presets. These range from pop, rock and metal to more electronic styles and even funk and jazz - so regardless of your playing style, you'll find a kit to fit the bill. 

NUX DM-210 review: Performance and verdict

Set-up

If you've ever set up an electronic drum set from scratch, you'll know it can be quite an intimidating experience. You can end up drowning in a sea of cardboard boxes, polystyrene, cables and hardware if you're not careful. This can be especially daunting for newbies building a kit for the first time. Luckily, this NUX kit is fairly straightforward to assemble. 

You only need one tool - a drum key, which is provided - and a little patience and you'll be up and running in no time. The instructions are well laid out and easy to follow, but they do opt to only show pictures with no written instructions. This can lead to some frustration if you aren't able to fully interpret the diagram and need further guidance. That said, it didn't take too long to get the kit together, and it should be relatively easy for most people. 

Hooking up the pads to the module couldn't have been easier. Each lead is clearly labelled with the name of the corresponding drum, as well as being colour coded - you literally can't get it wrong. 

Sound

As mentioned above, the DM-210 comes loaded with 15 different kits. These range from studio stables to funk, rock and metal sounds, as well as some EDM-inspired effects. 

For the most part, the in-built kits sound very good. The majority of the snare voices are punchy, tight and present, with the kicks and toms having plenty of low-end thump. Overall, the sounds included in the DM-210 are very satisfying to play - with most of the presets giving you the sonic feedback you expect when you smack a drum in anger. 

That said, as this is an entry-level drum set, the sounds aren't quite able to compete with the likes of Yamaha or Roland - lacking the polish you've come to expect from these premium brands. We would, however, put them on par with the likes of Alesis. 

Nevertheless, we were able to design our own custom kit in a matter of minutes, pulling together our favourite kick, snare, toms and cymbals from across the library of sounds available. Not only can you assign different drum sounds to each pad, you can also adjust the volume and sensitivity. Unfortunately, you can't assign the hi-hat pedal to be a kick, though, so if you were hoping to channel your inner Chris Adler, then you're out of luck. 

Like most of the electronic drum sets on the market, the NUX DM-210 includes pre-made backing tracks for you to jam along to. While these backing tracks certainly serve a purpose, the tracks themselves leave a lot to be desired. Having said that, with the inclusion of Bluetooth audio as well as aux-in, you'll most likely never use this function anyway. 

Those looking to forgo the internal sounds, in favour of software such as Toontrack's Superior Drummer and XLN Audio's Addictive Drums will be glad to know that it's a breeze to set up. We used the kit with Superior Drummer 3, and it worked incredibly well - taking just seconds to set up, with minimal faffing around to get the drums mapped correctly.   

This makes the DM-210 the perfect option for home producers and DIY recording engineers looking for a simple way to input MIDI drums - and let's face it, it's way more fun than tapping on a MIDI Keyboard.  

Playability

If you've ever played a modern electronic kit, then you'll most likely be familiar with the concept of mesh heads. Famed for their more realistic and natural feel, they are seen by most drummers to be far superior to the rubber pads found on very basic drum sets. 

For us, we very much enjoyed the feel of the DM-210. The snare and tom pads are plenty responsive, with a relatively natural feel. The pads are sensitive enough to allow you to comfortably play ghost notes and rolls while feeling robust enough to take a beating when things get heavy. 

The snare pad has the added bonus of being able to play a rim shot and side stick, upping the level of expression available from the wallet-friendly kit. 

We should also note that all the pads can be adjusted using a drum key, meaning you can tension them to tailor the rebound and feel to your exact liking, again leading to a more personalised playing experience. 

Moving on to the cymbal pads. The DM-210 comes with two cymbals, a crash, and a ride - although you can set them to be anything you want. As you'd expect, the cymbals are multi-zone, allowing you to play either a bow shot, edge shot, or even choke the cymbal. This is a very nice feature and something that we'd certainly miss if it wasn't included. 

We need to say we did run into a little bother with the cymbals not triggering perfectly every time, but we feel this may be due to striking the cymbal between zones. Once we adjusted our technique, it was no longer an issue, so it's worth keeping that in mind.  

Final thoughts 

Recently we've seen the drum market become saturated with electronic drum kits promising a world of features and extremely articulate playability, but there's one catch - they cost a small fortune. That's where the NUX DM-210 comes in. This robust little drum set puts up a good fight against its more premium stablemates, delivering user-friendly features such as multi-zone pads and Bluetooth audio at a fraction of the cost of the bigger names. 

For us, this is the perfect kit for the drum novice, home producers looking for a more fun way to input their MIDI drums, or established players looking for a low-cost alternative to Roland and Yamaha. 

NUX DM-210 review: Hands-on demos

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NUX

NUX DM-210 review: Specifications

• Drums: 8'' Snare, 8'' Tom x3, 10'' Hi-hat, 10'' Crash, 10'' Ride, Kick, Hi-hat Control, Kick Pedal
• Preset kits: 15
• Features: Metronome, Coach, Reverb, REC, Songs, Bluetooth, USB MIDI, All Mesh Drum Heads
• In/Outs: Headphone, DC-9V, L/MONO R Output, Aux In, USB, Cymbal Trigger In
• Contact: NUX

The US District Court for the Southern District of Florida has ordered Alesis’s parent company inMusic to pay Roland $4.6m in compensation for infringing several of the Japanese manufacturer’s electronic drum and electronic cymbal patents.

Roland’s patent infringement lawsuit was filed back in August 2016, but it’s taken until now for a judgement to be made. The action was brought in relation to electronic drums and cymbals sold under the Alesis brand in the United States.

In a statement, Roland says: “On November 17, 2022, the jury rendered a verdict finding that all five of Roland’s patents which inMusic claimed to be invalid were found to be valid, and all four of Roland's patents which Roland asserted were infringed were found be infringed by inMusic.

“On November 18, 2022, the jury rendered a damages verdict finding damages in the amount of US$ 4.6 million (about 650 million yen) to Roland as compensation for inMusic’s infringement. On November 21, 2022, the court rendered a final judgement upholding the jury's verdicts.

“Roland will continue to vigorously enforce its intellectual property rights.”

MusicRadar has reached out to inMusic for comment.

DrumCraft has unveiled two limited edition fade finishes in its flagship Series 6 line-up with the addition of Black to Red Fade and Black to Vivid Blue Fade.

The high-gloss finishes are both applied as a grain-revealing lacquered stain, expanding on DrumCraft’s current palette of satin and gloss colour options. 

DrumCraft Series 6 drums are based around 6.4mm-thick, eight-ply hybrid shells comprising four plies of walnut (on both sides), and four inner plies of maple. 

Series 6 drums feature a 45-degree bearing edge, and the hardware is finished in a contemporary satin chrome.

Both Black to Red Fade and Black to Vivid Blue fade finishes are available in all Series 6 configurations. 

• Standard: 22”x18”, 10”x7”, 12”x”8, 16”x14”, 14”x6.5” snare
• Studio: 20”x16” 10”x7”, 12”x”8, 14”x14”, 14”x5.5” snare
• 2up 2down: 22”x18”, 10”x7”, 12”x”8, 16”x14”, 14”x6.5” snare
• Jazz: 18”x14”, 12”x8” 14”x14”, 14”x5” snare

DrumCraft has stated that the new finishes will be offered in limited quantities. For more information, visit DrumCraft’s website.

Most of us will have at least considered adding a bit of flavour to our beats with percussion instruments, but what are the practical considerations if you want to move beyond augmenting your drum kit with the classics - cowbell, woodblock and standard tambourine?

These already sound great, as ably demoed here by Andy of Thomann's Drum Bash channel, but they're far from the limit of your options if you want to get a bit more creative.

Kicking off with special tambourines which include on/off jingle switches and more, check out some more exotic percussive kit flavours in this run-through of what anybody can achieve by incorporating mini timbales, bongos or our personal favourite this week, a pandeiro drum to cook up your own unique signature set-up.

On the 12 August 1991, Metallica dropped their commercial breakthrough with the self-titled ‘Black Album’. Housed in the grooves, on the tape and encoded into the CD release is what was - and arguably still is - Metallica’s most successful recipe of honed songwriting craft, progressive experimentation and sonic sophistication. Most notably, the latter applies to the drum sound.

For the Black Album, Metallica entered One On One Studios (now 17 Hertz), Hollywood in October 1990, and they remained there (spare a few vocal and guitar sessions at Vancouver’s Little mountain Sound) until June the following year. 

Impressed with his work on Motley Crue’s Dr. Feelgood, Metallica enlisted Bob Rock as producer - a role he'd reprise multiple times, with less applause for his drum sound on St. Anger - and during the 8-month stint at One On One, Rock, engineer Randy Staub, assistant Mike Tacci and Lars Ulrich set about creating the album’s drum sound.

Now, we might all associate Lars closely with his Tama kits - after all, he’s played the brand throughout Metallica’s career. But for the recording of the Black Album, Metallica hired-in an 80s Gretsch ‘Stop Sign’ kit from Ross Garfield/Drum Doctors.  

The monstrous kit featured a pair of 24” bass drums, 5 toms (12”, 13”, 14”, 16” and 18”) and the legendary Tama Bell Brass snare. Joining this was Lars’ small army of cymbals, and a who’s who collection of close, overhead and ambient mics to match.

The resulting sound is a frequent topper of all-time greatest heavy drum sounds polls, as well as being regarded more broadly as one of the best drum sounds ever committed to tape. But what if you don’t have access to a world-class Hollywood studio, a period correct kit and tens of thousands of dollars worth of mics? 

There’s still hope. Here, we’re going to look at a few different titles that will deliver the Black Album drum sound, playable from the comfort of your electronic kit.

Chocolate Audio: The Black Album Drums

This one tops the list for good reason. Chocolate Audio didn’t just set out to make a sample pack that sounds a bit like the Black Album, instead, it got hold of the original Gretsch kit that Ross Garfield rented to Metallica in order to sample it. 

But it doesn’t stop there, because having the drums is one thing but one-better is to set them up in the exact same room where the Black Album was recorded, with a very close reconstruction of the mic setup. Oh, and they also managed to get Black Album assistant engineer, Mike Tacci to come and record the session.

So, what we get here is a fully e-kit-playable recreation of the album’s drum sound. It loads into Native instruments Kontakt - bad news is you need the full retail version rather than Kontakt player - and can also be used for sample replacement of your acoustic drum recordings.

If you don’t have Kontakt, but do use BFD, you can buy a BFD Expansion utilising the same samples complete with that Tama Bell Brass snare, all captured in detail with plenty of punch, crack and the beefy room sounds that help make the Black Album drums sound so great.

Steven Slate Drums 5.5

Steven Slate Drums came about after mix engineer Steven Slate’s drum enhancement/replacement samples did the rounds in a number of studios. Sensing demand for his sounds, Slate launched it as a product and Steven slate Drums was born.

Now, SSD 5.5 does a lot, with a huge library of mix-ready drum samples and presets that can be played from an electronic kit. But one of the most fun parts of SSD are the signature kits. Here, Slate has processed and based his presets on a number of classic drum sounds including Deftones, Nirvana, Red Hot Chili Peppers, Pantera and, you guessed it, Metallica’s Black Album.

Ok, so it’s not the attention-to-detail offering we get from Chocolate Audio’s sample pack, but if you just want to jam along to the album from your electronic kit with a very characteristic sound, SSD makes it very easy. Plus you’ll get all the other signature kits we mentioned and more, along with a whole load of non-signature sounds that you can use to boot. You can download SSD 5.5 and make use of Slate’s Splitit payment plan which costs just $9.99.

Toontrack Rock Foundry SDX

If you already own a copy of Superior Drummer 3, you’ll be able to use Toontrack’s Rock Foundry SDX expansion pack (although Toontrack themselves have also created a quick tutorial on getting the Black Album sound from SD3’s core library, see video below).

As you might have guessed, Rock Foundry was produced by Bob Rock himself at Vancouver’s famed The Warehouse Studio (owned by Bryan Adams).

There’s plenty to get excited about here - drum sounds created by the Black Album’s (among many others) producer in a renowned recording environment. The pack contains samples of kits from Yamaha, three vintage Ludwigs, Ayotte, and most importantly here, a hybrid Gretsch kit pieced together to approximate Lars’ set from the Black Album.

Preset wise, the LA 1991 and Sparkly Green Metal kits get close, but Superior Drummer is a tweaker’s dream so for €165, you’re really getting a lot of additional firepower that can be used elsewhere. If you don’t have Superior Drummer, but you use EZDrummer, read on…

Toontrack Hard Rock

You didn’t think Toontrack had forgotten about users of its most popular title, did you? If you regularly trigger EZDrummer via an electronic kit and want to get close to the Black Album sound on a budget, this one’s for you. €80 will barely buy you half a Black Album vinyl reissue, but Toontrack’s Hard Rock EZX expansion pack bags you Bob Rock’s drum sound.  

This is essentially a cut-down version of the Rock Foundry for SD3, but Metallica fans will be glad to hear that Hard Rock includes the Gretsch kit from Rock Foundry as well as one of the vintage Ludwig sets too, and of course it was recorded by Rock in The Warehouse.

Head straight for the Great Dane preset, and prepare to start mouthing your backbeats just like Lars, because at this price we think your jaw will drop. 

Electronic drum sets come packed with hundreds of sounds, but if you’ve owned your electronic kit for a while, it might be the case that you’re looking for some new sounds to inspire your playing, or simply something that isn’t contained within your module.

Of course, your first step when you can’t find the exact sound you’re looking for within your module could be to edit an existing sound and see how close you can get. Or you could try importing samples to blend with your kit to create your own custom kit. Finally, you could check out one of the many multi-sampled software solutions and trigger them via your computer.

But there’s a slight problem with all of the above - not everyone enjoys spending hours editing sounds and scrolling through parameters. Likewise, you might not want to be tethering your kit to a computer - particularly if you intend on using the kit live and don’t want to have to take your laptop to the pub.

There is another solution, however, and it’s one that means you’ll have to do little to no editing of sounds, only involves a computer for transferring a couple of files, and will allow you to keep your electronic drum set entirely self contained. The answer? Buy some expansion packs tailored specifically for your electronic drum set or module!

For the most part, the concept with ‘native’ expansion packs relies on your module being capable of importing additional .wav samples. These samples are then combined with the ones already housed inside your drum module within pre-made custom kits to create dynamic, authentic-sounding patches that you can save into the module and scroll to just as if you’d made it yourself.

The benefit is, all you have to do is purchase the kit presets, download and install them into the module. Everything will be mapped to your pads for you and it’s a hassle-free way to get more variation and possibly even an improvement on the factory sounds that are programmed into your module.

Now, we said ‘for the most part’ but if you’re using a module that doesn’t support imported wav files, doesn’t mean you have to miss out on the fun. There are plenty of brands out there making expansion packs for electronic drum modules without this capability, instead offering straight presets that will still work on your module.

Here, we’re going to take a look at some of our favourites from the more well-known companies.

V Expressions have been in the game a long time - since 1998, to be precise, and as the name might indicate its products are largely aimed at Roland users with the exception of its Pearl Mimic Pro expansions.

Due to the company’s pedigree, the catalogue also includes a long list of expansions for current and recent modules, but the legacy section also goes as far back as the Roland TD-8 and TD-6, plus there are 6 kits designed for use with the Yamaha DTXtreme III and DTX900.

When it comes to current Roland modules, the TD-50X, TD-27, TD-17 and TD-07 are all catered for. The TD-50, TD-27 and TD-17 expansions have options for a varied collection (Balance, MAXX and Designer respectively) and there are also more genre-specific expansions available. The TD-07 ‘expansion’ works slightly differently as the module doesn’t actually have any way of loading kits in digitally, so instead V Expression’s Core add-on gives you access to a manual full of settings which you’ll then need to input into your module - possibly tedious, but at least Roland’s popular affordable module hasn’t been excluded, and it could also serve as a great learning tool if you’re yet to really get under the hood of the TD-07.

V Expressions offers a number of purchase options too with prices ranging from around $30 for the TD-17 expansions, and increasing from here. It’s worth noting that the options, pricing and titles are all different depending on which module you’re expanding - these are bespoke for each module rather than being replicated across the range. However, the process of buying and installing the kits - as with the other products here - is easy, and V Expressions provides detailed instructions.

The E-Drum Workshop was born off the back of founder Luke Hesketh’s YouTube channel by the same name, and has developed into an ever-growing offering of customised kits for Roland (TD-17, TD-27, TD-50 and TD-50X,) and the Pearl MimicPro. E-Drum Workshop kits contain bespoke one-shot samples (recorded by Luke) which are then blended with module sounds to create some incredibly realistic-sounding preset kits. What’s more, these are designed specifically for the module you purchase them for, making use of the module’s additional processing (EQ, compression and effects etc.). There’s a lot of variation on offer from the Famous Vol 1 and 2 packs - featuring kits based on Bonham, Chad Smith, Simon Phillips, Travis Barker, Neil Peart, Danny Carey and more - to contemporary pop punk and metal (Powerful & Punchy), to genre-neutral kits derived from a Yamaha Recording Custom and the Slated Room collection - captured in a slate-clad drum room. Single kits start at just £5, and multi-kit packs are priced between £18 and £24.

As well as the kits, E-Drum Workshop sells its snare and kick eLements packs, which will work with any module that can import and assign a 16-bit, 44.kHZ stereo wav file (including the Alesis Strike). These sounds are designed to augment your module’s existing sounds by adding ‘elements’ that you might be missing such as snare overtones, attack, wire buzz or weight, or in the case of your bass drum, attack, sub frequencies, ambience and beef.

There are comprehensive instructional videos showing you how to download and install the kits and eLement packs into your module, and we love the fact that these are an affordable way to get some truly killer sounds without resorting to hooking your kit up to a computer.

European e-drum retailer, Drum-tec sells just about every brand of electronic drum set you can think of, and if you buy a kit from them, they’ll bundle their Live Sound Edition sound expansion with it. The good news is that if you already own a kit, you can buy Drum-tec’s extensive range of add-on packs and load it into your module.

Drum-tec offers an array of expansion packs for different genres and applications, and the number of options changes depending on your module. It’s great to see some support for out-of-production kits such as Roland’s TD-9, 11, 25 and 30, and alongside this, Drum-tec also caters for the Yamaha DTX-Pro plus the Alesis Crimson II and Strike modules. 

As with the other companies offering e-kit expansions here, there are demos of each allowing you to hear what the kits sound like before you buy. The Live Sound and Real Acoustics collections are a great starting point if you’re just looking for ‘more and different’ to what came in your module, reeling off a menu of classic shells from Ludwig, Pearl, Yamaha, Gretsch, Tama and more.

From here, Drum-Tec offers everything from In Style Of (based on iconic drummers) to genre-based packs ranging from classic rock to metal, and there’s also some electronic/hybrid packs available in the Beyond Acoustics range.

Not every pack is available for every module, but you can filter the search to only show packs that will work with your module and once again there are foolproof instructions on downloading them and getting them into your kit.

The demand for electronic drum sets has never been so high - they’re convenient, quieter than an acoustic kit, often space-saving and offer heaps of integrated features such as built-in metronomes, computer connectivity, and possibly even recording and sample playback. 

While brand new electronic drum sets are more affordable than ever, there are still differences in quality as you step up the price ladder, and there are definitely savings to be had - particularly when it comes to the big name brands - by buying a used electronic drum kit instead of new. But as with any second hand purchase, you need to be clued-up as to what you’re buying and how to avoid the potential pitfalls. In this article, we’re going to walk you through what to look for when buying a used electronic drum set.

1. Set your budget

Let’s face it, there’s a reason you’re thinking of buying used - whether it’s to protect your investment against ‘forecourt loss’ or simply stretch your money as far as possible. But the first rule of buying anything where there’s a vast array of price options is knowing how much you want (and can afford) to spend. We’ve all been there - you start off with a price in mind, then very quickly you’re looking at things that cost 50% (or beyond) more. If you’re on a tight budget then you need to stick to it, but it’s handy to build in a little bit of wriggle room. Be realistic and keep your list of ‘must-haves’ vs ‘ideal scenario’ features in mind before you let the cost run away with you. which brings us to point No. 2…

2. Do your homework

Before you start looking at eBay, Facebook Marketplace, Reverb or any other listings for a used electronic drum set, it’s worthwhile thinking about exactly what features you require. A beginner looking to start playing the drums is likely to have a different set of requirements (ease of use, playing/coaching tools, a broad range of sounds) to a semi-pro drummer who wants an electronic kit for triggering software, recording or playing live (deeper editing, advanced triggering functions, expandable inputs etc.), for example. Take a look at what’s out there on the brand new market to get an idea of the types of features that are included on a new kit right now. From here you can get an idea of what features you might expect to see on a used kit within your budget.

3. Think about the future

This point doesn’t only apply to used gear, but it is more important when you’re buying something that is already a few years old - particularly in the case of an electronic kit where technology moves faster than it does with our B20 bronze cymbals. Try not to dismiss certain functions and spec points by thinking “I’m never going to use that”, because you never know. Where you are with your drumming right now is hopefully not where you’ll be in five years, and while you might not feel like Bluetooth capabilities, USB connectivity, or the facility to add extra pads is massively important to you at the moment, you don’t want to be kicking yourself at the limitations of your kit in 12 months.

4. Start looking

Unless you have only one specific electronic kit in mind, start searching for more generic terms such as ‘electronic drum set’ or ‘electronic drum kit’. This will garner plenty of results, and you’ll quickly see which kits come up time and again. The fact they’re for sale doesn’t necessarily mean they aren’t any good and nobody wants them - indeed, the more there are the more popular they were/are to begin with. Sites such as eBay will allow you to see the sold (rather than asking price) of a kit, which should in turn give you a good idea of how much their current market value is.

5. Go back in time

If you’re looking at used kits, they could well be out of production and are being sold due to the previous owner upgrading. The benefit of the internet is that you won’t have to search very far to look at kits from the last 5-10 years to find out what functionality and configuration they came with. Reviews such as our own here on MusicRadar, YouTube videos and more can help you uncover a wealth of information on the specs, pros and cons of the kit models you’re likely to come across frequently. A big part of getting a great deal on used gear is knowing what you’re looking at, and being quick off the mark. So doing your homework and setting up alerts for new listings of the models you’re interested in is likely to help you secure a kit at a decent price.

6. Explore your options

Many electronic drum modules have at least one spare trigger input. It’s also common for companies to share pads through their various product ranges which often get split from kits and sold-off individually if they’re surplus to the owner. So by knowing what pads and cymbals are, and are not compatible with the kits you’re looking at, you can get a clear picture of how expandable your potential set will be. It also means that if you see a version of the kit you’re interested in, but perhaps not your ideal configuration (say, with a rubber rather than a mesh snare, or with only one crash cymbal), you have some flexibility to add extra pads either straight away or further down the line (again, there’s a very healthy secondhand market for additional pads).

7. Ask questions

So far we’ve offered general buying advice that can be applied to most things. But when it comes to electronic drums, there are certainly some things you need to be mindful of. First is condition. We’re not suggesting that you should automatically be suspicious that used gear isn’t going to be functioning properly, but you’re buying something that has been played in conditions that you can never be 100 percent sure of. The benefit of time means that common faults with particular gear will have reared their heads on forums and Facebook groups, so have a quick check to make sure there are no issues with your prospective kit that could be costly to fix. Check out as many photos of the actual item as you possibly can, if you need to see more, just ask the seller. Similarly, don’t be afraid to ask questions - if the kit is genuinely in good working order, they shouldn’t mind you asking for reassurance.

8. Try before you buy

Electronic drum kits are portable, but if you’ve ever unpacked one you’ll understand why sellers will probably be reluctant to send a used kit in the post, particularly if the original boxes are long gone. This means you’ll probably be looking at kits that are local (or at least within a fairly easy drive) to you. This is a good thing, because it also serves as an opportunity to try the kit out. At this point, you’re probably long past judging the sounds and features, and more towards the purchasing end of the journey - assuming everything is up to scratch.

So, arm yourself with another checklist (even if it’s just a mental one) of things to test out. A visual inspection of the kit will allow you to see if any fixings are missing or spot any damage. Now, you might not be able to test every single function (MIDI sockets, auxiliary inputs etc.), but the rack should be sturdy, the sockets, screen and controls on the module should all at least appear or feel like they’re in working order. 

Finally, check the pads - particularly in the case of rubber drums and cymbals. Stick marks and signs of use are to be expected, and mesh heads can be replaced. But any signs of splitting rubber or cloth should be noted and raised with the seller as this could be cause for replacement in the not too distant future. Try out a few of the presets and make sure that every zone of every pad is working properly. You might even be able to negotiate a discount!

9. Extra!, Extra!

A common factor of buying used is that peoples’ perceptions of a kit’s worth are not all the same. While there is a ‘going rate’ for most things, if someone is giving up playing, moving house, upgrading or any other reason for selling their kit, they most likely want to get it gone and move on. The benefit for you as the buyer here is that this often means you’ll see a complete setup for sale. This could include additional hardware (a stool, bass drum pedal), accessories (drum monitoring speakers are common), or maybe extra pads or cymbals. 

Remember when we said to choose your budget and stick to it? Well, if you’re lucky, you might find a deal that includes additional items that you were already thinking of adding-on, or (if your budget allows), that you could sell in order to recoup some of the overall cost. This will require a few more checks of their used value, but it’s worth keeping in mind if you see a ‘job lot’ type sale where the seller wants everything to be sold in one transaction.  

10. Buy from a retailer

Of course, not all used gear is sold on the private market, and not everyone wants to deal with private individuals where there’s little or no comeback. That doesn’t mean you’re forced to only buy new, as plenty of retailers take secondhand kits and components as part of trade-ins, and the benefit of this is that all of the checking should have been done for you by an expert. If you’re in the US, Guitar Center is a great place to start. 

As well as this, you’ll receive some form of warranty (usually around three months) when you buy from a retailer. The price will usually be higher than a private sale, but considering they have overheads, a warranty, after-sales support and - how dare they - maybe even some profit to think about, used prices from retailers are often very reasonable when you throw in the peace-of-mind you’ll get on top.  

European retailer, Thomann has announced that it has revived the DrumCraft brand, with three new drum kit series, as well as two ranges of hardware on offer.

DrumCraft was originally conceived in 2009 by European distributor, GEWA and quickly grabbed the attention of high-profile artists before ceasing production in the middle of the last decade. 

But now, Thomann is looking to bring the brand and its potential back to the market with the re-introduction of a whole new catalogue of kits and hardware available in pre-configured setups at various price points starting at under £500. Let’s dive in!

DrumCraft Series 3

The entry point into the DrumCraft line-up is the Series 3, which is pitched at beginner to intermediate players who are looking to start drumming. It’s an all-poplar design featuring 7-ply/6.8mm shells with a 45-degree bearing edge throughout. 

The Series 3 is offered in two configurations: Standard (22”x16”/10”x7”/12”x8”/16”x14” and 14”x5” snare) or Studio (20”x16”/10”x7”/12”x8”/14”x12” and 14”x5” snare), with a choice of Black or Natural wrap finishes. DrumCraft is also including its Series 4 hardware pack comprising double-braced snare, hi-hat and boom cymbal stands, as well as a Series 4 single bass drum pedal.

Series 3 Specs
Wood: Poplar
Shell: 7-ply
Shell Thickness: 6.8 mm
Bearing edge: 45 degree
Finishes: Black Wrap, Natural Wrap Hardware: Hardware pack included.

Prices start at £459/€561/$549.

DrumCraft Series 4

The Series 4 is the mid-level kit from DrumCraft, which the brand says is perfect for intermediate players who are progressing to the stage, studio or social media. Here, the shells are thinner at 5.6mm, and feature a hybrid 7-ply layup of mahogany and poplar arranged as two plies of mahogany, three plies of poplar and a further two plies of mahogany. Once again, the shells are cut with a 45-degree bearing edge.

Key upgrades in the Series 4 kits from the Series 3 are the introduction of 5.5”-deep snare drums, Zero Gravity tom isolation mounts, black powder-coated hardware and a range of fade, sparkle and burst lacquer finishes.  

As well as this, Series 4 comes with a greater number of configuration options, with the same Standard and Studio five-piece kit options as Series 3, but with the addition of its 2 Up/2 Down setup, which  expands the bass drum depth by two inches to 22x18, and offers and additional floor tom for a 10”x7”/12”x8”/14”x12/16”x14” four-tom setup.

Series 4 Specs:
Wood: Mahogany Poplar Hybrid.
Shell: 7 ply - 2 mahogany/3 poplar/2 mahogany
Shell Thickness: 5.6MM
Bearing edge: 45 degree
Finishes: Sherwood Green Fade, Platinum Sparkle Burst, Cardiac Burst, Cream Mocca Burst, Bright Arabica Fade.

The Series 4 starts at £675/€786/$807.

DrumCraft Series 6

The flagship of the revived DrumCraft range is the Series 6, and as you might expect, features further options and upgrades. The Series 6 drums are based around an 8-ply, 6.4mm shell design, this time comprising four external plies of walnut (two on each side), which sandwich four plies of maple at the shell’s core, with a 45-degree bearing edge.

Configurations include Standard (22”x18/10”x7”, 12”x8” and 16”x14), Studio 20”x16”/10”x7”, 12”x8” and 14”x14” and a 14”x5.5 snare), 2 Up/2 Down (22”x18”/10”x7”/12”x8”/14”x12/16”x14” 14”x5.5” snare) and the Series 6-only Jazz sizes (18”x14”/12”x8”/14”x14” and 14”x5” snare).

Series 4 kits are offered in four finishes: three satin and one high-gloss lacquer, with the satin-finish drums fitted with DrumCraft’s brushed nickel hardware across the board.

Series 6 Specs
Wood: Walnut Maple Hybrid
Shell: 8 ply = 2 walnut/4 maple/2 walnut
Shell Thickness: 6.4MM
Bearing edge: 45 degree
Finishes: Satin Black, Satin Natural, Scottish white burst, Black to purple fade.

The Series 6 kits start at £849/€989/$1015.

DrumCraft Snare drums

DrumCraft’s Series 6 snare drums are available individually, and follow the same maple/walnut shells, sizes and finish options as the Series 6 kits. Currently, DrumCraft offers the snares as standalone drums in 14”x5”, 14”x5.5” and 14”x6.5” depths, with prices starting at £155/€180/$185.

DrumCraft Series 4 Hardware

As well as bundling its Series 4 hardware with its Series 3 drums, each component is available as an individual item. DrumCraft describes its Series 4 hardware as “Lightweight and secure”, with double-braced legs, retractable booms and gear-based Flex-Tec cymbal tilters. The Cymbal Boom Stands weigh-in at 2.7kg, and prices start at £42.

DrumCraft Series 4 Cymbal Boom Stand

DrumCraft Series 4 Hi-hat stand

DrumCraft Series 4 Snare drum stand

DrumCraft Series 4 Single bass drum pedal

DrumCraft Series 6 Hardware

Series 6 hardware steps things up with larger tube diameters, heavier bracing and the inclusion of memory locks throughout. DrumCraft says that its Series 6 hardware offers “strong, reliable and stable hardware solutions for pro-level drummers and can hold its own in any situation on stage.”

By comparison, a Series 6 Cymbal Boom Stand hits the scale at a beefier 4.4kg.

As well as universal items, the Series 6 range includes DrumCraft’s own tom holders with bass drum/stand-mounted options and a single holder including a multi-clamp are available in Satin Chrome finish.

DrumCraft Series 6 Cymbal Boom Stand

DrumCraft Series 6 Hi-hat stand

DrumCraft Series 6 Snare drum stand

DrumCraft Series 6 Single bass drum pedal

DrumCraft Bass Drum Single Tom Holder

DrumCraft Bass Drum Double Tom Holder

DrumCraft Single Tom Holder w/multi-clamp  

For more information on DrumCraft drums, visit the DrumCraft website.

Since the release of their self-titled debut album in 2003, Three Days Grace’s recipe of huge guitars, tight grooves and anthemic choruses has seen them remain at the forefront of hard rock. With latest album, Explosions, the band shows no sign of slowing down, having bagged themselves some stellar reviews alongside yet another Billboard chart-topping single in So Called Life.

Here, guitarist Barry Stock, bassist Brad Walst and drummer Neil Sanderson show us around their live setups ahead of the band’s world tour.

Barry Stock - guitar

Barry showcases his Ibanez Custom Shop baritone, which was one of two made for him around the band’s 2006 album, One-X. “I use this one for drop-C stuff. It stays in tune, it’s rock solid and it sounds killer. So, I just can’t let this one go. If I had to pick one, it’s gonna be this one right here.”

Brad Walst - bass

Brad points to Ernie Ball/MusicMan StingRays as his go-to basses, but there’s one in particular that he highlights here. Bought in 2002 before TDG had a record deal, Brad took out a loan to fund it and it’s remained in his collection ever since.

Neil Sanderson - drums

As well as his double-bass drum Yamaha Absolute Maple Hybrid setup, Neil’s kit includes Sabian Artisan cymbals, a Yamaha DTX Multi12 sample pad, and his most recent addition, the ButtKicker Concert sub-bass monitoring system. 

Explosions by Three Days Grace is out now.

GEAR EXPO 2022: A new kit can mean different things to different players, but whether it's a once-in-a-lifetime investment in your dream kit, or a more practical purchase to solve problems such as portability or noise levels, there's something for everyone.

2022 has already brought us some great additions in all three of the categories we mentioned above, from beginner-friendly, to iconic reissues and boutique additions. Here are some of the must-try kits for different players this year.

Ludwig Vistalite 50th Anniversary

The unmistakeable Vistalite turns 50 in 2022, and Ludwig is going big with the celebrations. First up, its reissued the lesser-spotted Red and Green single Acrolite finishes which are available for the entire production run this year in Fab (22x14", 13x9", 16x16") Pro Beat (24x14", 13x9", 16x16") and Zep (26x14", 14x10", 16x16", 18x16") configurations. 

But if a see-through acrylic kit in a single colour is too pedestrian for you, there’s plenty more available in the Anniversary line-ups. The finishes are split into three patterns: Pattern A is the triple-stripe, offered in Black Sparkle/Smoke/Black Sparkle; Blue/Green/Clear or Red/White/Blue.

Pattern C is the ‘Candy Cane’ style spiral available in red/yellow, and Pattern E is a dual finish offered in Clear/Smoke. Each of the Anniversary configurations are limited to 25 of each kit worldwide, so get them while you can!

Tama STAR Factory Vault (STAR Mahogany with Tineo Outer Ply)

If you thought that Tama's flagship STAR line of drums couldn't get any more 'boutique' then think again. For 2022, it has introduced the Star Factory Vault, which promises "a truly rare and exceptional drum experience for the discriminating drum enthusiast". 

STAR Factory Reserve kits will offer the highest quality, hand selected woods, and most meticulous attention to detail using time-tested, lengthy construction processes by Tama's greatest drum builders. Each kit will also be available in very limited quantities.

Kicking things off, is the gorgeous STAR Factory Vault Mahogany with Tineo Outer Ply  kit featuring thin 6mm/8-ply (with 6mm reinforcement rings) mahogany shells, finished with an outer ply of Tineo brought straight from the Andes mountains.

It's offered as a five-piece shell pack including 22"x16" Bass Drum, 10"x7" and 12"x8" rack toms, plus 14"x14" and 16"x16" floor toms. The finish is called Caramel Tineo Burst, and a matching 14"x6.5" snare is available, but not included.

Natal DNA Stealth

At the tail end of 2021, Natal released the DNA Stealth - a concept so simple and obvious, it’s surprising that it hasn’t been done before. Essentially a regular acoustic kit, the Stealth DNA is fitted with mesh heads straight out of the box, meaning that it’s instantly a quiet kit for home practice.

It comes with a set of perforated practice cymbals which are also low-volume, and also includes all of the hardware you need to start playing as soon as you get it home - even down to the drum sticks.

As well as the obvious saving in volume, we can see this being popular with those wanting to convert it to an electronic kit using triggers, and of course, you can fit regular drum heads too if you need to play it loud. Natal has also made the snare available separately if you’re looking for a more ‘drum-like’ alternative to a practice pad. 

Tama Club-JAM Pancake

Small kits are big news, and Tama is continuing its scaled-down offerings for 2022 with the introduction of the Club-JAM Pancake. It joins the rest of the Club-JAM series as the lightest and most portable kit in the range. 

With a 12”x4” snare, single-headed 10x3.5” and 13x3.5” rack and floor toms, and an 18”x4” bass drum, the whole kit can be packed into a single bag for transporting, making it an excellent solution for busking and smaller gigs.

The Tama Club-Jam Pancake is available in two finishes: Hairline Black and Champagne Mist, both with vintage-inspired wood hoops on the bass drum. The custom bag is available separately.

Tama True Touch Training

Taking a similar approach to Natal’s DNA Stealth, the five-piece Tama True Touch Training Kit offers a solution to quiet, space-saving practice combined with authentic feel and tone at manageable volumes. 

The Solid Kick Bass Pad is made from multiple foam layers to replicate the feel of a bass drum and is anchored by two sturdy legs, while the 8”/8.5” AND 9” tom pads feature a dual-layered foam playing surface which work with the resin shell to create pitched tom sounds at low volumes.

Meanwhile, Tama’s AAD Snare Pad uses “strong, heavy base materials” and “multi-layered foam pad materials” topped with a dual-layer mesh head to give you a tensionable playing surface for the snare drum. Inside, there’s a “sound source” that replicates the snare wires for immediate feedback and response. 

You’ve perfected your drum parts, thoughtfully crafted a set that will take your audience on a journey, you’ve even got your band’s t-shirts printed ready for the hordes of adoring fans who’ll inevitably be lining-up to snag one from your merch stand. Now it’s time to take your band into the live arena, which means that sooner or later you’re going to hear two words: kit-share.

While some covers bands will come across this idea, a kit-share is more common for those playing in original line-ups. But what exactly is a kit-share gig? Well, it does what it says on the tin - to save time between sets on a multi-band bill, the backline gear is more-often-than-not shared between at least all supports to the main act (who will sometimes get to use their own gear exclusively), or every single band on the bill. 

For our string-twanging peers, this means they might only need to bring their instruments, guitar or bass heads and pedals. For us drummers though, it means being flung into the unknown with someone else’s setup, while we add our own ‘breakables’. Remember that word, as it’s an extremely important, yet very often vague description. 

So, if you’re about to take your first steps into the world of playing live at your local venue, here’s how to approach a kit-share gig for a smooth outcome.

Forewarned is forearmed

There could be anywhere from two to five or six bands on your gig’s line-up, which is why it’s a kit-share in the first place. The idea being that the drum shells (bass drum and toms) and key hardware will remain consistent throughout the gig. 

Not only does this avoid a handful of drum kits needing to be setup and stored/swapped around after every band, but it also makes life easier for the sound engineer, who can keep microphones in position without needing to reset and carry out a complete overhaul for every band. 

With this in mind, it’s important that you find out exactly what you’re going to need to bring with you before the day of the gig. Contact the promoter/whoever is booking the bands as they will be acting as the central point of contact for everyone who is playing. Find out who is providing the kit, what configuration they have, and compare that to what you might need. 

The general etiquette is that the headliner will allow the rest of the bands to use their gear, but this isn’t always the case, especially with more well known/touring bands, so it’s worth checking.

Befriend the other drummers

They say a rising tide sails all ships, and music - particularly in your area’s original scene - is a community where friendships are formed, touring partners are met and everyone is better off for it. Hopefully. 

So, as well as talking to the promoter, think about getting in touch with the other drummers on the bill. If they’re from your town then you might already know them, if not, then it’s hardly stepping over any marks to reach out to the band via social media to introduce yourself and ask more specific questions about the kit before the gig.

It’ll give you a chance to figure out if you’re missing anything from your setup that might be required and either secure your own in time for the gig, or pre-arrange to borrow something, as well as helping to break the ice with any bands you haven’t met before. You never know, they might even watch your set!

The right to be left

We're not here to debate the pros & cons of being either a left or right-handed drummer. However, it does raise a logistical consideration when you're sharing a kit with other bands that unfortunately for lefties playing a left-handed setup, will be a common occurrence.

This will require an additional changeover, then possibly another to revert the kit back to whichever the more dominant orientation on the line-up is. So, while you're checking-in with the promoter and other bands, it's a good idea to let them know if you'll need the kit to be setup for playing left-handed. This way the organiser can adjust the schedule or times if needed, particularly if there are multiple mixes of left and right-handers performing. 

‘Breakables’ is a loosely defined term

One of the biggest sources of confusion when playing a kit-share gig is the term ‘breakables’. So-called because it refers to anything that is ‘breakable’, but also extends to pretty much anything that is personal to your setup. This can be as basic as your snare drum and cymbals (obviously don’t forget your stick bag!), or as comprehensive as a hi-hat clutch or possibly a full stand, drum stool, bass drum pedal and any combination of these items.

It should go without saying that if you use a galaxy of cymbals, two snares, electronic pads and auxiliary pedals, it’s on you to make sure you have them. If you really need to have four crashes and symmetrical splashes/Chinas, then bringing the relevant stands is a must. 

Multi-clamps and mini-booms can be your friend if you’re travelling light, allowing you to augment the gear that’s already there with minimal disruption. But if you’re already bringing your hardware bag, you might find it easier to bring a couple of extra full stands. 

However, don’t overdo it. It’s a fine line between bringing exactly what is needed - plus the provisions for one or two spares - but don’t forget why you’re doing a kit-share in the first place. 

Space at some venues can be a premium, and if you turn up with your whole kit when you know it won’t be needed, 'just in case', you run the risk of not being able to store it in the venue/getting in someone's way/having to put it back in the car where it’s potentially vulnerable to thieves. However, that’s all okay, because you spoke to the promoter and other drummers and worked it all out ahead of time…didn’t you?!

Be flexible with the shared kit

The downside of using someone else’s kit is that their choice of brand, sizes, heads and placement might not be to your liking. Unfortunately, there’s not a lot of room for argument, so if there is something that can’t be overcome, it’s better to see it as a chance to try something new than allow it to bog down your performance. 

Most importantly, don’t be rude about the quality of the gear you’ve been loaned - you might be talking about someone’s pride and joy, and after all, they might not be overjoyed with a five-band bill beating the living daylights out of it!

Due to the fact that everyone is a different height, bringing your own drum stool might have been on the list, but it could also mean that you need to adjust tom angles, snare and cymbal heights, even placement of the stands or removal of drums altogether. 

Most drummers won’t mind this, but it’s polite to check. Likewise, don’t disrupt any tuning of the drum shells unless there’s an actual audible problem from the engineer’s perspective (such as an unwanted buzz, boom, or floor tom growl).

The engineer’s mics (in most cases) will be clipped to the drum with only the bass drum, overheads and hi-hat mic (if there is one) on a physical stand, but if you do move something that will affect one of these microphones, be sure to let the engineer know so that they can adjust it at their end.

On the house (kit)

In some cases it could be the venue that’s providing the drum kit. The same rules about being informed beforehand apply here, but while you still need to treat it with respect, there’s understandably more acceptance of adjustments when it’s not someone’s personal gear. 

Much like a rehearsal room kit, a venue's house kit will probably have seen some action. The pros of using a house kit is that it’s most likely been tuned to the room and will be a known quantity to the engineer. 

Conversely, house kits can often be worse for wear or missing some parts. So, unless you want to potentially risk place your K Customs on stands without sleeves or felts, it’s worth assembling a first aid kit that you can keep in one of your cases.

A drum key (or two!), cymbal felts, a spare hi-hat clutch, washers, a couple of different tension rods, bass drum impact patches and gaffer tape can get you out of a hole when something goes wrong, and also help avoid damaging your own gear.

Respect the sound engineer!

Aside from the promoter and the other bands, your band’s closest ally when it comes to showtime is whoever is running the mixing desk. Irritate this person at your peril, as they have the power to influence how the audience hears you. Introduce yourself, and pay attention. They have the busiest job in the room and once your 30-minute slot is over, they’ll have to do it all again. 

If you have any gear outside the norm (electronics, for example), let them know early, and don’t forget your cables. So, respect the sound engineer and you’ll guarantee safe passage to the best audio representation of your band possible!

Make the most of your soundcheck

The promoter or gig organiser will let you know what time you need to arrive at the venue, and this will normally be before the doors open in order for you to have a soundcheck, so it’s important that you get there on time.

When it’s your turn to soundcheck, the attention to detail will probably depend on your placement within the line-up. All bands will usually get a basic ‘line check’, which for drums will include getting levels for the individual drums, the whole kit, and usually at least part of a song as a band.

It’s crucial at this point that you hit the drum that the engineer asks you to hit, and only this drum! Play single notes (now’s not the time to demonstrate your one-handed roll) and give each one time to decay before hitting it again - you don’t necessarily know what the engineer is adjusting at any given point (gain, EQ, compression, gates, reverb etc.) - and keep striking until they ask you to stop/move to the next drum.

As this is the time where the mic gain and levels are being set, it’s equally important that you hit as you intend to play. If you only play backbeats as rimshots, do it in soundcheck. Likewise, if your hi-hats spend most of their time in a semi-open position while you leather into the edge with the shoulder of your stick, don’t close them and tap the top with the stick bead for soundcheck.  

The final part of the drum soundcheck is for the engineer to balance the full sound of the kit, and they might ask you to play the whole kit. Don’t confuse this with a drum solo, or a chance to demonstrate how ‘outside’ of your band’s style you can play. Choose a couple of parts from one of your songs, transitioning from say, a verse to a chorus where there are a couple of different dynamics and fills.   

Soundcheck is also the time for you to request the other instruments you’d like in the monitors, or tell the engineer if you're using in-ear monitors. Can’t hear the vocals? Need more bass? Say now. Finally, remember to only play when the engineer asks you to, and definitely not when they’re setting the levels for the other instruments.

Smooth set-up

The momentum of the gig can be severely drained by long changeovers between bands. The aim here is to swap the gear around and start your set in as short a time possible before the audience disappear to the bar. Like so many other parts of playing a kit-share gig, the key lies in common sense and a bit of courtesy.

If you were the first band on the bill, chances are you sound-checked last and your gear is still in place. If you’re in-between two other bands then the band before you will need to get their gear off the stage. 

You should give them space to do this - two sets of band members shuffling gear around a small stage is cramped, and a recipe for potential disaster, and if you’re trying to place gear on a kit while the previous drummer is still removing theirs you risk mixing up your stuff. By all means offer to help move gear off the stage, but try not to get in the way.

You can speed up the swap by getting anything that can be pre-organised ready beforehand. Any cymbal stands that aren’t part of the loaner kit can be set up before you go on stage. Fit a clutch to your top hi-hat if you’re not sharing, have your stool ready to go etc. 

Given that the kit has just been broken down to a skeleton, it’s worth having a quick check of any bolts, bass drum spurs, floor tom legs or anything else that might have been loosened during the changeover, before you start playing.

Once your set is finished - assuming there’s another band after you - you need to get your stuff out of the way as quickly as possible. Don’t rush off to chat to your mates just yet. 

Remove any mics that have been attached to your drums (most likely only the snare) and hand them to the engineer or place them somewhere safe (not on the floor). Don’t unplug the cable!

Save packing your gear - cymbals, snare, stands and any other hardware into its cases until you’ve got it off the stage - this way you won’t be rushing as much. Take a moment before you leave the stage to remove any glasses, bottles, set lists, broken sticks that you might have left there, and do one final ‘idiot check’ to make sure you haven’t left anything behind. 

Won’t you stay?

Not only is it good form for bands that are sharing a bill to stay and watch each other’s sets, but remember you’ve just played a gig on someone else’s kit. Unless it’s a house kit that will remain on the stage, after the final band has played, someone has to pack up. 

As you’ve probably already learned, giving a cymbal stand to a non-drummer to pack away is akin to expecting a toddler to perform brain surgery. So, it’s polite to stick around and watch the bands that play after you, and at least offer to help the drummer break down the kit. 

If they’re a touring band, they may well have a tech with them to help make light work of this, but if nothing else it gives you the chance to thanks them for loaning you the kit. 

Keep in mind that at some point in the future you’re likely to be providing the drums for the evening, so treat your fellow drummers how you’d like to be treated and everyone will have a better show.

Washington police Police are appealing for information after the Ludwig Silver Sparkle drum kit played by former Yes drummer, Alan White on John Lennon's Imagine has been stolen from his storage facility in Newcastle, WA.

Squatters apparently broke into White's home and remained there for several days. Upon leaving, they stole an unconfirmed number of items. But during their unwelcome stay, the thieves found paperwork relating to White's storage units where he housed a number of instruments used throughout his career. 

Fox13 reports that police were able to locate a white RV believed to be involved in the robbery, recovering some of the stolen gear along with Alan White's triple-platinum plaque for Yes' 90125 album, which had sadly fallen from the truck and smashed. 

However, White's Plastic Ono Band (pictured in the Tweet above), Ludwig Silver Sparkle kit - which he used on John Lennon's Imagine as well as George Harrison's All Things Must Pass, and was once played by late Foo Fighters drummer, Taylor Hawkins - is still yet to turn up. It was fitted with a distinctive Plastic Ono Band front head which is believed to have still been present at the time of the theft.

"It's stuff I've taken care of for the last 35/40 years", says White, who is currently recovering from a stay in hospital. "They don't know what it is and what it means, especially to me".

Newcastle, WA police are asking for help to identify the three men believed to be responsible for the theft, having released images from security camera footage as well as the truck used to steal the kit. 

Any information can be reported directly via the non emergency number 206-296-3311. If you would prefer to remain anonymous, you can submit a tip to Crime Stoppers of Puget Sound via P3Tips.com, or calling 1-800-222-TIPS (8477). 

What is it?

You might have noticed a change occurring in the electronic drum set market over the last few years. What were once a collection of pads and sort-of-like cymbals have evolved into an ever-growing trend for real wood drum shells, in playable ‘real life’ sizes.

Roland’s VAD range is arguably the front runner, but other brands such as ATV, EF-Note, Jobeky and more have also been creating hybrid acoustic-shelled electronic drum sets for a while.

The latter helped fuel many acoustic conversions during the lockdown, which remains an affordable way of achieving the same thing, as long as you’re willing to spend some time doing the modding.

A recent newcomer to the market, though, may put paid to some of the heavy lifting of converting your own kit. You're probably already familiar with Millenium thanks to its affordable-yet-quality products which span everything from hardware to acoustic kits, snares and electronics.

The latest to come from Millenium is the MPS-1000: a ‘full-size’ acoustic-looking electronic kit comprising five mesh head-equipped acoustic shells, an acoustic stand-mounted hi-hat, two crashes and one ride cymbal pad.

As well as this, it includes all of the hardware you need to get set up straight out of the boxes, including cymbal stands, hi-hat stands, a dedicated module stand and a bass drum pedal.

They even throw in some sticks, although you will need your own stool. But the real headline here is the price. As currencies fluctuate, so do Thomann’s prices, but at the time of writing you can bag all of the above for £833, including delivery and you don’t need to worry about import duty, VAT or any other charges. The price you see is the price you will pay. So, at roughly a quarter of the price of Roland’s VAD 506 setup, is it too good to be true?

• Explore the best electronic drum sets for kids

Performance and verdict

The build

Our kit arrived in a number of boxes, shrink-wrapped on a pallet. Be prepared for a lot of cardboard, but helpfully, everything is packaged in its own internal box which is also labelled so you can easily find everything while you’re setting up.

The MPS-1000 is full size, but it’s essentially a fusion-size kit, that means a 20” bass drum, 10”, 12” and 14” toms and a 13” snare drum. This is roughly the same sizes as Roland’s VAD 506 setup, with the exception of the snare drum.

The whole kit is wrapped in a silky Grey Line finish, and each drum is fitted with mini-tube lugs, which is nice to see considering Millenium could have easily opted for cheaper, more standard-style units at this price. The triple-flanged hoops are covered with rubber shrouds to keep the noise down while the bass drum hoops are finished in a matching wrap.

The toms are post-mounted to the bass drum using a Pearl-style tube. Obviously there’s no tonal debate to be had over drilling vs virgin bass drums here, and bass drum-mounted toms really do come down to preference for most people.

If you’d prefer, you can obviously remove the post entirely and hang the toms from a cymbal stand for more flexible placement, but it’s worth noting that the holder only rotates on one axis rather than giving you an ‘omni’ rotation from a ball-socket.

Now, we said these are full-size fusion pads, however the depth of both rack toms is the same at 6-inches. Once again, this has no bearing on anything other than placement and look, but it does essentially mean that you’re playing a ‘fast-size’ setup, with matching depths across the top bringing back a slight reminder that these things started out life as pads, not acoustic drums.

That’s a very minor gripe though, which is unlikely to bother most people after the first hour or so.

Cymbals

The cymbal pads also offer plenty of realism, too, with Millenium opting for ‘odd’ sizes on the hi-hat and crashes at 13” and 15” diameter respectively. Both are dual-zone, with a choke function, referred to as ‘stop’. The ride cymbal is 18”, and features three zones - bow, edge and bell as well as being choke-able too.

They’re coated across 360-degrees with rubber, which is smooth to the touch and each cymbal mounts to the stand using Millenium’s mounting system which also prevents spinning and they have a nice natural swing to them.

Within the module the bow/edge sounds can be assigned independently on each of the cymbals, which also means you can use each part of the pad for additional cymbal sounds if you choose to.

The hi-hat is a single-pad, with the switching/sensor part for open and closed functionality built into the pad. It sits inside the diameter of the ‘cup’ and while it looks a little cumbersome, once we’re plugged in we found it to be fast and responsive. We were able to play speedy 32nd-note patterns with open and closed barks without misfiring, which on a budget hi-hat is great news.

MPS-1000 module

Central to the kit is the MPS-1000 module, which features 820 sounds in total offering a standard-fare selection ranging from acoustic kits to samples of classic drum machines, world and orchestral percussion and more. arranged into 40 preset kits.

There’s a further 40 slots for you to save your own kit creations into, plus it comes stocked with 70 play-along songs for you to jam to. While these are great to have, what’s even better is the fact that the module also includes Bluetooth, so you’re free to beam whatever music you like into the kit, and blend it with your drum sound for jamming.

The front panel itself is nicely laid out, with some stylish looks, and individual faders for each voice. There’s a 3.2” colour LCD screen in the top right, and thanks to the clearly marked function buttons we found it incredibly easy to use without having to resort to reading the manual until we were trying to access some of the module’s more advanced options.

The pads connect to the module via a 25-pin cable snake, as commonly seen on kits from other brands. As well as the integrated cables, there’s an additional trigger input for hooking up an extra cymbal pad, plus the Ext socket which allows you to connect an extra trigger or pad. In addition to this, there’s a 3.5mm aux input for running a wired audio connection into the module.

Audio outputs are comprehensive too, with a L/R master output, headphone output (either 6.35mm or 3.5mm, with its own volume control) and eight direct output sockets which are all freely-assignable. The MPS-1000 can also transmit MIDI over USB, and there’s an additional USB socket for plugging in a memory stick.

That’s because as well as its own sounds, the MPS-1000 also allows you to import custom .wav files for utilising in your kit, a feature that has become increasingly in-demand, and it’s great to see it appearing on lower priced kits.

That’s a lot to take in, but the proof, as they say, is in the padding. We’ll start with the sounds, which as we’ve already mentioned offer a lot of options, and we think it’s fair to say that Millenium has opted for a broad range over a smaller number in great detail.

Sounds and features

While the sounds are absolutely serviceable, there's a lack of detail to the samples, which does mean they sound a little basic, and there is some machine-gunning going on. It’s most noticeable on the acoustic sounds, where a bit more depth and sustain would really benefit the overall feel of the kits.

Obviously the synthetic sounds already mask some of this, and we should add that there’s some great contemporary electronic sounds to be found within the kits beyond the usual 808/909 type samples.

But, as with any electronic kit, you can remedy some of this by getting your hands dirty in the menu system and tweaking the interaction between the drums and the module.

With some changes to the sensitivity, headroom and velocity curve controls we were able to improve the response of the kit immediately. It’s something that we think is far too commonly overlooked, as everyone plays differently and it would be impossible for electronic drum manufacturers to tailor this for every player straight out of the box.

As well as this, some quick experimentation with the on-board EQ and compression can bring back some of the beef to the sounds that need it, and similarly experimenting with some of the reverb effects can add a little depth to the tone of the kit. It does require some menu-hopping, and it would have been great to have quicker access to these functions in an ideal world.

So, with the kit responding more naturally to our playing style, there’s a lot more to explore. Hooking up to the Bluetooth - unlike on some gear we've tried - couldn’t be easier, as it’s always on as long as the module is switched on. This means you just have to search for it on your device, select it, and you can be jamming with your music collection instantly.

One intriguing feature of the MPS 1000 is its ability to import user samples. Not very long ago, this was something that was more commonly done with sample/percussion pads, but has made its way onto electronic drum kit modules in the last few years.

Now, we should point out that this function - even on modules costing more than this entire kit - still tends to be limited when applied to a drum module. Don’t expect to be loading-in multi-layered samples of your acoustic kit.

Instead, Millenium has opted to keep things simple. In short, you place a 16-bit 44.1khz wav file of the sound you want to use on a USB stick, plug it into the module and import it into the MPS-1000’s user memory via the global settings menu. From here, you simply go into your kit settings, hit the drum you want to assign the sample to and select your file from the list of imported sounds. It’s then saved within your kit just as with any of the internal sounds.

It’s basic: you only get one sample layer per-playing zone, and unlike more sophisticated modules you can’t blend it with internal sounds. There’s no control for how the sample is played back either (loop/alt etc), and it just reacts as a regular one shot, plays through the length of the file and then stops. As such, the length of the sample is capped, so you won’t be able to import full song backing tracks.

But for a lot of people, we don’t think this is necessarily a bad thing. It’s a great introduction into using your own custom sounds, and of course you can hack it slightly by creating the sample to react more how you’d like in the first place.

For example, we imported a ‘playable’ one-shot of a pre-layered snare/clap/finger-snap which we created in our DAW. Likewise, we made a two-bar conga loop which we could trigger by hitting the rim of the tom. By placing the same loop on a cymbal pad, you’re able to use the choke function of the cymbal to stop the loop.

If you don’t want to have to create your own sounds, you can download thousands of samples and loops in many genres from our SampleRadar archive. We found in both cases that the MPS-1000 triggered our imported sounds perfectly, with no latency or playback problems.

Overall feel

We’ve so far overlooked one of the most important factors of why you’d buy a kit like this in the first place, rather than a regular pads-on-a-frame setup. The answer is feel. It’d be easy to float off into phrases like ‘experiential’ and ‘vibe’ at this point, but unfortunately that is kind of at the core of the entire concept.

How much difference do real shells at an approximate size of an acoustic kit make? After all, you’re striking the same type of playing surface. Well, try assembling an acoustic kit made out of 8” or 10” drums with barely any depth and you have your answer.

While playing an electronic kit comprising pads solves a lot of problems - space being one of them - you don’t get the same physical feel, lack of movement or spacing between small pads. This in-turn changes your perception as a player and makes transferring between electronic and acoustic kits more of a jump.

We have to tip our caps to Millenium here. The MPS-1000 looks great for a start, and the fact that it comes with decent quality, double-braced hardware at this price really makes it a comprehensive setup. But we do say ‘at this price’ with a caveat.

That price tag incorporates everything from the shells, mesh heads to the hardware and the module. So you have to look at where your money is being spread, it’s a big ask to expect premium-level playability, features and sounds across the board when the competition is substantially higher cost. There’s no multi-positional sensing, no fancy digital triggering, no audio interface, and there’s limited sound manipulation when compared to more expensive kits.

Instead, what you get is a set of shells and cymbal pads that are ready to plug in straight away. The overall feel of the kit is great - solid and good quality. The sounds are totally usable for practice, and if you do want to perform live, the direct outputs will give you the opportunity for further EQ-ing and processing (although we’d suggest that just as with any electronic kit you’ll need a great PA system and most likely an engineer to handle this side of things while you play).

The trump card for the MPS-1000 at this price, though, is something we haven’t touched on yet. That’s using it with a third-party, computer-based sound set such as Superior Drummer, Steven Slate Drums, Get Good Drums or one of the many other collections that are available - something that drummers have been doing for years from much more expensive kits.

This obviously ignores much of the module’s on-board capability, but allows the MPS-1000’s USB MIDI port to turn the kit into one of the most affordable, realistic MIDI controller kits available.

We’d be surprised if this wasn’t a key part of Millenium’s thinking when conceiving the MPS-1000: make the shells look decent and play well, and the module passable at an affordable price for drummers who want to use software.

Either way, it’s impossible to knock the value for money that’s on offer here, whether you intend to use it as a standalone kit or not.

Hands-on demos

ArtOfDrumming

Thomann

Drums Bondeo

SUONO DISTORTO (using Toontrack Superior Drummer)

Specifications

• Type: electronic drum kit with real shells
• Drum pads: 13"x5" snare, 10"x6" rack toms, 14"x14" floor tom (all dual-zone), 20"x16" bass drum (single-zone)
• Cymbal pads: 13" hi-hats (dual-zone), 2x 15" crash cymbals (dual-zone), 1x 18" ride cymbal (three-zone)
• Hardware: Snare stand, 3x cymbal stands, hi-hat stand, tom holders, module stand
• Sounds: Over 800
• Kits: 40x user, 40x presets
• Other features: Bluetooth, 8x Direct outputs, user sample import (USB stick), 70 playalong songs, metronome, 23 FX including compression and EQ per-pad

The Super Bowl half-time show has become almost as legendary as the game itself, with massive artists pulling out all of the stops to deliver during the break. Past performances have included Beyonce, Michael Jackson, Lady Gaga and Prince, so it’s always exciting to see who will perform. 

For 2022, the Super Bowl saw the Cincinnati Bengals take on the L.A. Rams in Inglewood’s SoFi Stadium. As such fans were treated to a performance from an all-star hip-hop line-up featuring locals Dr Dre, Snoop Dogg and Kendrick Lamar as well as Mary J Blige, 50 Cent and Eminem - the latter joined by Oxnard, California native, Anderson .Paak on drums for a run-through of his 2002 hit, Lose Yourself. 

PRS Guitars even produced a one-off version of its John Mayer Silver Sky model for the occasion. You can watch the performance above.

However, while .Paak - whose solo work has been released via Dr Dre’s Aftermath label - set the internet ablaze with his appearance, many people are outraged at the lack of microphones on his kit, suggesting that the performance was ‘mimed’.

Now, as anticipated as the Super Bowl half-time show is, it also receives some cynicism for frequent use of pre-recorded tracks rather than full live performances. So are the performances mimed? 

The reality is usually somewhere between live and synced. For example, the Red Hot Chili Peppers came under fire for openly admitting that they did just that in 2014, with only Anthony Kiedis’ vocal mic running through the PA for the Chili's part of the performance.

This is done for a number of reasons. First, the show itself is a spectacle, but it is still happening during a 15-20-minute break in an NFL match. 2022’s show featured the artists performing inside, outside and on top of (and at times a mix of all three) a set of mock-up, Compton-inspired buildings and landmarks (including the Martin Luther King Jr memorial and courthouse).

Factor-in dozens of choreographed dancers, multiple entrances via elevated platforms, and in Eminem’s case, an ‘exploding’ building, and it’s clearly a huge technical challenge. Then there’s the acoustics of the stadium to consider - a huge oval mega-dome that is set up for sport rather than music during the Super Bowl. 

Then consider that it’s all beamed live to millions of viewers - removing elements of live sound is surely a way of making a 13-and-a-half-minute performance less of a headache.

All that said, while the sound of Anderson .Paak’s on-stage drumming might not be coming from the un-mic’d kit he’s playing, we already know that .Paak is an impressive drummer who's more than capable of playing the parts we can hear. 

His performance is worth a watch for the enormity of the show itself. Plus he nails playing-along to the busy fills, even going as far as using a second snare drum for the fatter snare sound of the verses. So, while he might be 'miming' we'd say it's safer to say that he's playing along to a previously recorded performance (presumably his own) for the sake of technical ease.

Elsewhere, Anderson .Paak and Silk Sonic collaborator Bruno Mars walked away with the Best International Group award from last week’s BRIT Awards, which also saw Ed Sheeran and Bring Me The Horizon perform a surprise version of Sheeran’s Bad Habits, as well as rapper Dave busting out a guitar solo on a flamethrower-equipped Les Paul.

GEAR EXPO 2022: A new kit can mean different things to different players, but whether it's a once-in-a-lifetime investment in your dream kit, or a more practical purchase to solve problems such as portability or noise levels, there's something for everyone.

2022 has only just begun, but it's already shaping up nicely with some great additions in all three of the categories we mentioned above. Here are three must-try kits for different players this year.

Tama STAR Factory Vault - STAR Mahogany with Tineo Outer Ply

If you thought that Tama's flagship STAR line of drums couldn't get any more 'boutique' then think again. For 2022, it has introduced the Star Factory Vault, which promises "a truly rare and exceptional drum experience for the discriminating drum enthusiast". 

STAR Factory Reserve kits will offer the highest quality, hand selected woods, and most meticulous attention to detail using time-tested, lengthy construction processes by Tama's greatest drum builders. Each kit will also be available in very limited quantities.

Kicking things off, is the gorgeous STAR Factory Vault Mahogany with Tineo Outer Ply  kit featuring thin 6mm/8-ply (with 6mm reinforcement rings) mahogany shells, finished with an outer ply of Tineo brought straight from the Andes mountains.

It's offered as a five-piece shell pack including 22"x16" Bass Drum, 10"x7" and 12"x8" rack toms, plus 14"x14" and 16"x16" floor toms. The finish is called Caramel Tineo Burst, and a matching 14"x6.5" snare is available, but not included.

Natal DNA Stealth

At the tail end of 2021, Natal released the DNA Stealth - a concept so simple and obvious, it’s surprising that it hasn’t been done before. Essentially a regular acoustic kit, the Stealth DNA is fitted with mesh heads straight out of the box, meaning that it’s instantly a quiet kit for home practice.

It comes with a set of perforated practice cymbals which are also low-volume, and also includes all of the hardware you need to start playing as soon as you get it home - even down to the drum sticks.

As well as the obvious saving in volume, we can see this being popular with those wanting to convert it to an electronic kit using triggers, and of course, you can fit regular drum heads too if you need to play it loud. Natal has also made the snare available separately if you’re looking for a more ‘drum-like’ alternative to a practice pad. 

Tama Club-JAM Pancake

Small kits are big news, and Tama is continuing its scaled-down offerings for 2022 with the introduction of the Club-JAM Pancake. It joins the rest of the Club-JAM series as the lightest and most portable kit in the range. 

With a 12”x4” snare, single-headed 10x3.5” and 13x3.5” rack and floor toms, and an 18”x4” bass drum, the whole kit can be packed into a single bag for transporting, making it an excellent solution for busking and smaller gigs.

The Tama Club-Jam Pancake is available in two finishes: Hairline Black and Champagne Mist, both with vintage-inspired wood hoops on the bass drum. The custom bag is available separately.

GEAR EXPO 2022: What is important to most drummers? To play a drum kit that sounds incredibly good, offers stable hardware, and is also easy to handle on stage or in the studio. The GEWA G5 combines exactly these elements. 

This Digital Drumkit is aimed at the advanced drummer who wants to fully focus on their performance rather than the technical refinements and possibilities of an electronic drum kit. 

GEWA G5

The GEWA G5 uses the exact same sample library as the flagship model, the GEWA Drum Workstation G9. It offers 901 instrument sounds with up to 1000 samples per instrument. These samples have been recorded by experienced sound engineers in the legendary Funkhaus Studios in Berlin. In addition to the direct drum signal, we recorded the original ambient sound for each instrument as well! 

So, you get the best sound experience and it makes the G5 a perfect companion on stage, in the studio, and in the rehearsal room.

GEWA 3-zone cymbal pads

To provide the drummer with a more realistic feel, the GEWA 3-zone cymbal pads are, in terms of dimensions and mass properties, modeled on the Paiste 2002 Cymbal Series. All cymbals are chokeable and can be played on the whole playing surface.

To offer the most realistic Hi-Hat playing experience, we’ve constructed a two-part Hi-Hat with a top and bottom cymbal. 

The Hi-Hat has 8 different opening positions from tightly closed to fully open; it is currently the only 3-zone Hi-Hat available on the market and can be choked as well.

Connectivity

Bluetooth Audio and Midi are on board. So you can play along with your favorite songs, practice by using a BT-Midi application, or record MIDI data directly into your preferred DAW.

With the GEWA G5, you can easily record your drumming in different ways; for example, by using the ‘quick record’ function to record WAV files directly onto your USB device. Or you can use the built-in USB audio interface, which offers 6 + 2 channels out plus MIDI to record your drumming directly into your DAW.

During the development of the GEWA digital drum modules, we focused on building an open system. That’s why we only use standard TRS sockets to connect pads to our modules. So you can easily use pads from other manufacturers as well and there are even trigger presets available for the most common pads on the market.

We are always up to date! GEWA Digital Drums are constantly being developed and additional features are added regularly, free of charge!

Two configurations

The GEWA G5 is built and developed in Germany. It is currently available in two different configurations - G5 Pro and the G5 Studio. 

GEWA G5 Pro BS5

The GEWA G5 Pro BS5 is a full-size shell configuration that comes with 10x5", 12x5", 14x5" Toms, a 14x5" Snare Drum, and an 18x14" Kick Drum.

These shells come in a beautiful black sparkle finish. Every GEWA E-Kit comes with the standard cymbal pack that contains 2x14" Crashes, an 18" Ride, and a 14" Hi-Hat. 

Also included: a complete Stand-Pack with a Hi-hat pedal and a snare-stand.

GEWA G5 Studio 5

The G5 Studio 5 is a 5-piece pad configuration. It has 2x10” and a 12” Tom Pad, a 12” Snare Pad, and a 10” Kick Pad. The Studio kit comes with a sturdy three-side rack and the standard GEWA cymbal set. 

For more information visit: www.gewadrums.com

Following 2021’s introduction of the Tama Club-JAM Suitcase and Cocktail-JAM, Tama has once again found a way to offer a shrunk-down setup with its new Club-JAM Pancake kit - the smallest and lightest compact drum kit in the range.

Joining the existing Club-JAM, Club-JAM Suitcase, Flyer and Mini, the Club-JAM Pancake preserves (sorry) the small-format ethos of its siblings. This time, however, there’s a big reduction shell depth.

It features a 12”x4” snare,  single-headed 10”x3.5 rack tom, single-headed 13”x3.5” floor tom and 18”x4” bass drum. As well as a sharp attack and short sustain, the extra-shallow, single-headed tom designs mean that the whole kit can be transported in a single bag (sold separately).

The Tama Club-JAM Pancake is available in two unicolour wrap finishes: Hairline Black and Champagne Mist, complete with vintage-inspired wood bass drum hoops. It’s priced at £289/$349 for the shells and tom holder.

If you’ve ever found yourself part-way through a gig, or using a house kit at a rehearsal space where you wouldn’t brave drinking the water, let-alone ask for specific spare parts, you’ll know the pain of not having any spares to hand.

The new drum tech kit from Meinl seeks to eliminate some of these problems, with a 40-piece collection of essentials ranging from washers to snare cords to get you out of a jam while you, er…jam.

It comes packaged in a handy, separated container that can fit in the spare pockets of your drum cases, and will also double as the ideal place to put the ‘other’ stuff you take to a gig.

Inside, there are 40 essentials including a drum key, multiple tension rods for drums and hardware, cymbal felts, hi-hat felts, wingnuts, cymbal rivets, snare cords, screws, even some Meinl Drum Honey for dampening.

The Meinl Drum Tech Kit is available to order now. 

What is it?

Setting up an acoustic kit at home is an exciting moment for any drummer, but sadly it’s often quickly followed by complaints and the arrival of any number of noise-killing products. Electronic drum sets are a great solution, and one that people are increasingly turning to with great success, but to purchase an e-kit that replicates the form factor of an acoustic kit is still prohibitively expensive for many.

Natal’s DNA Stealth is a more traditional acoustic setup, but it comes with a twist - its volume has been dramatically decreased straight out of the box thanks to factory-fitted mesh heads and the inclusion of a set of Natal-branded practice cymbals.

First off, we should point out that what we have here is fundamentally a bop-sized (18”x16” bass drum, 10”x7” rack tom, 14”x12” floor tom and a 13”x5.5” snare) acoustic drum kit. If you’ve ever looked into the cost of outfitting an acoustic kit with premium mesh heads such as Remo Silent Stroke range, you’ll know that the price adds up. 

So, what Natal has done here is cut out the legwork for you. Rather than selling you an affordable acoustic kit that you later adapt for quieter home use, the Marshall-owned drum brand has simply turned the whole process on its er…head, and supplied the DNA Stealth with everything you need to be quieter from the off. 

There’s mesh heads on both sides of every drum, practice cymbals that are a lot quieter than traditional models, and all the hardware required to place each part of the kit. There’s even a stool, sticks and drum key included in the setup so you really can get going straight away. It’s a straightforward idea - after all you can do this to any drum kit - but it’s one that that has us thinking ‘Why has nobody else done this yet?’.

Of course, this being a traditional, wooden shelled drum kit at heart, the mesh heads can be removed and replaced with regular drum heads in exactly the same way as any other drum. So Natal is positioning the DNA Stealth as a dual-purpose setup: Mesh heads and quiet cymbals at home, a quick swap and off to the gig/band practice as-and-when you need to be heard.

With that in mind, Natal is clearly aiming this at everyone from beginners and more established drummers who need the option of playing a traditional-feeling setup at home. Let’s dig a little deeper, and fear not: this won’t get loud.

Performance and verdict

The DNA Stealth is supplied in one size configuration (as mentioned above) with the idea being that you can fit this kit into a corner, spare room, garage etc with ease. It also means that it is suitable-sized kit for smaller and taller players alike. It’s affordable too, with the whole lot ringing-up a full list price of £399, plus Natal is offering a snare-only pack with the drum, snare stand, case and sticks for £99.

To keep things simple, it’s offered in any finish you like as long as it’s Gloss Black, which we can see being an inoffensive, everybody’s-sort-of-happy solution. The shells are made of basswood, with matching black triple-flanged rims and lugs.

You get all the stands you’ll need too, and while it’s of the basic/beginner variety, it is well made and feel sturdy enough that it’ll last a good while without constant setting up/down. The included crash/ride cymbal is attached to the bass drum-mounted tom post with a multi-clamp and boom arm that’s easily positioned and further saves on floor space.

The kit arrived with us in two boxes, a larger one containing the majority of the drum shells, hardware, heads and cymbals, plus an additional carton with the floor tom. The snare and floor tom comes fully assembled, but you’ll need to attach the heads to the rest of the kit.

Then there’s the practice cymbals. You get a pair of 14” hi-hats and a 16” ride, and if you’ve never experienced cymbals of this kind before then you’re in for a slightly surreal treat. They’re perforated with holes across the entire playing surface, following a similar concept to mesh heads in order to keep the volume down.

Assembling the kit took us about 45 minutes as we hurriedly got busy with a bag of tension rods and the included mesh heads. It’s worth noting that you’ll need some knowledge of how to put a kit together, but that’s no different to buying any other kit. Once you’re up and running you’ll notice two things immediately: quiet cymbals really do work, and the snare drum is very impressive.

You can tune the mesh heads to achieve the sort of tension and response you’re looking for, with the top head giving you a change in stick rebound and feel. By experimenting with the tension of the snare-side head and the snares themselves via the strainer, it’s possible to change the amount of snap and duration of each note a bit. 

It can also affect the attack of the note too, with the snares looser and less tension on the bottom head you’ll get a softer sound, which adds to the low-volume effect, or if you want fast, dead sounds that disappear as soon as you strike, you can tighten things up a bit. 

To describe it, we’d say it’s like a quieter version of a heavily-dampened snare - free of ringing overtones and there’s a large drop in volume that makes this a lot more fun than playing on a pad. We spent a decent amount of our first sitting at the kit running through rudiments with joy - something that any drum teacher will probably be glad to hear!

There's a similar story with the cymbals. Your strikes produce a clicky attack, with a pleasing sustain on the ride cymbal and just enough of a white noise type sound from the hi-hats to make it feel like you’re playing cymbals. There’s none of the fatigue - particularly in a small room - that you’d get if you play real cymbals at volume, and it’s most noticeable when crashing the edge or playing accents on the ride bell. They really do work, and the swinging movement combines with the lack of volume to give a realistic feel overall.

Our one gripe is that the crash/ride cymbal does tend to transmit some vibrations through the boom arm and holder, giving you a pitched hum while you’re playing. We were able to make it disappear by dampening the metalwork with some foam. 

Things are less simple with the rest of the drums. These are mesh heads on both sides, and as such they’re designed to break-up the airflow and dissipate the volume. Without a solid membrane you do get a change of pitch at different tensions, but there’s barely any sustain or resonance to the notes.

This adds up to a very similar experience to playing a mesh head-equipped electronic kit unplugged. It’s absolutely quieter, no debate, but it also puts us back into practice pad territory. However, taking our cue from the snare drum and the other intended application of this kit (as an acoustic kit) we fitted some traditional heads to the resonant side of the DNA Stealth. The result is additional sustain that gives you a pitched tone while still keeping the volume low. 

We should add that while the idea of swapping the heads is definitely achievable, we think the reality of changing both heads across the kit is less likely if you’re moving between quiet and loud situations a lot. That said, by adding the resonant heads as a more permanent fixture you can cut out some of the work, and improve the ‘quiet’ tone to boot.  

Obviously being mesh-equipped, the DNA Stealth offers yet another application when it comes to an acoustic/electronic hybrid. With the addition of some simple external triggers this little kit is crying out to become an affordable platform for converting, and we hooked up our set of Roland triggers to a Roland TM-2 module with ease. 

The triggering was reliable and we could see this appealing to those who want a ‘real shell’ electronic kit at a snip of the cost of pre-configured versions. We’d love to see Natal incorporate some of Marshall’s electronic knowledge to develop a set of triggers to go with it

Do-it-all products run the risk of appealing to everyone and no-one simultaneously, but the DNA Stealth has a lot to offer. Are there better acoustic kits out there at this size? Yes. Do they cost £399? No. With such a simple idea - take a kit and make it quieter by default - Natal has brought something new to the table. 

At its most simple, this is a solution that we think will be hugely popular as a quiet kit for playing at home. But moreover it will get the imaginations of drummers ticking. We should tip our hats to the snare-only version too, which is certain to make group lessons and rudimental practice more enjoyable, regardless of where you are in your progress. Overall, Natal has delivered a great all-rounder here, it’s up to you to decide how you’ll use it.

Hands on demos

Natal

Fair Deal Music

Natal DNA Stealth

• PRICE: £399 (£99 snare-only pack also available)
• SHELL MATERIAL: Basswood, 6-ply
• SIZES: 18”x16” bass drum, 10”x7” rack tom, 14”x12” floor tom, 13”x5.5” snare
• HEADS: 2x removable mesh heads per-drum 
• FEATURES: Four-pice kit, practice hi-hat & crash/ride cymbals, hi-hat stand, cymbal holder & clamp, bass drum pedal, stool, sticks and key included
• FINISH: Black, with black hardware
• CONTACT: Natal Drums

Dave Grohl never sleeps and this Hanukkah he's on fire again; performing a different cover with producer / musician Greg Kurstin by iconic Jewish artists each night. And one even sees Grohl singing behind the kit for a cover of Ramones punk classic Blitzkrieg Bop.

Of course, Grohl being Grohl, he has to outdo himself with a sequin jacket to perform Copacabana. He's got some work to before he can get to Manilow-level kitsch mastery but it's an enthusiastic effort.

We're still processing Grohl's dress / death metal vocal dynamic for the take on Lisa Loeb hit Stay (I Missed You) but we think it might be our favourite so far. Like the missing track Probot needed. 

We're looking forward to hearing and seeing what comes next from the duo. 

The acoustic drum kit category is full of options, from beginner kits to high-end and custom drums designed to our exact specification and everything in-between. The options keep getting better and better, though, with choices on configuration, styling and finishes offered at all levels.

This year saw some big releases from the big names, including old favourites and new concepts that all add up to bigger and better value for anyone looking for a new kit. The semi-pro level benefited the most, as reflected in your favourites for the year. Here are the kits you selected as the best of 2021.

1. Winner 2021: Tama Starclassic Performer

The Starclassic Performer from Tama is a returning hero, making its way back into the legendary Starclassic range once again for 2021, and you can’t get enough of it. 

Tama has packed it with features - maple/birch shells, die cast hoops, Star-Cast mounts, Evans heads as standard, made it available in two configurations offering drilled or un-drilled bass drums and an additional floor tom. But we’ve got to mention those stunning finishes too. No surprise that you voted it No.1.

2. Pearl President Deluxe

Pearl unveiled a welcome surprise to celebrate its 75th anniversary this year with the President Series Deluxe, revisiting its vintage range. 

With 6-ply, 7mm Lauan shells, tone mufflers across the kit and some beautiful retro styling to go with it including Battleship lugs, script logos, Remo CS batter heads, Pearl has got your attention. That’s before we consider the two incredible Delmar ripple wrap finishes (Ocean Ripple and Desert Ripple). Excellent work!

3. DW Collectors Purple Core

Trust DW’s ‘wood whisperer’ John Good to come up with the goods. For 2021 DW introduced its Purple Core shell technology, with options of pairing Purpleheart and cherry, mahogany or maple. 

The strength of Purpleheart allows for only one horizontal ply in the shell’s lay-up, resulting in the lowest fundamental pitches DW has achieved. Judging by the video above, and the results of your voting, it works! 

Electronic drum sets are some of the most popular products on the drum market. Every year, we see kits with better sounds, greater realism and in many cases, better value for money.

As drummers everywhere not only accept, but welcome electronics into their setups and utilise them for practicing, recording and performing, the possibilities continue to grow. Here are the electronic drum sets that you’ve decided made the biggest bang in 2021.

1. Winner 2021: Roland TD-07KX

2020 saw the introduction of Roland’s TD-07 line, and this year Roland went big with its affordable range, ushering in three iterations on the TD-07 series, along with a TD-07-powered VAD setup. 

It’s the TD-07KX that wins the day, though, with a PDX-12 snare pad, mesh heads across all the rack-mounted pads, a full complement of dual crash/ride cymbals and a freestanding KD-10 bass drum tower.

2. Roland VAD 706

From the affordable, to the most expensive kit Roland currently produces. The Roland VAD 706 is really something to behold. Full-size, real wood shells meet with the excellent new VH-14D hi-hats, the positional sensing of the PD-140DS and CY-18DR digital snare and ride cymbals. 

Then there’s the TD-50X module which contains some truly impressive sounds. The combination is one of the most authentically acoustic playing experiences you can have sat at an electronic kit.

3. Yamaha DTX10

Yamaha has been busy this year, and it marked a strong return to the e-drum world with the DTX6. 

However, it saved its trump card for later in the year with the DTX10-M and DTX-10K-X. Shallow wooden shells and the option of either Yamaha’s TCS playing surfaces or mesh heads, plus acoustic-style hi-hats and the excellent DTX-PRO-X module see this one romp home in your top three for the year. 

Guitar Center's Black Friday music deals effort is well and truly up and running, and this offering on a highly-regarded electronic drum kit offering is one of its best so far.

Already dubbed - by us no less - as "the best electronic drum set for value", the Alesis Nitro Mesh electronic drum kit already offers excellent value in its standard configuration.

This extended version, which adds an extra 8" tom and 10" cymbal pad for a full 10-piece kit, is reduced by $80 to $419. If you're in the market for an entry-level e-kit, you should seriously consider snapping one up while, as they say, stocks last.

As we concluded in our review of the 8-piece, "Whether you are using the Nitro Mesh as a younger drummer's first kit or as target practice for experienced players, the classy fit and finish, compact footprint and modest price make it a very attractive – and fun – option."

The expanded Nitro Mesh Kit adds that tom and cymbal, leaving you looking at an 8" dual-zone mesh snare drum plus four 8" mesh toms and four 10" cymbals, custom-designed Alesis hi-hat pedal and kick pedal and a durable aluminum rack.

The highly capable Nitro electronic drum module manages things, with hundreds of drum and percussion sounds, 40 drum kits and 60 built-in play-along tracks. Crucially, it also has an aux input for playalong practice and fun.

For more great offers, be sure to check our guides to the best Black Friday music deals and Sweetwater Black Friday deals. 

There's never been a better time to start triggering sounds from an electronic drum set, with plenty of amazing multi-sampled drum libraries giving us access to some of the greatest drum sounds available on the planet. You can add one more to that list now though, as MixWave - the company founded by drummer, Luke Holland -  has released Gojira: Mario Duplantier.

The 11GB virtual instrument captures Mario Duplantier's drum kit in meticulous detail, offering three snares (including the infamous Tama Bell Brass), Mario's two-up/one-down tom configuration, two kick drums and nine cymbals - all playable from an electronic drum kit. 

The samples have been arranged as raw samples, and packaged as an instrument for Native Instruments Kontakt Player, offering you a number of options over the raw samples or mix-ready processing at the touch of a button.

The mixer interfaces gives you control over balance of the close, overhead and room mics, plus pre-mixed reverbs, and there's a master FX section including a compressor, EQ and tape saturation.

MixWave Gojira: Mario Duplantier is out now with an introductory price of $99 (about £75) until Cyber Monday (29 November), after which it'll return to $140 (around £105). 

Drumming BBC weatherman, Owain Wyn Evans has completed his gruelling 24-hour drumathon in aid of Children in Need, so far raising more than a whopping £2.5 million for the charity.

Owain shot to fame within the drumming community during the first UK lockdown in 2020 when a video of him playing along to the BBC News theme tune went viral.

Since then, he has reprised his performance, and earlier this year pledged to hold a 24-hour drumathon as part of the BBC's annual Children in Need campaign. 

The Drumathon began on Friday at 8:35am, with Evans kicking off by drumming along to Celine Dion’s version of River Deep, Mountain High. He remained at the kit for the full 24-hour period, only stopping for short, interspersed breaks which allowed him to seek brief respite from the build up of injuries form playing for such a sustained period of time.

He was joined throughout the day and night in-person by a host of famous drummers, percussionists and drumming-celebrities including Mark Richardson (Skunk Anansie), Harry Judd (McFly), Ian Matthews (Kasabian), Steve White, Al Murray and Dame Evelyn Glennie. 

As well as hosting conversations and video interviews during the drumathon with Iron Maiden’s Nicko McBrain and Blondie’s Clem Burke, Owain was joined by the Royal Marine band and members of the London Philharmonic. He also enlisted 50 other drummers - accompanying him in the studio and remotely -  for a run through of his viral anthem. 

The Drumathon concluded with the BBC presenter jamming to Britney Spears’ 1999 breakthrough, Hit Me Baby One More Time, just a few hours after it was announced that the pop icon has been released from the controversial 13-year conservatorship -the legal arrangement which saw her father control her finances and many other aspects of her life.

Straight after putting his sticks down, an emotional Owain Evans told the BBC’s Jayne McCubbin. “I just can’t believe that we’ve done it. It’s felt like a really long time, and it’s been really hard, but the generosity of people has just been incredible.

"Surprisingly my hands have held up OK but we've had some problems with my arms because they've been moving for 24 hours.

"Thank you so much to everyone who has put your hands in your pocket and donated, BBC Children In Need helps causes which are really close to my heart."

At the time of writing, Owain Wyn Evans' drumathon has racked-up an incredibly impressive total of over £2.5million in donations, with money still coming in and donations still open.

The BBC's official coverage of the Children in Need Drumathon is available to watch online via BBC iPlayer.