Donner has visibly grown its reputation over the past few years, offering true bang for your buck entry-level to mid-range music gear in a range of product categories, including electronic drums. Now, with the 3-tier Groove Series, the brand is targeting intermediate drummers on a budget. Sitting right at the top of this lineup is the flagship Donner Groove Ultra that I have here on test.

Available exclusively through Guitar Center, Musician's Friend, and direct from Donner, the 9-piece Groove Ultra comes in at a highly competitive price of $859.99, slotting neatly into one of the most fiercely contested price bands - sub-$1,000 kits aimed at intermediate players - and is designed to tempt drummers away from long-established e-kit giants like Roland, Alesis and Yamaha.

Elsewhere in the Groove Series is the Groove Max ($659.99) and the standard 8-piece Groove kit ($599.99). The main difference between these two kits is the number of pads, while the Groove Ultra boasts pads with a deeper ‘shell’, plus a full hi-hat stand with single zone hi-hat pad.

Donner Groove Ultra review: What is it?

Configuration

The Groove Ultra is a 9-piece kit centered around three dual-zone mesh tom pads (2x 8” and 1x 10”), a 10” dual-zone mesh snare pad and a 6” mesh bass drum pad on a tower alongside a supplied bass drum pedal. The cymbal offering is generous, comprising the aforementioned 10” single-zone hi-hat pad mounted to a supplied stand, two 12” dual-zone crashes with choke functionality and a 12” dual-zone ride pad with bell. All of the mesh heads are tensionable so you can dial in the right feel and everything is mounted to a gunmetal grey rack system that I’ll go into more detail on below.

Also included in the box is a cable loom and a pair of sticks. The latter are basic yet functional if you have no alternative and want to get playing straight away, but I can’t see them lasting too long. The only other items you’ll need to factor into the cost is a drum throne and a pair of kit-friendly headphones.

Looks

Visually, this kit really stands out from the flock. Tom and snare pads include a shallow ‘shell’, approximately 2 inches deep and finished in a vibrant orange with faux wood grain. We’ve seen this style before on kits like the Alesis Nitro Max, but the Donner really pops and I personally like this splash of colour in a world of mostly black and white e-kits.

Module

Usually the module is the first thing I would talk about, but I’ve left it until last for two reasons: 1) I really do love the hardware offering, particularly the rack, and 2) the module is a little underwhelming. It’s a pretty basic affair, but comes loaded with 575 sounds, 25 pre-ordained kits and space for 25 user kits.

Donner Groove Ultra review: Performance & verdict

Hardware & build

So, onto the build… I’ve constructed countless electronic drum sets over my many years as a product tester and it’s rarely a quick process, particularly when it comes to building the rack (assuming it doesn't come built out of the box like some Roland kits). However, the Groove Ultra rack brings some light relief. It’s built from lightweight aluminium bars and connected via heavy-duty plastic lugs. It comprises four vertical posts and just three horizontal bars, plus the snare arm. Despite the minimalist footprint, it’s one of the sturdiest racks I’ve tested in this price bracket.

This standout stability comes courtesy of Donner’s Swift Rack system, centred around two large locking wheels located at the top of the central vertical posts. Adjusting the kit is beautifully streamlined: position your outer horizontal bars to your preferred angle, tighten both wheels, and the entire structure locks solidly into place. Want to make minor tweaks? A half turn of the wheel and you can swing it in or out with ease - no thumb screws or drum key to wrestle with. This is not only a great feature for speed tweaks, but it also makes it easier to adjust the overall layout of the kit for different sized players - ideal if you have multiple drummers in the house.

Mounting the pads is straightforward and painless thanks to a cable loom with clearly-labelled pad jacks and a single pad-to-module multi-pin connector.

Performance

So, with the kit set up, how does it feel to sit behind? I would describe it as both comfortable and spacious, thanks in part to the Swift Rack. I never felt like the pads were crowding me, or I couldn’t achieve the reach I’m used to on my personal e-kit.

The Donner-branded mesh heads feel pleasing under the stick, offering a convincing acoustic rebound that can be tailored to your preference using a standard drum key.

For me, the included hi-hat stand is a major hardware win. It’s a robust, double-braced unit featuring a chunky chain-drive and oversized rubber feet that stayed firmly anchored to my drum rug throughout testing. It’s obviously a cheaper stand and I experienced a bit of mechanical noise in use, but I couldn’t hear it so much once my headphones were on and I’ll always choose a physical stand over a pad and floating pedal controller where available.

The bundled bass drum pedal is less of a win. There’s a thin single-chain connecting the footplate to the rocker shaft/beater, and I noticed a fair amount of side-to-side play in the footplate. It’s a mechanically loud pedal that clatters under heavy footwork too. In its favour, there’s plenty of adjustment so I was able to dial it in to my taste. Beginners should get on well with it, but more experienced players will likely target this as an early upgrade.

So, while the hardware - mainly the rack and the hi-hat stand - punches above its weight class, the literal brains of the operation - the Groove Ultra module - brings things back down to earth with a bump. It’s housed in a lightweight plastic chassis that feels fragile; I spotted some hairline cracking in the plastic around the module mount a couple of weeks into testing.

The minimalist module interface centres around a small, monochrome LCD screen, a central jog wheel and a handful of other buttons. It’s pretty clear to see where you’re at with the screen, so I can’t criticise too harshly, but in an era where vibrant, full-colour, screens, and even touchscreens are becoming increasingly common in the mid-top-end, this style is beginning to feel distinctly retro.

I do really like the phone/tablet notch located along the top edge of the module. It’s such a simple addition, but so handy when you consider the majority of players will be streaming backing tracks or following lessons from a smart device; this solves the riddle of where to put your device when you’re playing.

So, what about the sounds? As I mentioned, the Groove Ultra module comes pre-loaded with 575 individual sounds, mapped across 25 factory preset drum kits with an additional 25 blank slots for user creations.

Scrolling through the 25 presets reveals a list of functional, if unimaginatively named options, like 'Rock 1', 'Loud Rock', 'Funk', and 'Metal'. There are 10 core acoustic kits on offer, giving you a range of sounds from punchy and wet, to more controlled and dry. Then you’re into electronic/dance territory and more unique and esoteric choices, including a crunchy, lo-fi 8-bit kit. Kits like this are fun for a while, but it’s the more typical kits where most drummers will spend their time.

The sounds are a mixed bag. Snare samples on the main kits are punchy, but I found the toms to be a touch thin and machine-gunny. Dynamic performance is ok, but if you’re looking for truly nuanced sensitivity and wide tonal dynamics, this module will leave you wanting more. Pad sensitivity can be tweaked which helps you dial things in a bit more, and creating custom kits isn’t too difficult, but it does takes time.

Connectivity-wise there’s plenty to shout about. The onboard Bluetooth audio is fantastic. It took me a moment to figure out the initial pairing sequence within the sub-menus, but it has been rock-solid ever since, finding my iPhone seamlessly every time I power up.

Around the back of the module, you'll find a solid suite of connections: there’s USB-MIDI for driving external computer software, making the Groove Ultra a viable low-cost MIDI trigger option for VSTs like Superior Drummer. There’s also an auxiliary input, left and right main outputs, and an expansion jack to add a fourth tom pad. A slight niggle is that the 1/8-inch headphone output is also located on the rear panel. I always prefer when these are located on the front edge of the module purely to make connection easier.

The foundations of the Donner Groove Ultra are fantastic - I can’t fault the rack or the pads, and the addition of a mechanical hi-hat stand is a real boon. It’s great to get a full complement of cymbals at this price too. My only real hardware gripe is the bass drum pedal, which was a little finicky. I found the module to be functional but overall pretty underwhelming both in terms of operation, tweakability and the sounds on offer.

If you want a deeply expressive electronic kit for intricate, dynamic practice, this isn't a kit I would recommend, however if you’re in the market for a robust, mesh-headed setup to jam along to music or to trigger your favourite VST, this is a great-looking package that comes in comfortably under $900.

Donner Groove Ultra review: Hands-on demos

The Cowboy Drummer

Mike Malone

Donner Groove Ultra review: Specifications

• Kits: 50 (25 preset, 25 user)
• Sounds: 575 percussion voices
• Connections: 1/8" headphone out (rear), USB-MIDI, aux-in, main out (L/Mono, R), extra tom input
• Snare Pad: 10" dual-zone mesh
• Tom pads: 2x 8" dual-zone mesh, 1x 10" dual-zone mesh
• Kick pad: 6" mesh tower with single pedal
• Cymbal pads: 12" hi-hat with physical stand, 2x 12" dual-zone crashes with choke, 12" triple-zone ride with choke
• Hardware: Swift Rack 4-post locking frame, double-braced hi-hat stand, bass drum pedal, drumsticks
• Contact: Donner

NAMM 2026: Back in 2022, DW announced its DWe line of electronic-acoustic convertible drum sets, delivering a premium acoustic kit that doubled as one of the world's best electronic drum sets. Years in the making, it combined premium DW 333 drum shells, internally-mounted wireless triger technology, access to DW’s Soundworks computer-based sound library. It was another 12 months before we finally got our hands on the first production models.

Now, DW has announced integration with modules from parent company, Roland, meaning that you can now purchase a DWe kit –– complete with wirelessly-connected triggering –– and pair it seamlessly with one of Roland’s next-generation modules.

The range-expansion centres around all-new DWe bundles, which are available in four-andfive-piece configurations. For the four-piece, that means a 12x9” rack tom, 14x12” floor tom, 20x14” bass drum, and 14x5.5” snare drum.

The five-piece, meanwhile, comes with 10x8” and 12x9” rack toms, a 16x14” floor tom, 22x16” floor tom and a 14x6.5” snare drum. Also included in the bundle is a cymbal pack, giving the option of either DW’s Metal Cymbal Pack or a Roland pack comprising CY-16R-T crash/ride pads as well as its VH-10 hi-hat pad. Bundle purchasers will also receive a DrumLink Wireless Hub, Roland Rubix24 audio interface, DW 5000 hardware pack, and a DW Soundworks license.

The big news, though, is that DWe shells and cymbals are no longer exclusively tied to using DW’s computer--based sounds. Both of these bundles come with the option of either a Roland V71 or V51 module. The V71 was released in 2024, and saw Roland turn a fairly big corner, bringing VST-rivalling multi-mic’d and multi-layered sounds (ported from DW’s Soundworks library) natively to a drum module.

It was the answer to the pleas of drummers everywhere who didn’t want to connect to a computer for superior drum sounds when practicing, recording or playing live. Then, in late 2025, Roland took the concept nuclear by unleashing its V51 and V31 modules. These share the same core sound library as the V71, offering Roland’s greatest module-based sound libraries at a lower price point, and now they’re available to DWe owners.

In addition to the shell pack bundles, DW has also created its DWe Side Snare bundle. Here, you get a 10x5” maple snare, equipped with a DWe digiMAG throwoff (a physical, traditional-style throwoff that can turn your electronic snares off). Also included in the bundle is a DWe DrumLink wireless hub and Soundworks license.

For more information on the full range of DWe bundles, visit the DW website.

NAMM 2026: Donner is known for squeezing-in plenty of bang for your buck, and new for 2026 is its Groove Series, a new line of professional electronic drum sets made exclusively for the US market, and delivering what it describes as “portability without compromising the authentic feel and expressiveness of an acoustic drum kit”

There are three kits in the Groove Series: Groove, Groove Max and Groove Ultra. Each kit follows a five-piece drum pad setup, with mesh-headed snare and tom pads throughout, and the trio uses the same quick-setup Swift-Rack system.

The Groove Series starts with the Groove kit, which is designed to be a space-saving compact setup for daily practice. In addition to the five-piece pad setup (3x 8” tom pads, 1x 10”, dual-zone snare pad, 1x 6” bass drum pad), also comes with a single-zone 10” hi-hat pad and two 10”, dual-zone cymbal pads with choke.The hi-hat is controlled by a remote foot pedal, and of course, it also includes the Groove drum module.

The Groove Max follows a similar configuration, with the same drum pads and module as the Groove. However, when it comes to the cymbal configuration, we get an upgrade courtesy of an additional two-zone, chokeable 10” cymbal pad.

The Groove Module features an integrated, tilted phone support to keep your device safe while you jam to your music library. It’s home to over acoustic, electronic and percussion instruments, which are arranged into 50 preset kits. There are 50 ‘demo songs’ to jam with, and the module allows for expansion with additional tom pad and second crash trigger inputs. In addition to this, the Groove module offers L/R stereo outputs, a headphone output, aux-input (mini-jack) and MIDI over USB for connecting to a computer for recording/software control.

When we get to the flagship Groove Ultra, things start to change up a bit. First, the drum pads are all upgraded to match the shell-like appearance of the snare pad. The sizes remain largely the same, but the floor tom is larger at 10”, matching the diameter of the snare pad.

The cymbals are improved, with a stand-mounted, 12” hi-hat pad, as well as an upgraded ride cymbal which includes a third zone (bell) for more expressive ride cymbal playing. Finally, the Groove Ultra also sees the introduction of the Groove Ultra module, which retains all of the functionality of the Groove module, but comes packed with an additional 175 (575 in total) sounds.

Donner’s Groove Series is available now exclusively from Guitar Center and Musician’s Friend.

NAMM 2026 is officially underway, and If you’re anything like us, you’ll have been keeping your eyes peeled for the most exciting new releases. Yamaha knows this, and has leaned into it with teasers for an all-new electronic drums product over the last couple of weeks.

The cryptically-cropped pictures got tongues wagging - is it a new electronic drum set module? Maybe a new multi-pad? As of now, we know that it is, in fact, a new addition to Yamaha EAD line-up: the EAD 50. And it seems to have its sights set on doing away with your sample pad, trigger module, mics, interface and mixer in one fell swoop.

Unless you’ve been locked in a practice room since 2018 (and if you have, we’ve got a lot to catch up on), you’ll know about the Yamaha EAD10. It’s a multi-faceted hybrid drum processor comprising a trigger/stereo microphone, sound module, effects processor, audio recorder and more.

Now, the EAD50 is here to take things to the next level with more power, more control, and a number of upgraded, pro-level features. It starts with an update to the dual-purpose trigger/microphone sensor.

The DSU50 combines a pair of custom-matched cardioid condenser microphones, and as with the original EAD10 sensor, an integrated bass drum trigger. This time, though, it’s built into a more rugged, stage-ready housing.

One thing many EAD10 users have called for is the ability to combine multiple microphones, and the good news is, not only does the EAD50 do so, it gives you five combo XLR/TRS jack sockets. So, as well as the stereo signal from the DSU50, you can add a further three mics to your kit, or simply connect five third-party microphones for full multi-track mixing, processing and recording.

There’s more when it comes to triggering, too. Expanding on the EAD10’s total trigger and footswitch count with five dedicated, stereo trigger inputs. These will work with pads and triggers from a range of manufacturers, and offer a combination of 1-3 zones. What's more, you can split each input for a total of up to 10 trigger inputs.

Need more trigger inputs? The EAD's USB Trigger Link connection allows you to hook up an additional trigger converter/drum module and send a further 12 trigger signals to the EAD50.

Output connectivity is also improved, with a set of eight balanced individual outputs over TRS jacks, balanced stereo outputs via XLR sockets, and an unbalanced stereo output (jacks). There are two sockets handling memory functions - either from a USB memory stick, or SD card. These allow you to stream four channels of audio, with the ability to route them flexibly too. Ideal say, for using a backing track and click track sent to different audio outputs.

As well as playing audio, the EAD50 is, of course, capable of recording it too. On board is a built-in recorder, sampler and looper to help you capture your performances, as well as expanding your creative possibilities. In addition to standalone recording, it's also equipped with a 8-in/10-out USB audio interface for recording with a DAW.

To the top of the EAD50, we get more hands-on control thanks to 11 rotary encoders, plus a five-channel master mixer section giving you real-time tweaking of your mic’d kit, triggered module sounds, monitoring and more.

Now, that’s a lot to navigate, and while the EAD50 has a screen to make sound-editing easier, Yamaha has also developed the EAD Touch app for iOS and Android. This gives a more visual representation of what’s going on under the hood, and, being mobile device-based, gives the added benefit of harnessing the power of your device’s touchscreen.

The EAD 50 is available for preorder now. For more information, head to Yamaha’s EAD product page.

So, you've just unboxed a new electronic drum set for Christmas. If you're totally new to the drums, then congratulations - you're about to embark on a supremely fulfilling rhythmic journey (I'm 25 years deep and still loving it). If you've been playing for a while, you're now in possession of a powerful home practice and recording tool.

Whatever stage you're currently at, once your kit is out of the box and built - here's MusicRadar's guide on how to set up an e-kit here if you need pointers - there's a few other investments I think you should make sooner than later. All of the suggestions in this guide are designed to make your e-kit sound better (and quieter!), to help expand your creativity, to make your time behind the kit more comfortable and, finally, to keep your new drums in prime condition so they serve you for years to come.

Since the birth of my son I've played electronic drums almost exclusively (I refuse to take the heat for waking the toddler) and I've personal employed a good portion of the recommendations on this page.

Volume control: 3 ways to keep the peace

While electronic drums are quieter than their acoustic brethren, they're not exactly silent. If you've gone down the e-kit route for home practice, or you convinced someone to get you one because 'it would be quieter than acoustic drums', you probably had a rude awakening when you first took stick to pad.

Electronic drums aren't as family-friendly as the marketing spiel would have you believe, but thanks to a few reasonably affordable upgrades - such as a rug, Noise Eater pads for your pedals, or Roland's own V-Drums Quiet Design bass drum beater - there's a few ways to reduce the overall acoustic noise and general vibrations of your kit, and maintain harmony at home.

Monitoring: A treat for your ears

An e-kit is only as good as the gear you use to hear the module sounds. Most e-drummers use headphones, which is why I've recommended a couple of tried-and-tested pairs below - including a great sounding but affordable pair from Audio-Technica and Vic Firth cans that offer fantastic sound isolation - either of which would be a wise investment. We've got more recommendations in our guide to the best headphones for drummers.

If you'd prefer to hear yourself out loud, then you'll need a drum monitor. Plenty of brands offer them, but my Alesis choice below is reliable, affordable and sounds great.

Software: Supercharge your kit sounds

Unless you have the budget for a flagship kit from Roland, Alesis, EFnote et al, you'll quickly realise how unrealistic many of the sounds in your module are. That doesn't mean your kit is a dud, it's just an invite to get creative with your setup. The easiest way is to invest in a drum VST such as Superior Drummer 3, which opens you up to a world of professionally-recorded drum samples that you can trigger using your e-kit. All you need is the software and a decent laptop or PC to run it from.

I've recommended a couple of add-on packs here too, opening you up to a variety of sounds, but this merely scratches the surface of the range of sample packs available covering a huge variety of styles.

Hardware upgrades: Get comfortable, play better

Once your kit is unboxed and built, there's a number of ways to upgrade it, whether that's expanding the number of pads to grow the canvas on which to paint your rhythmic masterpieces, or taking other hardware to the next level, whether that's a smoother, more adjustable bass drum pedal, or a more comfortable throne to facilitate longer hours of practice.

Essential accessories: My go-to tools

Honestly, once you have your kit, a comfy throne and a few pairs of sticks, you'll enjoy many happy years of drumming without spending a penny more. But, what's a hobby without the inevitable Gear Acquisition Syndrome? My suggestions in this section range from a drummer's tool for quick fixes and tensioning of mesh heads, to a tablet/phone stand for hands-free learning (hello Drumeo subscription) and a trusty cleaning solution to keep those pads and rack in tip-top condition.

EFnote Mini review: What is it?

Since the company’s launch in 2018, EFnote has released a decent range of electronic drum set configurations under its 3, 5 and 7 series’. In 2024 the line-up grew further with the new flagship EFnote Pro - focussed on live stage use and aiming to blur the lines between electronic and acoustic drums thanks to its full-size drum and cymbal pads and unique stage-box style module (you can check out my review here). The most recent addition to the EFnote family and the focus of my review takes a step in the opposite direction from the Pro, looking to minimise the footprint for drummers in the market for a great-looking, home practice solution.

The EFnote Mini combines the compact form factor we’ve grown accustomed to seeing on more traditional e-kits, with the visual stylings of a full-sized acoustic kit (or even an acoustic style e-kit in more recent years). The result is an extremely cute compact drumset reminiscent of Ludwig Breakbeats or Tama Club Jam jungle-style kits, yet smaller still and completely electronic.

The 7-piece setup comprises a tiny 14''x10’' bass drum (with riser), 10''x4.5’' dual-zone snare drum (plus dedicated X-stick wedge), 8’’x6.5'' rack tom and 10''x10’' floor tom (both dual-zone). On the cymbal front, there are 14” hi-hats, a triple-zone 16” ride and a dual-zone 8” splash/crash. A snare drum stand, cymbal stand for the ride, tom mount and a rod for the splash are all included, but you’ll still need a bass drum pedal, hi-hat stand, throne and of course some drummer’s headphones or a drum monitor before you’re ready to go - something you’ll need to budget for on top of a kit that’s already north of two grand.

Whilst I’m on the tricky subject of price, weighing up the value of an e-kit naturally relies on a multitude of factors, not just its size. With the EFnote Mini it would be easy to see such a tiny kit and wonder why it isn’t more affordable; in the case of more common rack-based e-drum setups, it almost certainly would be. The EFnote 3, for example, comes in at a slightly lower price point than the Mini, yet offers additional tom and cymbal pads, plus larger diameter drums. But to counter-argue, the Mini is a unique proposition and the full-depth drum shells are 6-ply birch, finished in EFnote’s signature white sparkle wrap. This gives an overall feeling of quality and makes it look like the real-deal, albeit in a slightly shrunken form.

Arguably one of, if not the main consideration when it comes to shopping for an e-kit is the module itself. This is where all the computing power happens and where the actual drum sounds come from - without it we’re just left with some very good looking but fairly useless lumps of wood and rubber.

In the case of the EFnote Mini, its namesake module has been especially designed for this kit, with a new collection of sounds and some features borrowed from other modules. It’s most comparable with the EFnote 5 module (which uses the same touchscreen) but is finished in a fetching white rather than brushed steel. It comes pre-loaded with 12 kits plus room for 18 user kits, but there’s also a growing number of freely available kits which can be downloaded via the EFnote Tools app.

The pads connect to the module via a cable snake which allows for an extra tom or crash to be connected. There’s actually a 14” crash and stand add-on pack available from EFnote, although I found it tricky to find in stores at the time of writing this review. The module also features 1/4” left and right jack outputs, Bluetooth audio, a mini-jack input and USB-C connection for 8-channel multi-track recording to a computer.

EFnote Mini review: Performance & verdict

When it comes to customisation of sounds, the module allows fairly basic control over panning, tuning and muffling, although I found the muffling control a little too subtle when trying to tame a particularly lively snare sample. There’s also a two-band equaliser and eight types of ambience (such as room, hall and stage reverbs).

Each kit sound is bone-dry out of the box (something I’ve found to be the norm with all EFnote kits), so the reverb is certainly a necessary feature. The effect level is dialled in as a percentage, with 100% of course offering maximum ambience. I’d love to see a way of mixing the dry and wet levels in future firmware updates as I found the dryness of the samples was still prominent even with the reverb level set to maximum.

The overall sample quality is decent, focusing on natural sounds within a mixed bag of styles, and promising to keep the majority happy. Most of the presets are geared specifically toward the Mini setup, using a splash sound in place of a crash for the most part and tonally matching the size of the pads. The same can be said for the bass drum and tom samples which work well to mimic the physical aesthetic of the kit.

Tweaking presets and replacing/swapping sounds is easy, or alternatively the entire kit can be duplicated to a free slot and used as a starting point for a new creation. Most of the kit presets are borrowed from other EFnote modules but there are some brand new ones too. Some highlights include FunQ pico, Street Groove, Firstnote mini and Super Vintage (which is one of the downloadable kits available through the app).

Navigation through the module is straightforward and intuitive thanks to the touchscreen and rotary dial combo. It’s a shame that there’s no colour screen though as I feel the old-school Game Boy vibe does cheapen it somewhat.

In terms of hardware, I’ve been continuously impressed with EFnote’s build quality and attention to detail. Even with the relatively small 16” ride cymbal here for example (compared to full-size 20” rides on other kits), the separate bell, bow and edge triggering alongside the physical playability makes it feel perfectly natural under-stick. An added bonus is that the ride plays fantastically as a crash/ride which means the splash can work as intended rather than as a strangely tiny crash. The 12” optical hi-hats play well, comparable to EFnote’s 14” models which I’ve been impressed with before. All EFnote cymbals have 360 degree playability which means smooth triggering and choke function all the way round.

The drums themselves feel solid and the 14” bass drum felt completely planted to my mat thanks to solid spurs and riser, however hard I played it. The drums are - as I’ve already discussed - very small. I needed to be quite precise when it came to avoiding the rims, particularly when it came to the 8” tom, but it’s something I got used to fairly quickly. On the whole, the dimensions add to this unique kit’s charm.

The EFnote Mini is versatile enough to be an ideal set up for adults or children alike. Proportionately it would likely suit the frame of a younger person but has plenty of adjustability to adapt to anyone. I’m over 6ft and despite probably looking a bit silly sat behind it, I managed to get it set up comfortably for me. There’s plenty of length on the supplied, bass drum-mounted tom arm, although I was maxed out on the height of the floor tom legs. In terms of actual floor space, the footprint of the setup kit is roughly 3.8ft by 2.3ft (without throne).

So, should you buy this kit? The EFnote Mini genuinely offers something a little different from the pack and would make for an excellent looking and sounding home practice kit - I'd even consider taking it to the stage for the right gig. If you want something with more pad choices (and physically larger pads), a wider range of sounds and editing capability, then there are ways to get more for you money both within the EFnote stable and beyond.

EFnote Mini review: Hands-on demos

MusicRadar

E-Drumcenter

65 Drums

EFnote Mini review: Specification

• Configuration: 14''x10’' bass drum, 10''x4.5’' snare drum, 8’’x6.5'' rack tom, 10''x10’' floor tom, 14” hi-hats, 8” splash/crash, 16” ride.
• Preset drum sets: 12
• User drum sets: 18
• Preset instruments: 8
• Preset sounds: 153
• Equalizer: 2-band
• Ambience effects: 8
• Connections: 2x line-out, 6.3mm jack, unbalanced
• Outputs: Stereo phones out, 6.3mm jack
• USB: USB-C audio interface 8 out / 2 in - USB-C MIDI interface in / out
• Bluetooth connectivity: Yes
• Pad material: Mesh
• Shell material: Birch
• Shell finish: White sparkle
• Cymbal finish: Grey
• Contact: EFnote

Roland TD516 review: What is it?

Forget what you know about electronic drums. What was once primarily aimed at offering an at-home solution to space and noise issues by way of compromises in nearly every area has evolved over the decades. Realistic playability and response? Evermore faithful recreation of the physical size and placement side of our acoustic drum kits? These are nuts that have certainly been cracked before now, leaving one final piece in the puzzle left to solve: sounds.

Ironically, while manufacturers have been serving-up convincing digital facsimiles of complex electronic circuits from guitar amps, effects and vintage keyboards for years, it seems that distilling one of the most primitive instruments of all into a portable box has also taken the longest to mimic. What is it about a hollowed-out log with some synthetic animal skin stretched over it that is so difficult to capture in a drum module?

Well, apparently electronic drum brands are starting to find the answer. Pearl started the ball rolling with its Steven slate drums-equipped Mimic Pro. Alesis followed suit with the Strata Prime, and Roland brought a double-barrel to the shootout with its DWe (Roland acquired the Californian acoustic drum royalty in 2023) and its 7 Series, V71 module-powered kits in 2024.

These releases all form a new wave of next-generation electronic drum sets and modules with one primary objective: provide VST-rivalling sound generation in a ‘traditional’ drum module format. Gone are the lo-res sample layers with baked-in ambience, taking with them the giveaway machine-gun repetition.

In their place sits sophisticated, nuanced sound libraries which, rather than giving you dynamically filtered variations on the exact same drum and cymbal sample when you strike a pad softer or harder, have been captured from real drums being hit expressively. Not only that, but electronic drum makers have felt the penny drop on the fact that the booming, head-nodding, gut-bothering sound of an acoustic kit played in a room isn’t achieved by placing your ear three-fingers from a drum head. It’s a culmination of sympathetic resonances and reflections interacting, and to even approach capturing that requires microphones. Lots of them. Turns out that hollow log and faux hide are actually pretty complex.

“But you just said we’ve already got that. Why am I reading this?”. Well, if Roland’s wallet-melting (albeit impressive) 7 Series kits left you with a choice of swapping your car for some of the finest electronic drum sets on the market, you might want to delete your Auto-Trader ad. Because, in true democratic economic style, Roland recently unleashed the next-gen concept on us little people with not one, but two more odd-numbered e-drum series’.

Not only that, but at the centre of them both sits the exact same sound engine as found in the flagship Roland 7 series. While you Google the catch, I’ll clarify that this isn’t some marketing spin. The proof? Both the ‘entry level’ (within this tier) V31 (we reviewed the Roland VAD316 recently, too) and - the subject of this review - the V51 can load presets from the Roland V71. Of course, there’s a lot more going on here than just sounds, with new pad designs, a UI overhaul, improved connectivity and on-board integration with Roland’s Cloud resource.

Roland TD516 review: Configuration

The 5 Series comprises three tiers of kits, all of which include the V51 module, but pair it with a different pad configuration. The TD516 I’m testing for this review sits in the middle, with Roland’s real-shell configuration of the VAD516 priced above it, and the more compact TD513 below.

As the 5 Series replaces the outgoing TD-27 Series, you’ll be glad to hear that the headline of the playing surfaces is once again a trio of Roland’s digital pads. We get the flagship VH-14D 14-inch, two-piece hi-hats; an 18” CY-18DR ride cymbal and the tried-and-tested PD-140DS snare. It’s worth noting that these form the first of the big differences between the 5 Series configurations, with the VAD516 including Roland’s top-of-the-line PD-14 DSX, and the TD513 equipped with all-analogue pads.

Next up, the TD516 comes with a pair of Roland’s new PD-10P 10-inch pads for the rack toms, and a 12-inch PD-12P in the floor tom position. These are a new design which feature chrome hoops and a rubber rim, designed to give a more natural feel when playing rimshots. But as well as this, Roland has applied multi-sensor technology under the head to help eliminate the machine-gun effect.

This configuration is kitted-out with Roland’s KD-12 kick drum pad with a 12-inch playing surface, introduced as part of the 7 Series last year. Finally, the crash cymbal slots are fulfilled by the CY-12-CT and CY-14-CT pads, offering 12-inch and 14-inch crashes respectively, and the T at the end of the model numbers denotes that these are Roland’s ‘thin’ models, which, while not new (the slimmed-down format arrived with the previous generation of V-Drums kits), are a feature that I don’t feel always gets the credit it deserves.

They’re lighter, they move more naturally, and when profiled side-to-side with Roland’s previous crashes, feel svelte and agile, while still inviting you to crash them with all the mite of a real B20 pie. In both of the ‘TD’ V-Drums configurations, the whole lot is mounted to Roland’s MDS-Standard 3 rack, which bolts together securely and offers three sides on which to hang everything from. The crash cymbal boom arms are mounted into ‘hideaway’ ports on the tubing either side of each rack tom, saving space on the rack for wider tom placement. But, they can also be moved and mounted elsewhere if you’d rather position them differently.

Now, that’s a lot of model names and numbers to wrap your head around, but to simplify it - the TD516 gets you a full-house of digital pads. Step up to the VAD516 and you’re gaining real drum shell dimensions, Roland’s (frankly awesome) flagship digital snare drum, larger cymbals and a kick drum. Step down to the TD513 and you’ll lose the digital pads and get smaller tom and kick playing surfaces.

Roland TD516 review: The module

There’s a lot to cover with the V51 module, and it starts before you even boot up. As an owner of a Roland TD-27 for a number of years, the first thing I notice is the size difference. The V51 takes the form of Roland’s ‘pro’ modules such as the V71 and its predecessor, the TD-50X. Gone are the hardware controls for instrument selection, tuning, muffling and level, and instead Roland has equipped it with a bank of 6 faders for adjusting individual kit part volumes whenever you goddam feel like it.

Booting-up offers a breath of fresh air, too. The colour screen ousts the now rather old-school-looking display of the TD-27. But it’s bigger, too, allowing for a much friendlier graphical representation when it comes to navigating menus and changing parameters.

There’s a definite ‘app’ feel to a lot of the screens with larger, icon-based layouts rather than a reliance on scrolling deep into multiple screens. Despite the new UI, though, Roland hasn’t thrown the baby out with the bath water, and as such, I’m able to start delving and finding my way around pad settings, sound tweaking and the module’s basic functionality without having to read the manual.

At the time of writing, Roland is still yet to release its supplementary apps and software for the 5 Series. On the menu for release is the V51 Editor for desktop, which explodes the module’s functionality into a full desktop application, allowing you to make deeper editing dives. As well as this, Roland has announced the V-Drums Play mobile app, which will hand over control of functions such as preset selection, metronome and recording control to your smartphone.

The most important aspect here is, of course, the sounds. In the last decade or so, computer-based sound libraries have really become the go-to for e-kit drummers who want to simulate the sound of a pro-recorded kit at home, and, as mentioned earlier, it’s the biggest hurdle manufacturers have faced. This is due largely to the fact that multi-sampled and multi-mic’d drum kits create a lot of data in the form of sample information. To capture it is one thing, but software companies - unlike instrument manufacturers - have the advantage of not being responsible for the hardware that plays it back. As well as the sample data, you need processing power fast enough to translate a hit on a pad into ultra-low latency audio, and, in the case of a drum kit, it needs to do that with a lot of polyphony to incorporate the sustain of cymbals and four limbs continuously striking multiple pads. In short, there’s a lot of number-crunching going on.

Roland has delivered, though, and the V51 follows in the V71’s footsteps by delivering a truly enjoyable experience with the factory sounds. Whether it’s crispy, tight snares, punchy kick drums or warm, open-sounding toms, the drum sounds are responsive throughout most of the preset acoustic kits. The cymbals ring out with character, and, especially in the case of many of the ride cymbals, have an added dimension of realism to them, from the stick attack to the sustain.

During my time with the TD516, I had access to Roland Cloud Ultimate, allowing me to take an all-you-can-eat approach to trying out sounds from Roland’s subscription service. It’s home to some great V51-ready kits ported from DW Soundworks including a collection of 50th Anniversary kit presets, a DW acrylic kit and more. With the module connected to my home Wi-Fi connection, and the Roland Cloud Connect app installed on my phone, it takes a couple of minutes to beam a whole new set of studio-captured DW presets into the module.

It’s straightforward, and you can place them on whatever user preset slot you like. Any paid-for Cloud content remains playable in the kit as long as your subscription is valid. If you’d prefer not to subscribe, you can buy a perpetual license to take full ownership of any downloaded content to keep forever. The big question - is it worth it? That’s impossible to say, as my tastes are different to yours. But I will say that I own Superior Drummer, Steven Slate Drums, BFD and titles from Mixwave and GGD, and I didn’t feel the need to connect the V51 to my computer for sound generation throughout my time using it.

Now, that’s not to say that the module beats, or in some cases rivals these libraries unanimously. In fact, there are some areas that I hope Roland will continue to expand into. For big-album, roomy-sounding rock drums and contemporary metal, there’s still some work to be done. At times the kits head a little too much towards processed, slightly synthetic sounds. But, if it’s live, well-recorded, natural-sounding acoustic kits you’re after, it’s got them, and they’re satisfying to play. Let’s face it, very few of us own a space that happens to be on-par with the world’s greatest drum rooms, and as such the most appealing sounds within the V51 for me are the ones that could replace an acoustic kit played in a realistic room.

It’s not just the traditional sounds that grab the attention though. Hats must be removed for Roland’s sound designers all round. The electronic kits sound modern, as well as classic, and will totally fit-in to function band and pop sets. For the more experimental tastes, there are some wildly addictive crunchy, compressed and distorted kits which inspire different grooves every time I sit at the kit, and there are some killer world percussion samples in there to boot. That is, with the exception of one timbale which sounds like it was modelled on a certain reality show about sending celebrities to a jungle and, presumably, leaving them there forever to think about what they’ve done.

Roland TD516 review: Verdict

The TD516 is very, very good, and so it should be, given the price. But, that justification hasn’t always been matched by the result. With the V71 module, Roland turned the corner drummers have been hoping for. Now, we’re seeing the results of the world’s leading electronic drum manufacturer passing that advancement down to more affordable price points.

This review scratches the surface of what is on offer, because what’s on offer is so vast. The TD516 configuration offers an excellent trade-off in terms of keeping the most important elements while saving space and money. Not having to reach for a USB cable feels like the advent of a new era for electronic drums, and we might be about to see a lot more e-kits out in the wild as a result.

Roland TD516 review: Hands-on demos

MusicRadar

Roland

Sweetwater Sound Check

Roland TD516 review: Specification

• Drum sound module: V51
• Snare: PD-140DS
• Tom 1: PD-10P
• Tom 2: PD-10P
• Tom 3: PD-12P
• Hi-hat: VH-14D
• Crash 1: CY-12C-T
• Crash 2: CY-14R-T
• Ride: CY-18DR
• Kick: KD-12
• Drum rack: MDS-Standard 3
• Other features: Wi-Fi, Bluetooth, 3x digital pad slots, SD card slot, user sample import
• Contact: Roland

We're big fans of the sheer accessibility afforded by Alesis's keenly-priced e-drum output, so I always keep an especially beady eye out for reductions on their offerings when putting together our Black Friday electronic drum set deals hub.

So today, I'm happy to discover this chunky $100 saving on the entry-level Alesis Nitro Max. That price point is one key reason it's the perfect kit for beginners, but it's far from the only excuse to take the plunge before this offer expires. With Black Friday deals set to end tonight, you might not have long to take advantage.

You can read our full 4.5-star Alesis Nitro Max review here.

Proper mesh drum heads give a great feel, and this 8-piece set-up, complete with 10" snare, also boasts extremely credible BFD-powered sounds to enthuse any budding Bonham plus, for play-along fun, Bluetooth connectivity so you can stream the tunes of your choice through your headphones or separate amp as you hammer away.

That BFD-powered Nitro Max module is the star of the show here, offering 440 drum sounds and 32 preset kits. BFD, in case you didn't know, is the multi-sampled, computer-based drum sample library software that Alesis’ parent company, inMusic acquired in 2020. Every purchase of a Nitro Max also includes a copy of BFD Player for deeper customising of your sounds. You'll also get a free three-month trial with Drumeo, the world-leading online drums tuition platform which we rank as the best drum lesson offering out there.

For more great deals during Cyber Weekend, make sure to go check out our Black Friday music deals page, where we're covering all the comings and goings for the biggest sale of the year.

Shop more Black Friday deals

• B&H Photo: Early Bird Holiday deals
• Fender store: Player II Strat lowest price ever
• Gear4Music: Early Black Friday deals are live
• Guitar Center: Up to 40% Black Friday sale
• Guitar Tricks: $899 $99 annual sub
• IK Multimedia: Up to $300 off Tonex hardware
• Musician's Friend: Early Black Friday 50% sale
• Native Instruments: Over 50% off UA bundle
• Plugin Boutique: 100s of software savings
• Positive Grid: Up to $50 Spark savings
• Reverb: Black Friday early access
• Sweetwater: Up to 80% off Black Friday sale
• Thomann: Up to 70% off Cyber Week sale
• Universal Audio: 12 Days of UAD software sale
• Waves: Huge plugin bundle deals up to 95% off

Increasingly Black Friday has become the time for drummers to score the biggest discounts on the best electronics drum sets from most of the major brands. Case in point: the Alesis Strata Core is now $1,899, down from its usual $1,999 at Amazon. What makes this exciting is that this marks one of the first real discounts we’ve seen on this flagship-tier set that scored 4.5-stars in our review earlier this year. For anyone serious about e-drums, this is a rare opportunity to score a worthwhile saving on one of our highest-rated kits.

So, what makes the Strata Core so compelling? Essentially, Alesis has condensed the best bits of the Strata Prime, its top-tier e-kit, into a more compact, home-friendly size.

It still sounds incredible, though. The heart of the set is the 7-inch touchscreen Core module, which runs a BFD-derived sound engine with over 370 individual drum pieces, 75 factory kits, and more than 144,000 individual samples. That means you’re not just getting a few clicky electronic hits. Not here. Instead, you’re working with deeply layered, expressive acoustic-style articulations, which means you can introduce a level of nuance and finesse to your playing which is way above what you might expect from a non-acoustic kit.

Physically, the Core delivers a five-piece mesh-head layout, with a 12-inch dual-zone snare, two 8-inch rack toms, a 10-inch floor tom, and an 8-inch kick tower, paired with ARC cymbals (crash, ride, hi-hat) that offer 360-degree, triple-zone playability. So even though it’s optimised for home use (smaller footprint, simpler routing), it doesn’t feel like a stripped-down toy.

Why buy now, though? Well, put simply, because this price cut isn’t routine. It’s a meaningful drop for a high-spec e-kit. For drummers who’ve been eyeing the Strata series, this is the time to dip. And for home-studio users who want pro-level tone without blowing their budget, you’re effectively getting flagship sounds for less.

There are some trade-offs: the Core lacks an audio interface and more complex routing, so it’s not quite stage-ready in the way a fully modular rig might be. But that might not be a flaw. For many players, it’s exactly what they need: pro sounds, compact design and a price that’s suddenly hard to resist.

In short, this Black Friday electronic drum set deal on the Strata Core isn’t just a discount. It’s a genuine opportunity to own a high-performance, deeply sampled e-kit that punches well above its price point.

Shop more Black Friday deals

• Amazon: Huge holiday savings
• Donner: Black Friday warm-up sale
• Drumeo: Exclusive 30-day free trial
• Guitar Center: Up to 40% Black Friday sale
• Musician's Friend: Early Black Friday 50% sale
• Reverb: Black Friday early access
• Sweetwater: Up to 80% off Black Friday sale

Roland VAD316 review: What is it?

Towards the end of last year, Roland released its 7 Series V-Drums, introducing a selection of new electronic drum set configurations based around the almighty V71 module, which replaced the long-serving TD-50 as the company’s flagship offering.

Since its release, the V71 has been touted as a professional level, stage-ready module, boasting a completely overhauled sound library, large colour display, Bluetooth audio, built in Wi-Fi for app control and upgrading sounds, USB inputs for digital trigger pads, masses of routing options and full multi-track recording capability. You can read our full, 5-star TD-716 review here.

Fast forward to this year and Roland just dropped not one, but two brand-new V-Drum lines. The 3 Series and 5 Series are essentially smaller siblings to the flagship 7 Series - offering many of the same top-end features but in more streamlined and affordable packages. In fact, the new V31 and V51 modules which the 3 and 5 Series kits (respectively) are centred around, share a startling number of the V71’s top-end bells and whistles.

Both feature the exact same sound library as the V71 with the ability to connect to the Roland Cloud for access to the latest kit packs and expansions (but more on that later). They also share the large colour screen, Bluetooth audio, Wi-Fi, coaching functions and internal recording. Lastly, both the V51 and V31 are capable of running Roland’s high-tech digital snare, hi-hat and ride pads, although the latter has only one USB trigger input.

The kit line-up within each series is laid out identically, with each one boasting a full-size V-Drums Acoustic Design (VAD) kit at the top, followed by a medium sized rack-based setup and then a more compact offering. In the case of the 7 Series these are the VAD716, TD716 & TD713; for the 5 Series it’s VAD516, TD516 and TD513. Our review kit is the VAD316 - the largest configuration in the 3 Series - followed by the TD316 and TD313 models.

The VAD316 comprises an acoustic style 18”x14” bass drum with Roland’s KD-A (Kick Drum Attachment), 12” snare pad, two 10” toms and a 12” floor tom pad - all dual-zone pads with mesh heads and real wooden shells. The half-depth style gloss black shells are finished with a rubber rim at their base rather than a metal hoop which gives them a kind of hybrid electronic/acoustic aesthetic quality.

On the cymbal front, there’s a 16” 3-zone ride, 12” stand-mounted dual-zone hi-hat, plus 12” and 14” dual-zone crashes. Three heavy-duty Roland combination tom and cymbal stands are included but you’ll need an additional hi-hat stand, snare stand, bass drum pedal and throne to complete the setup. You also don’t get any digital pads as standard with this configuration, so you’ll need to factor in budget to upgrade.

The included cable loom is enough to connect all of these pads to the V31 module except for the second crash which uses one of two additional jack inputs on the rear of the unit. The other is ideal for a fourth tom pad but could be used for any other auxiliary trigger pad. There’s also the aforementioned single USB trigger input, master left and right out jacks, mini-jack mix input, MIDI out, a USB-C computer connection and an SD card slot. Don’t forget there’s also in-built Bluetooth audio and Wi-Fi capabilities.

The layout of the module is noticeably stripped back in comparison to the V71, which has myriad glowing knobs, buttons and dials. Most notably there are no mix faders or LED rotary dials on the V31. There is however a large colour screen taking pride of place in the centre of the module, accompanied by volume pots for master/phones, backing (including Bluetooth) and click to the left, and menu navigation controls to the right. There are also ‘Expansion’ and ‘EZ edit’ buttons for quick access to editing and changing sounds such as instrument selection, tuning, muffling and instrument volume.

Roland VAD316 review: Performance

I already know from spending time with the V71 module over the last year that the new sound library is a notable step up from its predecessors. There are 70 built-in kit presets which range from dry studio kits to reverb soaked stadium style behemoths. As you’d expect from Roland, there are a good handful of classic electronic sounds too, including the TR-808 and 909 plus a section of tuned percussion and hand percussion kits. There’s also a tip of the hat to some drumming greats which can be found in presets such as ‘Ghost Note King’, ‘Babylon Shuffle’ and ‘Gate in the Air’.

The additionally available expansion packs are well worth checking out too as they take yet another step towards mimicking the realism of playing an acoustic kit by utilising high quality samples, borrowed from its computer-based Soundworks VST software.

The rapidly growing DW collections include Pure Cherry, Pure Purpleheart, Pure Maple, 50th Anniversary and Acrylic kits which are of an incredibly high standard. There is also a Slingerland Vintage 1958 set and cymbal packs include ‘EFX Cymbal’, ‘Swiss Cymbal’ and ‘German Cymbal’ collections.

Installing the packs is as simple as connecting the module to Wi-Fi and downloading them via the Roland Cloud app on a smartphone or tablet. It’s worth noting that these are a paid extra, either as part of a Roland Cloud subscription or as a one-off payment. Some might be understandably put out by the idea of having to purchase or even effectively rent additional sounds after spending a substantial wedge of cash for the e-kit to begin with, but an included 6 month Ultimate trial membership will allow time to make comparisons with the built-in sounds and decide whether the cost is justified.

Something that Roland has always been extremely good at is marrying the playability of its samples with the physical feel of its hardware - the VAD316 is no exception. Although not quite a ‘full size’ kit which many of the VAD setups are, the configuration of the 10” rack toms with the 14” snare and floor tom feel substantial enough and work well proportionately with cymbal sizes - with the exception perhaps of the 12” crash which feels a little on the small side to me. The full 18”x14” bass drum shell helps in filling out the size of the kit as a whole, making the VAD316 a great looking yet relatively compact kit overall.

Whilst on the subject of sizes, it’s worth mentioning that Roland’s digital snare and hi-hat pads are both 14” while the ride is 18” - this is something worth considering if you’re thinking about upgrading. As discussed earlier, the V31 module has space to run one of these digital pads, which presents a tricky decision. In terms of features alone I’d be tempted by the newer PD-14DSX snare due to the throw-off and strainer which can be programmed to control tons of parameters; these include not only virtually controlling snare wires but also adjusting snare tuning, controlling the click, effects, and song playback. It’s really quite clever.

The control placed under your fingertips in the V31 module is vast - allowing up to three separate samples to be layered on any one instrument (another pro feature which has filtered down from the V71). This means that each hit of a bass drum could actually be a precise blend of two or three different bass drums, individually tweaked and EQ’d to perfection.

Roland VAD316 review: Verdict

If you’re enticed by the features on offer from the 3 Series but perhaps looking for a more compact practice solution, it may be worth looking into the TD313 and TD316 kits which are both smaller, rack based configurations based around the same 3 Series module. Equally, if you like the idea of a bigger kit or you’re keen keen on the digital triggers but can’t decide on just one, one of the larger 5 or 7 Series kits would be the way to go.

Hands-on demos

MusicRadar

Sweetwater

65 Drums

Alternatives

Roland VAD316 review: Spec

• Drum sound module: V31
• Snare: PDA120LS
• Tom 1: PDA100L
• Tom 2: PDA100L
• Tom 3: PDA120L
• Hi-hat: VH-10
• Crash 1: CY-12C-T
• Crash 2: CY-14R-T
• Ride: CY-16R-T
• Kick: KD-18-BK
• Drum sound module stand: PDS-5
• Drum combination stand: DCS-30 x 3
• Other features: Single digital pad USB input, computer control via USB-C connection, large colour screen, training functions, in-built recording function, kit expansions available via Roland Cloud, Bluetooth audio, in-built Wi-Fi, stereo jack outputs, mini-jack aux input
• Contact: Roland

e-drums powerhouse Roland has revealed major additions to its highly regarded range of electronic drum kits, unveiling the all-new V-Drums 3 and 5 Series, which join the firm's flagship 7 Series V-drums, launched last last year.

The 3 and 5 series ranges are powered by all-new modules, the V31 and V51 respectively. These are essentially scaled-down versions of the top-of-the-range V71 brain, sharing the flagship's internal engine, and offering identical sounds and expansion path options.

Key here are multi-layer sample playback and, crucially, 'round-robin randomisation' to avoid the dreaded machine gun e-kit effect. Roland say a final layer of behavioural modelling can produce over 16,000 dynamically responsive variations.

All three platforms give you the run of an expandable on-module sound library, plus the option to leverage DW Soundworks software for computer-powered drumming. Six months of Roland Cloud Ultimate membership rounds out the offering, meaning 'untethered' access to DW Soundworks and related content, V-Drums Instrument Expansions, newly developed V-Drums Kit Packs, and more. Once your trial ends you can either subscribe or purchase your favourite selections with Lifetime Keys.

Also joining the ecosystem, Roland's new V-Drums Play app for iOS and Android will let you tweak settings on the fly from your phone, when it becomes available later this year.

Let's take a closer look at the kit options themselves...

V-Drums 5 Series details

The 5 series comes in 3 flavours, with the top-end being the 5-piece VAD516 V-Drums Acoustic Design kit (below), which voguishly mimics the look of an acoustic kit and features Roland’s 'groundbreaking' digital snare (PD-14DSX), ride (CY-18DR), and hi-hat (VH-14D) pads housed in Midnight Sparkle wraps, two rack toms (PDA100-MS and PDA120-MS), a floor tom (PDA140F-MS), and the newly-developed KD-20-MS, a full-size 20-inch kick.

One down, in the mid-level we find the TD516, comprising digital snare (PD-140DS), ride (CY-18DR), and hi-hat (VH-14D) pads and a large kick pad (KD-12).

Finally, at the entry-level (of the 5 series), the TD513 features redesigned tom pads (two PD-8H and one PD-10H), a slightly smaller 12-inch snare pad (PD-12P), and the new MDS-Standard 3 stand.

V-Drums 3 Series details

Rounding out the range at the entry-level, the V-Drums 3 series again lands as a trio.

Most accessible, and smallest of all is the TD313 (below), featuring a 12-inch snare pad (PDX-12), upgraded tom pads (two PD-8H and one PD-10H), and a rock-solid kick pad (KD-10). It's a perfect place to start, or a great option as a compact home practice kit.

One up from the 313, the TD316 upgrades each component and offers a stand-mounted hi-hat controller for a more familiar, intuitive3 feel. That full kit list, then: 12-inch snare pad (PD-12P), upgraded tom pads (two PD-8H and one PD-10H), three cymbal pads (two CY-12C-T crash and one CY-14R-T ride), and stand-mounted VH-10 hi-hats.

At the pinnacle of the 3 Series range, the VAD316, like the 516 above, brings that V-Drums Acoustic Design acoustic look, comprising a 12-inch snare (PDA-120LS), shallow-depth wood tom shells (two PDA100L-BK and one PDA120L-BK), and a full-size kick drum (KD-18-BK).

Stay tuned for full MusicRadar reviews and demos very soon...

Availability & Pricing

To learn more about the V-Drums 3, 5, and 7 Series, visit Roland.com.

The Roland V-Drums 3 and 5 Series are available now as follows in *USD: VAD516 $5,799.99; TD516 $3,699.99; TD513 $2,699.99; V51 $1,899.99; VAD316 $3,399.99; TD316 $1,999.99; TD313 $1,699.99; V31 $999.99.

Alesis has carved out a powerful position in the ever-growing electronic drum kit market, thanks to an admirable focus on affordability while striving to push features and specs - mesh heads have long been standard throughout the range, for instance.

Now the US firm has focused in on the sometimes-lacking edrum hi-hat experience. Its new flagship e-kit, the 9-piece Nitro Ultimate, tackles the issue 'head-on' with a mounted controller that works with traditional stands, as opposed to the faux pedal switch that's often deployed to occasionally suboptimal effect. The controller hosts a 10-inch dual-zone cymbal, while the stand/pedal add a traditional feel to hi-hat proceedings. Nice.

While the hi-hat is the star of the show, the rest of the kit is undeniably well-specced, especially for a kit at this price ($899 USD, €849.99, £719.99), and can be paired with a dedicated 80W speaker system, the also-new Nitro Amp Pro.

At the heart of the kit, of course, is the all-important module. In the Ultimate's case you're looking at a total of 52 kits (36 factory and 16 user programmable), thanks to BFD software integration (including the Dark Mahogany Expansion Pack).

Breaking it down, you have around 640 drum, cymbal, percussion and electronic sounds to play around with. As a decent little bonus, you'll also get a 90-day subscription to Drumeo, an online learning platform we have no hesitation in recommending.

Back IRL, there's a 10-inch dual-zone snare, three 8-inch dual-zone toms, that hi-hat controller, three dual-zone 10-inch crash cymbals (two crashes and a ride), and an 8-inch mesh kick drum tower, with pedal.

The Alesis Drums Nitro Ultimate electronic drum kit is available now for $899 USD/€849.99/£719.99, while the Nitro Amp Pro has a recommended price of €149.99 /£124.99, though it's only available outside the US.

Buy now through Thomann.

Nitro Ultimate features

• 8-inch mesh kick drum tower with kick pedal
• 10-inch dual-zone mesh snare with metal hoops
• Three 8-inch dual-zone mesh toms with metal hoops
• 10-inch dual-zone hi-hat cymbal with stand-mounted controller (works with traditional hi-hat stands)
• One 10-inch dual-zone ride cymbal and two 10-inch dual-zone crash cymbals
• Rugged 4-post steel rack with locking clamps
• Advanced drum module with 52 total kits and 640+ professionally designed sounds
• Bluetooth audio streaming for jamming along with songs or lessons
• USB MIDI connection for virtual instruments and recording software
• Comprehensive I/O: dual TRS main outputs, stereo headphone output, auxiliary input
• BFD Player software with Dark Mahogany Expansion Pack
• 90-day subscription to Drumeo interactive lessons

Nitro Amp Pro features

• 80 watts of drum-optimized amplification power
• 8-inch woofer + 2.5-inch tweeter configuration
• Bluetooth audio streaming with separate volume control
• Two ¼" TRS balanced line inputs for drums plus additional instrument
• 2-band equalizer for tonal shaping
• Compact wedge-style floor monitor design

Yamaha DTX6K5-M: What is it?

The DTX6K5-M is the latest addition to the DTX6 electronic drum set range and the first to feature mesh pads rather than Yamaha’s own TCS (Textured Cellular Silicone) heads.

The series line-up includes four kits of various configurations; all powered by the DTX Pro module. The ‘K5-M’ boasts the largest diameter drum and cymbal pads of the bunch, including a 12” snare, 3x 10” toms, a 7.5” kick pad, 13” hi-hats, 2x 13” crashes and a 15” ride.

By comparison, the DTX6K3-X which is the most closely related kit setup, features a smaller 8” snare, 7” toms and only a 13” ride pad.

The remaining two models - the DTX6K2-X and DTX6K-X - both feature more basic rubber tom pads, with the latter utilising a fixed hi-hat pad and remote control pedal rather than the more premium two-part pads mounted to a hi-hat stand system. A Yamaha hi-hat stand is included with the K5-M, although a bass drum pedal, throne and drummer-specific headphones or a personal monitor or speaker will still be additional purchases on top of the kit (and of course a pair of sticks!).

The DTX Pro module comes complete with 70 pre-installed kit presets from a total of 700 available voices, plus room for 200 user-created kits. The in-built sounds are a mixture of high quality electronic and acoustic samples, many of which are sampled from Yamaha’s own vast array of renowned acoustic drums.

The latest version 2.0 firmware update for example, brings an array of Recording Custom samples in addition to new functions including cymbal EQ, kit bleed, hi-hat pitch up and USB trigger link.

Despite the larger pads, I found the the DTX6K5-M kit is still of a relatively compact nature, taking up approximately 1.4 metres width by 1.1 metres depth with the pads mounted to the four-poster rack.

Yamaha’s choice to mount the module on the right-hand side of the rack rather than the usual left goes a long way towards minimising kit depth due to the full hi-hat stand setup. The whole kit can also be reduced to a compact rectangle when not in use by angling the drum pads vertically and folding the frame together. This could be ideal for drummers who are short on space, but still yearn for acoustic-like dimensions.

Yamaha DTX6K5-M: Performance & verdict

In practice, the kit is a joy to play, helped enormously by the fantastic samples on board the DTX Pro module. A good balance between natural and processed sounds has been struck throughout kit presets, providing a satisfying level of playability straight out of the box. There's also a deep level of customisation available when it comes to effects units, EQ, ambience and voice layering.

Remarkably the DTX Pro is capable of layering up to four individual samples - one more than Roland’s flagship V71 module. This gives drummers the option to blend multiple snare sounds together for instance, or mix electronic and acoustic sounds. Another example that I found works particularly well is adding a bass drum sample to the floor tom for some extra heft. Each layer can also be customised by velocity, meaning that each element is triggered only when struck at a chosen volume. Clever stuff.

Each of the mesh drum pads is dual-zone, enabling separate head and rim triggering, while the cymbals are each triple-zone (bell, bow and edge). This goes a long way to bridging the gap between electric and acoustic drums, taking us a step closer to feeling like we’re playing the real deal. There’s also loads of room for pad expansion with a capacity of up to 14 trigger inputs.

Visually the module looks a little basic, largely due to the minuscule LCD screen. However, a multitude of rotary dials allow for quick edits. These include the ‘kit modifier’ controls (ambience, comp and effect) and volume pots for master, aux input and click, in addition to physical controls for the click without having to delve into menus. The DTX Pro also allows app control via the DTX Touch app, which is available for iOS and Android devices.

Through a USB connection, every parameter of the module can be controlled from a phone or tablet, providing an easy to use touch interface on a large screen. I found that this saved me a ton of time whilst browsing through kits, sounds and effects.

While on the subject of apps, the DTX Pro is also compatible with Yamaha’s Rec N’ Share app, which makes recording video extremely user friendly - automatically syncing video and audio without the need for complicated video software. Ideal for budding YouTubers.

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Yamaha DTX6K5-M: Specification

• Configuration: 12” snare, 3x10” toms, 7.5” kick pad, 13” hi-hats, 2x13” crashes, 15” ride. Room to expand to a maximum of 14 trigger inputs.
• Module: DTX Pro module
• Stock kits: 70
• User kits: 200
• Voices: 700
• App control: Yes
• Built in effects: Yes
• Sample import: Yes
• Sample layering: Up to four voices
• Independent master and phones EQ: Yes
• Latest firmware: Version 2.0 firmware with new samples, cymbal EQ, kit bleed, hi-hat pitch up and USB trigger link.
• Contact: Yamaha

DRUMS WEEK 2025: It’s easy to think of using electronics within our acoustic drum kits as something new, but the reality is that it’s been happening for decades. Single-pad drum synths and noise generators have been around since the ‘70s, and the advent of fully-playable electronic drum sets from the likes of Simmons in the ‘80s made the sight of multiple pads and the sound of synthetic drums commonplace.

We’ve come a long way from using wardrobe-sized racks that cost more than a modest car to recreate a handclap sound. In 2020 we’re able to achieve a lot more using a box that can be powered from a couple of batteries and a couple of pads or triggers. But it’s the requirements of drummers that has helped propel this progression.

Here, we take a look at some of the players who went hybrid long before there was a name for it, as well as those who continue to push the boundaries of what we can play from behind the kit…

1. Bill Bruford (King Crimson, Yes, Earthworks)

Between his work with prog heroes King Crimson and his own Earthworks project, Bill Bruford was one of the leading pioneers of electronic drumming in a rock context. Unlike many of the other drummers who incorporated a few pads to augment and simulate acoustic drum sounds though, Bruford’s use was altogether more complex.

An early adopter of Simmons kits, playing SDS 5, SDS 7, SDS 9 and eventually the sampling-equipped SDX, Bruford’s magic with electronics was to not only use them to play rhythmically, but melodically and harmonically too. Bruford’s affiliation with Simmons came to an end shortly after his dual SDX setup (dubbed The Most Expensive Drum Kit In The World and costing around $10,000 each) crashed on stage at Madison Square Garden. His influence on electronic drumming can still be seen today, most notably in Tool’s Danny Carey...

2. Danny Carey (Tool)

As a big fan of Bill Bruford, it makes sense that Carey’s choice of electronics follows Bill’s. Carey formerly used Simmons SDX pads as well as an SDX module, later switching to his famous Mandala pads to create electronic effects and percussive sounds in many of Tool’s sweeping compositions. The pads share a similar aesthetic to vintage Simmons pads, but the technology housed inside is a different story, with current versions featuring a six-zone/128 MIDI layer positional sensor.

Carey triggers his sounds via Native Instruments Battery, with his seven-pad setup switching to different voices throughout Tool’s set. In addition to the Mandala pads, Carey – a synthesizer enthusiast – has also included the original Korg Wave Drum and Roland HandSonic.

3. Neil Peart (Rush)

Not only was Neil Peart one of the most influential drum heroes of all time, he was an electronic drum enthusiast too, implementing many different brands at various points in his career to help bolster the power trio sound of Rush. Like many drummers, The Professor started using Simmons pads in the ‘80s. The album Grace Under Pressure featured a Simmons Clap Trap (handclap synthesizer) and SDS-V module as well as four Simmons pads and Shark trigger pedals.

Neil’s love of electronics reached its peak with his monstrous hybrid Time Machine/Clockwork Angels tour kit. The 360-degree setup was loaded with electronics, from the distinctive DrumKAT Mallet KAT Express (with its piano-like pad layout) to the Dauz ‘target’ pad (a tribute to The Who) to the custom-built DW shells housing the guts of Roland V-Drum pads triggering sounds from a Roland TD-30.

4. Tommy Lee (Mötley Crüe, Methods Of Mayhem)

Tommy Lee was using electronics on his kit as far back as his original Mötley Crüe days, with Simmons pads and triggers on each drum (triggering samples housed on chips in a Linn 9000) during the Theater Of Pain tour. Fast forward to the ‘90s, though, and Tommy’s love of hybrid hadn’t wained: his Methods Of Mayhem project leaned heavily on the use of loops and samples on record, with drummers Stephen Perkins, Morgan Rose and Will Hunt playing the electronic parts live.

Tommy told Modern Drummer in 2020: “I use a triggering system in the live format where you’ve got ginormous rooms and you’re competing with mad Marshall stacks and bass cabinets. I enhance the acoustic sounds with triggers on each of the acoustic drums. For instance on a bass drum that you’ve got sounding super-dope, I’ll add some super-low sine wave, 40-60hZ which just doesn’t come out of an acoustic drum. You can fake it with EQ, but when you add [the sample] with the live microphones, you’re giving people bowel movements!”

“Same with the snare drum… and moreso with the toms. Rather than gating the s**t out of the toms because you’ve got open mics everywhere I’ll either mic them internally to cut down on feedback. Or I’ll just go with some really awesome tom samples so that there’s no open mics and I can have it as loud as I need it.”

“It’s been a work in progress because some of the first triggers weren’t really that great. But it certainly takes your drums to a whole other level live.”

5. Rick Allen (Def Leppard)

The Def Leppard drummer was forced to rethink his approach to drumming in 1984 after losing his left arm in a car crash. The result not only allowed Rick to continue playing, but helped widen awareness of what is capable from triggered drum sounds.

Rick’s original setup for his return at Monsters Of Rock featured a series of Simmons SDS9 pads in place of acoustic shells, plus four Shark pedals placed to the left side of the kit. These were set up to offer a snare, effects snare and two tom sounds which Rick could play with his left foot. The entire kit triggered samples on an Akai S900.

Over the years, Rick has used numerous pad setups alongside acoustic shells and cymbals including Hart Dynamics, Pintech (including additional bar triggers), DDrum and Yamaha.

Regardless of the pad setup, Rick’s sounds are generated in software using Native Instruments Battery, while APTrigga handles the trigger conversion.

Rick’s kit continues to evolve, and is testament to what can be achieved using electronic drums in a rock setting.

6. Andy Gangadeen (Session, The Bays)

After starting his career as the drummer for Lisa Stansfield (triggering sounds from an Akai S9000 sampler), Andy Gangadeen went on to drum on Massive Attack’s Mercury Award-winning masterpiece, Mezzanine, before bagging the then-biggest pop gig in the world with The Spice Girls.

In the early ’00s, Andy started his groundbreaking, entirely-improvised electronic outfit, The Bays and later became the drummer for drum ’n’ bass/festival favourites, Chase And Status.

Andy’s significant impact on the acceptance of electronic and hybrid drums has also informed how many UK drummers go about using their hybrid gear.

"Acoustic kits will always have their place, I like drums and cymbals to sound natural but then have the electronics in addition to the acoustic. That’s why I don’t put triggers on my acoustic kit.” Andy told us in 2018. "I approach the two very differently. The technique to play an acoustic kit is totally different to what it is to play electronic. Hybrid is a thing I’ve been bashing on about for years and now kids are getting to understand the relevance of it and how important it is.”

7. The Bays

As mentioned above, Andy Gangadeen has become an influential figure when it comes to implementing electronic gear, mentoring many of the new generation of drummers on using electronics for pop sessions. The manifestation of this is the latest incarnation of The Bays, featuring Andy, Kaz Rodriguez (Josh Groban), Olly Wiseman (Anne-Marie) and Aicha Djidjelli.

A live band playing electronic music? Yes, but with some important differences: all of the sounds are triggered from the mother of all electronic drum setups.

As with previous performances, there are no setlists. Instead, The Bays – armed with a library of sounds and the ability to create live loops – improvise their entire performance, including the melodic and rhythmic elements. Unfortunately, COVID has limited the opportunity to catch The Bays live, but the band did stream an entire gig during the lockdown period.

8. Michael Schack (Solo, Netsky)

If you’ve never experienced a ‘Schack attack’ then you owe it to yourself to watch at least a handful of Michael Schack’s performances immediately. We’re hard pushed to think of a single drummer who has educated and demonstrated the possibilities of electronic and hybrid setups to as many drummers as Michael.

If his mind-blowing chops grab your attention, his energy and enthusiasm for the subject will keep you watching. From simple hybrid basics to full mash-ups using loops, sequences and effects, Michael Schack’s explanations and performances are inspiring to watch, regardless of your technological ability.

9. Joe Clegg (Elie Goulding)

It might be harder to blaze a trail in a time where the electronic elements of our kits are within reach of so many players, but Joe Clegg (drummer and Musical Director for Ellie Goulding) has done just that. Not only has Joe embraced the possibilities that a hybrid setup presents in pop drumming, but he’s mastered the interaction between the tactile nature of hardware along with the power of software in Ableton Live.

So much, in fact, that he’s even produced a course aimed specifically at drummers who wish to incorporate Ableton Live into their setup. The definition of a ‘pop drummer’ in 2020, Joe shows how to use Ableton in a musical way, rather than simply triggering static loops and backing tracks. His course covers everything you need to know to get the best from a hybrid setup including selecting and creating sounds, processing and automation and most importantly, how you can use software creatively.

10. Craig Blundell (Solo, Steve Hackett)

While more recently Craig has been making a major name for himself in the prog field – performing and recording with headline acts including Steven Wilson and Steve Hackett – for many years his other gig has been working with Roland's R&D team. Craig's insight and hands-on experience has helped shape many of Roland's most successful electronic percussion products, notably the SPD-SX sampling pad, and TD-17, TD-25 and TD-50 V-Drums kits.

Providing vital insight into the design and functionality of the gear many of us have in our homes, many of the patches and sounds you'll find on those products were created by Craig, too.

When he's not on the road or in the lab with the Roland designers, Craig can usually be found performing a clinic or shooting videos extolling the virtues of hybrid drumming and the power of electronic drums – a true ambassador for pushing the instrument forward.

11. KJ Sawka (Pendulum)

It’s one thing to see a drummer trigger drum’n’bass loops, but watching KJ Sawka takes the concept of live drum’n’bass to another level. The Pendulum drummer can regularly be seen flanked by a wall of Roland gear including a full kit, additional pads, triggers, an SPD-SX and Octopad as well as his laptop, and it’s not for show.

KJ’s stamina and precision in replicating a frenetic style of programmed electronica is absolutely worth checking out if you haven’t already, and when you do, remind yourself that these parts are being played live.

DRUMS WEEK 2025: Electronic drum sets have changed the way drummers learn to play and practice - in many cases, owning an e-kit, regardless of your budget, can be the difference between becoming a drummer or not thanks to their noise-busting and space-saving abilities.

They’ve come a long way, too. It wasn’t that long ago that electronic kits featured carpal tunnel-inducing, rock-hard playing surfaces with unrealistic pad shapes and form factors that felt about as realistic as hitting a tabletop. The sounds matched the playing experience, with early examples limited by technology to produce synthesised, drum machine-style sounds rather than acoustic drum recreation.

But, with incremental improvements happening every year, electronic drums have shifted focus since the ’80s from a near-novelty sound effect, to a much more authentic, acoustic drum kit substitute.

Sampling and memory technology has become exponentially more efficient and effective. We now have tune-able playing surfaces which are not only round, but often similar (or at least approaching) that of our acoustic kits.

Electronic drum manufacturers are now able to produce a cohesive solution to allow us to enjoy time at our kits without upsetting those around us, while also developing and applying traditional playing techniques. What was once alien and shunned by drum teachers and purists is now commonplace.

But, we’re not there yet. If you’ve ever glanced at your keyboard or guitar-playing friends through green-hued goggles as they conjure rich, natural-sounding grand pianos or a carbon copy of vintage amps and pedals from their gear, you’ll know that there are yet still improvements to be made to bring electronic drums even closer to our acoustic kits.

We’re nearly a quarter of the way through the century, which seems a good time to take stock of where electronic drums are currently, what we hope will come next, and what we can realistically expect in the years ahead. Join us as we locate our Flux Capacitor, set the metronome to 88 and glimpse into the near future of electronic drums.

1. Blurred lines

Just as we’re seeing an erosion of the divide between ‘electronic’ and ‘acoustic’ drummers, with many players now opting for ‘electronic at home, acoustic kit on the gig’, so we’re seeing a breakdown of who makes what.

Of course, Yamaha has been at the forefront of acoustic and electronic drum kit manufacture for decades.

Similarly, Pearl has had a foot in both camps for decades. In 2022, Roland, one of the leading brands in electronic instruments altogether - whose contribution to electronic drums has been a key driving force in the area’s development - announced that it had acquired DW (Drum Workshop), along with its family of brands (PDP Drums and Percussion, Slingerland and LP Percussion).

This was a hugely significant move, followed quickly by DW’s announcement of DWe. But while you might think that Roland’s buy-out of the DW brand family meant an immediate shift into electronic drums from the Californian acoustic icon, DW was actually working on DWe for several years before the acquisition came (read our initial thoughts in this DWe review).

All of which speaks to the fact that the electronic and hybrid drum market is continuing to grow, and big acoustic brands want in. But it’s not just tub-makers who are aware of this: most recently Zildjian - a company that has passed its 400th anniversary - announced the release of its Alchem-E electronic drum sets. In short, we’re expecting to see more and more acoustic-based drum brands move into the digital market, and frankly, we can’t wait.

2. Cables, guys?

One of the hurdles brands face in getting drummers to take electronic kits out of their spare rooms is the difference in setup when compared to an acoustic kit. There’s an irony that acoustic drums are lighter, often take up a smaller footprint and are completely controllable when it comes to volume levels, all of which should make electronic drums the ideal choice for rehearsing and gigging. However, when we set up our acoustic kits, we transport them in tailored cases, place them on our backbreaking collection of hardware, hit them, and they do their job.

With our electronic kits, we have to transport them, set them up and then plug everything in, often with a bespoke cable snake which isn’t really designed for constant plugging/unplugging.

It takes time, looks messy, and if anything goes wrong with the nest of cables, we’re potentially taking a stroll up Slack Alley. DW’s DWe removed this problem, offering wireless connectivity between the drums and sound source, and it really, really works. What might be considered a small improvement is a massive one, and we hope to see other brands (surely starting with Roland) implement wireless tech within our electronic kits.

3. Mo’ module

To get anywhere close to recreating the nuanced sound of an acoustic drum kit, you need samples. Lots and lots of them. This isn’t really the problem though - as we’ve already noted, memory is pretty cheap in 2024 and what’s more, we’re dealing with quick, solid-state hard drives.

The difficulty comes in playing these sounds back. The module needs to detect a strike from a pad, determine the zone and velocity, then play-back the appropriate sample from its pool of potentials, along with any other microphone positions you might have selected. And it needs to do this in a few milliseconds to avoid latency, requiring some beefy processing power. Indeed, Roland’s digital-sensing pads such as the PD140-DS snare, VH-14 hi-hats and CY-18DR contain additional pre-processors to help take some of the mathematical load away from the module.

All of this is a challenge, but not impossible. Earlier this year, Alesis dropped a bombshell of a module with the Strata Prime. Here, we get a soundset fuelled by the well-established BFD software, complete with multiple microphone positions and multi-layered samples. The Strata Prime isn’t the first to do it - Pearl’s MIMIC is loaded with sounds from Steven Slate Drums, however, Alesis’ take on the concept delivers a fully self-contained kit to go with it.

DWe kits take a slightly different approach, doing away with a module altogether in favour of DW’s Soundworks computer software. Here, the number crunching is taken care of by your computer. However, this does mean that you’re tied to a laptop or desktop, which isn’t a problem for larger touring bands, but could still pose a problem for those of us gigging in grassroots venues such as pubs and clubs.

We think there’s a good chance that modules are going to be increasingly better equipped to deal with intense processing. If brands are intent on taking a computer-based route, we wouldn’t be surprised to see tablet, or possibly even smartphone-based sound generation, given that these devices can now work with external peripherals such as audio interfaces.

4. AI, AI… oh!

Ok, so we’ve all heard about Artificial Intelligence stealing our jobs and faking our identities, with the ultimate goal of wiping out humanity as we know it. But, before that happens we think that AI could prove incredibly useful when it comes to electronic drums.

First up is configuring our kits for us. Electronic drums feature a huge number of variable parameters, and if they’re set incorrectly then our e-kits won’t respond as best as they can. What if we were able to play the kit for a while, and allow the ‘brain’ to figure out our striking style, automatically adjusting velocity curves and volume levels to suit?

Next up is sound generation. We’ve all spent time tweaking the available sounds within our module in order to get them closer to a recording or sound in our head. Generative AI software such as Sony’s DrumGAN, Google’s MusicFX and more can already create sounds from thin air (or rather, learning from millions of samples), and we’d love to see this sort of feature eventually trickle into our e-kits - simply tell the module the sort of sound you’re looking for, or better still, play it a reference and have it generate it for you in seconds!

A big feature on nearly every electronic kit is the ability to jam, whether that’s with the built-in ‘songs’ which tend to vary from a bit cheesy to a downright fondue selection, or (probably more commonly), playing along to your favourite songs. However, AI-powered software such as MOISES has emerged in recent years, and it has the witchcraft ability to deconstruct a stereo recording, allowing us to mute the parts we don’t want and ‘sit-in’ with our favourite bands. We’d love to see this integrated into our drum modules, making learning and practising a whole lot more enjoyable. AI might lead to a dystopian future, but that doesn’t mean there won’t be groove along the way.

5. RE: Surface

Roland’s introduction of mesh heads nearly 30 years ago is one of the biggest game-changers we’ve seen. Finally, a quiet, tensionable playing surface that responds in a very similar way to an acoustic drum head. But all mesh heads are not created equal, and while we’d argue that for snare and tom pads a mesh head is the best option, it isn’t isn’t infallible and still has its detractors.

Yamaha’s silicone-based playing surface, TCS, has found many-a-fan, but comes without the ability to change the tension. We wouldn’t be surprised to see a Mesh 2.0 at some point, perhaps with a more acoustic-feeling surface that diminishes the tennis racket-like bounce that can still be experienced.

In the words mis-attributed to Henry Ford, “If I’d asked the people what they wanted, they’d have said ‘a faster horse’”, and this definitely applies to our understanding of polymers, chemistry and its application to creating a drumhead. But, we don’t think the pursuit of more realistic playing surfaces will end with a development first made in the ’90s.

6. Easily Triggered

Hit your acoustic drum anywhere across the circumference of its head and you’ll achieve different tonalities. However, multi-position (edge vs centre) sensing is a relatively new development in electronic drums. Snare drums are perhaps the most dynamic shell in our arsenal, and electronic snares are usually equipped with head and rim triggers. Additional detection for head pressure means that we can play the centre of the drum, the rim, a rimshot or a cross-stick. Similarly, our electronic toms are often limited to two zones (head and rim), offering us centre/rim and (sometimes) rimshot sounds.

But we can see a future where electronic drums become much more dynamically versatile. To do this requires more zones, and while Roland’s PD-140DS does a great job of offering some fluid transitions between all of the above articulations, as well as edge-centre positioning, and DW’s DWe snare drum includes an electronic throw-off, there’s still more potential.

Evans has partnered with Sensory Percussion to bring its mind-blowing technology to a wider audience, and one of the standout features of the Sensory Percussion ecosystem is its ability to map up to 10 individual zones across a single drum. It does this via a magnetic, side-mounted sensor and some clever software to interpret the strike position on the drum.

However, Sensory Percussion’s system is less about replicating acoustic drums, and more about transforming the playing surfaces into a complete melodic, electronic musical instrument.

Many of the features we just described - edge-to-centre timbre shifts, bass drum beater-burying, snares on/off, pitch changes via pressure on our toms - exist already, but the ‘standard’ configuration of single and dual-zone response is still most common, particularly at the lower end of the market. We think we’ll see more zones and greater articulation become more ubiquitous in the decade to come, bringing our acoustic and electronic kits even closer together.

7. Highway to Shell

Take a look at the electronic drum market, and you’ll notice that brands are leaning heavily towards ‘real shells’ as well as drum pads. As well as offering the familiar diameter of an acoustic drum, an electronically-equipped drum shell also adds authentic depth. What does this mean for the sound of the kit? Not a jot. But, it plays a hugely important role in making us feel like we’re sat at a drum kit, because we are!

The dimensions of ‘real shell’ electronic drum sets governs the placement of each kit part’, and unlike our small, shallow pads, small-diameter cymbals and separate bass drum tower, it forces the kit to be set up very similarly to an acoustic setup. The spacing between each drum is more authentic, which in turn affects how we sit, our reach and thanks to the sizing, even the way the cymbal pads respond, and it’s something that every drummer who transitions regularly between acoustic and electronic setups should experience.

Current ‘real shell’ kits such as Roland’s VAD 504/507 series tend to be based on ‘fusion’ kit sizes - that is, a 20” bass drum, 10”, 12” and 14” toms. We think that the future holds more size options, allowing us to fully replicate our acoustic setups with identical sizes.

It’s a similar story when it comes to cymbals too, with Roland, Alesis, EFnote and more continuing to boost the diameter of our cymbal pads, and the latter offers inverted China-shaped pads, hole-laden FX-style cymbals, and identically-sized, 360-degree playable splash cymbals to help enhance the feeling of replicating an acoustic setup. We’ve all laughed at the idea of having a digital cowbell, or perhaps even questioned why we’d need a set of digital octobans, but the truth is, these all add-up to a more realistic playing experience. Of course, part of the benefit of drum pads is the space-saving nature of having a smaller kit. We don’t think we’ll see an end to compact drum pads, rather, a future where we get the option to choose between either, or both.

8. Cymbal Plan

So far, our predictions and wishlist has focused largely on the drum ‘pads’ and module. But to many drummers, the stumbling block to a full electronic switchover sits firmly with the cymbals. We’re used to potentially complex, harmonically-rich sounds from our prized metal, and while we’re at a point of very good electronic cymbals, replicating this fully is still a challenge that lies in two areas: physical response and sound characteristics.

Unlike our drums, which are mostly short, staccato sounds, every cymbal hit interacts with the previous. There’s attack, sustain and a polyphonic build-up of wash to contend with.

This once again relies on sampling, and the subsequent processing involved in playing these more intelligent samples back.

Next up is the feel of our cymbals. Not only are they not made of rubber, they’re considerably thinner, weighted differently and move more freely than electronic cymbals.

We’ve already mentioned Roland’s digitally-connected VH-14D and CY-18DR hi-hats and ride, which do respond fantastically, but are tied to Roland’s proprietary connection and are currently only compatible with the TD-27 and TD-50/50X modules. Further down the line, Roland is pushing things forward with its latest generation of thinner ‘T’ model cymbals which definitely take some of the resistance out of crashing. Likewise, EFnote and, most recently Alesis with its ARC cymbals are following suit to help make electronic cymbals feel more like the real thing.

However, possibly the most interesting development in the electronic cymbal market is due to come from Zildjian. As with DW, Zildjian has opted for metal cymbals for its forthcoming Alchem-E kits, but unlike the DWe cymbals, it’s taken the ‘practice cymbal’ concept it pioneered with the Gen16 and L80 series, and applied it to electronic cymbals that can be assigned to any sound you desire within the module.

But with metal cymbals comes the enemy of the home drummer: stick noise. We’re not entirely sure exactly how manufacturers can be expected to make a metal cymbal which feels acoustic, with all the benefits of a less intrusive rubber pad. However, we’ve played enough perforated practice cymbals to know that they have a significant effect on volume, while maintaining a natural feel. Let’s face it, if anyone can do it, we’d hope it would be the world’s leading cymbal brand.

9. Closed Shop

For years, it’s been possible to take a pad from here and plug it into a module from there, plug it in with a jack cable and the biggest problem you’re likely to face is a polarity issue. Sorry to spoil the utopian dream of everyone getting along and sharing knowledge for the wider benefit of everyone - this may not be what we’d like to face-up to, but we think proprietary technology is likely to become more prolific.

Why? Well, it’s already happening. If you want to use Roland’s digital pads, you’ll be needing a Roland module. Bought a DWe kit? The wireless connectivity means that if you want to hook up cymbals without resorting to third-party trigger-MIDI workarounds, you’ll need to buy the DWe cymbal pack.

Likewise, Zildjian’s Alchem-E cymbals use a bespoke connector that, while possible for third-parties to reproduce, is going to take time, and make business sense. All of which assumes that patents and intellectual property rights even make it permissible. So, we think (at least in the immediate future), it’ll be a case of picking your side carefully and sticking with it, just as we do with our phones and computers. That is, until the robots take over.

DRUMS WEEK 2025: Electronic drum sets offer the best in space-saving convenience, quiet practice and a diverse set of sounds right at our fingertips. But as a famous East Coast rapper probably once concurred, with mo’ features comes the potential for mo’ problems.

If you’ve got a head-scratcher of an issue that’s spoiling your enjoyment of your e-kit, check out our breakdown below where we detail some of the most common causes – and hopefully solutions – to your electronic drum kit problems.

Issue 1: “When I hit a pad, I hear other sounds coming from the module”

This is one of the most common issues with electronic drums, but thankfully it’s very easy to solve. ‘Crosstalk’ occurs when the sensors inside your pads pick up vibrations coming from striking another pad. The fix can be one of a few things. The first thing to check is that all of the pads are physically isolated. The chances are you’ll be able to hear which unwanted sound is triggering by mistake, but take a look around the kit and make sure none of your pads are touching each other. Likewise, vibrations can travel through your rack and mounts and cause other pads to trigger. Double-check that everything is mounted securely and all of the mounting hardware is sound.

If the problem is still occurring, it’s time to get under the hood with some module settings. Many modules have built-in crosstalk elimination controls, which will help the module to determine between an intentional strike and unwanted vibrations. Experiment with different degrees of crosstalk filtering and you should find that the problem goes away. However, depending on your sensitivity settings (see below) for each pad, you might find that one or more of your pads is set to register a strike at very low velocities.

Issue 2: “I have to hit the pads really hard to get a full sound, everything sounds like ghost-notes!”

When playing acoustic drums, we govern how loud a drum or cymbal sounds simply by hitting it harder or softer. The same is true for electronic drums, but our strikes are converted into an electronic scale rather than air pressure. Because of this, an electronic kit is likely to respond differently to any two players. Sometimes that could be subtle, or more extreme, but to combat this effect many modules are equipped with controls to help tailor the response to your playing. The sensitivity control is a great place to start, and can be adjusted to make the pad more or less sensitive to your stick striking the playing surface. You’ll need to dial it in to maintain dynamic response (so that you still get a variation between hard and soft sounds).

As well as the sensitivity setting, many modules are equipped with multiple velocity curve controls for each pad. This setting determines the power required from the player to transition between the softest soft and hardest hits, and can have a big impact on how your kit responds. Common velocity curves include: linear, logarithmic and exponential.

A Linear curve gives an even scale from the lightest to hardest strike, and is a typical ‘universal’ starting point. Logarithmic velocity curves tend to lend themselves to softer hits, requiring less effort to create a higher velocity strike. Conversely, an exponential velocity curve sees the jump from soft to harder strikes jump steeply. The result of this is that soft and medium-level hits are easily achievable, while the maximum-volume sounds will require more effort. An exponential curve is great if you’re a hard hitter and find yourself constantly triggering your pads at maximum velocity.

Issue 3: “Everything keeps moving!”

There’s nothing more frustrating than hitting a pad and watching it rotate with every strike. To fix this, give all of the fastened parts of your electronic drum kit a good check. Be careful not to overtighten things - you don’t want to break any of the mounting hardware, but it should be firmly secured. Some rack clamps include a finger-fastened bolt, as well as fixings that will require tightening with a drum key. If you’re setting up your kit for the first time, it’s worth spending a few minutes making sure that the frame is securely fastened. This includes checking that all of the supporting legs and crossbars are flat, even and level, and that the clamps are fixed in place with enough grip that they won’t rotate or slip when you’re ready to start hitting the pads.

The same applies if your kit has recently been moved, or has simply been left set up for a while without being checked. Get the frame solid at this point, and it’ll make your playing experience much more enjoyable.

Issue 4: “I’m not getting any sound from one of my pads!”

The first thing to check are your connections - your drum pad will most likely only have one socket for connecting to your module, so first, make sure that the cable is plugged into the pad properly. Still not working? Try swapping the jack from a pad that is to test it (be aware, the pad that you’re testing will now create the sound from the pad you’ve borrowed the cable from). If you hear sound, then you probably have a broken cable.

Some kits use individual jack cables to connect the pads to the kit. In this case, you can buy a new trigger cable and your pad will be back up and running. If your kit uses a cable loom or ‘snake’, the good news is that it’s replaceable, but the bad news is that you’ll have to replace the whole cable loom (these are available as replacement parts).

Alternatively, if you’re handy with a soldering iron, it’s possible to locate the break-point, cut the cable and attach a new one. We’d only suggest the latter if you (or someone you know) are confident in basic soldering, otherwise you risk damaging the other cables in the loom.

If testing the pad with a known-working cable doesn’t help, then unfortunately the pad itself might have developed a fault which requires repair, or worse, complete replacement. In this instance, it’s best to contact your kit’s manufacturer.

Issue 5: “My pedals are slipping around on the floor”

This is a common problem with electronic and acoustic drums, but when it comes to e-kits, the solution will depend on the type of hi-hat controller and bass drum pad you’re using. With an acoustic-style hi-hat stand, you should have rubber feet which are designed to grip the floor surface. While a hi-hat controller pedal will most likely be equipped with some short spikes to help it stay put. The same goes for your bass drum tower or shell. If you’re playing the kit on a hard floor, we’d advise placing your kit (or at least the pedals) on a rug, this way you won’t ruin your flooring. You can extend the spikes by turning the thumbscrew if you require a little more grip, just be careful not to go through the rug into your hard flooring, and remember that the spikes are there if you need to move the pedals. They’re unlikely to do major damage, but are often sharp enough to hurt and possibly draw blood if you grip them with your hand!

Issue 6: “My housemates complain about the noise, even though I’m wearing headphones!”

Noise is perhaps the drummer’s worst enemy, and while this might come as a surprise, hitting things with sticks and stomping on pedals is inevitably going to result in making noise.

Electronic drums go a long way to improve this, particularly if your kit is equipped with mesh-headed pads, but even then, you run the risk of annoying those around you by hitting pads hundreds of times just to play along with a song.

All is not lost, though. The first thing to work out is exactly what the problem is. If it’s simply that you’re playing at a time of day that causes irritation to your friends, family or even neighbours, a simple, cost-free solution could be to work out a better schedule.

If that’s not possible, though, there are a number of solutions. With the actual drum sounds confined to your headphones, it’s unlikely that it’s the sound you’re listening to is the problem. Rather, the airborne sound of your sticks hitting the pad, or the vibrations being transferred from your bass drum and hi-hat pedals and the kit’s rack are the culprit.

Airborne pad sounds tend not to travel too far, but can be reduced by using rubber stick tips, or possibly even dowel-style sticks to reduce the noise.

Vibration transfer is a slightly larger problem, particularly if you’re playing in an upstairs room. A popular DIY solution to killing the thud from your pads is to place your kit on a ‘tennis ball platform’. This requires building two platforms from wood, with tennis balls sandwiched between them to stop the vibrations reaching the floor.

If you’d prefer a pre-made solution, products such as Roland’s Noise Eater range are designed to absorb the vibrations from your stand and pedals, while its KDB-200 and KDB Quiet beaters can be fitted to any bass drum pedal, providing a reduction in impact noise.

Issue 7: “My pad has two zones, but I want different types of sounds on each, how do I do it?”

With a dual-zone pad, you’ll have a head and rim zone. These are completely separate, but share the same output, using a TRS (stereo) connection. Just because the pad is one physical unit, though, doesn’t mean you have to treat it as one.

Now, in the context of an acoustic-style drum kit preset, these zones are usually assigned within the module to give appropriate corresponding sounds. So, if it’s your snare drum pad, you’ll get a centre hit of the snare drum on the head zone, with a rimshot assigned to the rim zone. But, you might want (for example), a snare drum on the head zone and a hand clap on the rim. This is easily done, and it’s a case of telling the module which sound to play on each zone. Hit the zone you want to assign, then scroll through your module’s instrument list until you find the correct one. On Roland kits, you might need to unlink the Head and Rim - this feature is designed to pair different articulations of the same instrument to all zones on a pad, but in this case we want them to be treated like two individual single-zone triggers.

Issue 8: “How do I connect my electronic drum kit to a computer?”

First, it’s important to understand that there are two types of ‘recording’ when it comes to hooking your electronic drums up to a computer: Audio and MIDI. Audio is the recording of the sound that you play and hear in your headphones, while MIDI is captured as data which can be used to play back sounds from other equipment or software.

Depending on your kit’s module, you’ll either have a built-in interface (in the form of a USB connection) that can transmit and receive audio signals as well as MIDI, MIDI-only (over USB), or MIDI sent and received via traditional five-pin DIN sockets.

The first example means that you can take the correct USB cable, plug it into your module and connect the other end to your computer. From here, your kit will be recognised by DAW software such as GarageBand, Logic, Cubase, Ableton Live etc. as an audio and MIDI device. You’ll be able to send the sound of your kit into the software for recording, while also hearing any other tracks recorded in the software in your headphones while you play.

A MIDI interface built into your module will allow the transmission and receiving of MIDI data, so, you can play your kit, and the software will recognise the notes you’re playing along with controller data (for example, from your hi-hat pedal). MIDI is not sound, it’s a stream of instructions for MIDI-equipped musical instruments. So, instead of recording your playing as an audio sample, the software will use the MIDI information to play a plugin instrument, or back to your kit’s module. From here, the instrument receiving the MIDI data will interpret it, and trigger the corresponding sounds, which you will then hear in your headphones. This is how drummers are able to play impressive sampled sound libraries such as Toontrack Superior Drummer and BFD from affordable electronic drum sets.

If your kit is a bit older, it may not have a USB connection, and instead, MIDI will be provided via MIDI in/output sockets. In this case, you can still connect your kit to a computer, but you’ll need a little help from a third-party Audio/MIDI interface (we’d suggest looking for one that does both). This will allow you to record your sound straight out of your module’s audio outputs, while also giving you the facility for capturing MIDI if you want to play and record your performance as data for use with software sound libraries.

Issue 9: “How do I add more pads to my kit?”

Expanding your electronic kit is easier than you might think - in some cases, such as many Alesis electronic drum sets, the kit is shipped with a cable snake, which provides connections for all the included pads. But, a quick look at the back of the module will reveal additional sockets for adding extra pads. In these instances, it’s as simple as looking at your module, and hunting down the corresponding pad to connect. Alesis makes an all-in-one solution for its Nitro Max, which includes an additional tom and cymbal pad as well as the cables and mounting hardware you’ll need to add it into the kit.

A key point when it comes to adding pads to your kit (regardless of the brand) is the number of additional trigger inputs your module has, and how many zones they offer. It’s also a good idea to check the manual for your module (these are usually available on the manufacturer’s website) to confirm which pads are compatible with your module. In the case of digital pad-equipped Roland modules, it’s important to realise that any digital trigger you have connected to the module overrides the corresponding analogue trigger input. So, if you have Roland’s fantastic PD-140DS digital snare pad, you won’t be able to add another pad connected to the analogue connection labelled ‘snare’.

Issue 10: “How can I jam to music from Spotify with my electronic drum set?”

We should point out that this tip isn’t just for Spotify - it will work with any sound that your playback device is capable of generating. If your module has Bluetooth, you can hook it up wirelessly to a phone, tablet, computer or any other Bluetooth audio player. The method for this will be different depending on your module, but usually you can begin pairing the module to your device via a Bluetooth button, or if not, switching Bluetooth on in the module’s setting.

Next, you’ll need to go into your playback device’s Bluetooth menu and allow the connection. Once it’s setup, you should hear the music in your headphones which are connected to the drum module.

If you don’t have Bluetooth, there’s every chance that your module has an auxiliary input. These normally use a 3.5mm mini-jack connection, so you’ll need to buy a cable.

Look for a stereo connection. Assuming you’re plugging it into a phone, tablet or headphone output from your laptop then you’ll want a stereo mini-jack cable. Remember that little adapter that came with your phone? You’ll need that, as most phones don’t have a dedicated headphone output, and instead can send audio through the charging port. For hifi’s or CD players, check your output options - it might be that you need an RCA (phono) to mini-jack cable.

DRUMS WEEK 2025: In the early days of the drum machine, real human drummers could sit comfortably on their stools, as their drum machine rivals harboured a reputation for rigidity and inflexibility in both their feel and programming.

But with the march of time not only did drum machines come of age, but they maintained an exceptionally heavy presence and influence on all electronic drum sounds to follow.

The chances are, you have probably used many of these sounds yourself, and if you don't think you have, it's likely that the sounds you are using are a direct result of heavy influence.

Our first device under scrutiny has also been used on more records than any other drum machine.

The Roland TR-808, is regarded as the grandaddy of the drum machine universe, borne out by its consistent use across so many styles of music, from RnB, pop, ballads, hip-hop, EDM, techno and even the odd jazz record, but life wasn't always so good for the humble 808!

Initially released in 1980, the TR-808 Rhythm Composer was originally designed to be a professional level drum machine, with all the features that working musicians might require, such as individual outputs, synchronisation capability, and a more substantial programming capacity than many previous machines.

The only problem was, it didn't sound much like a real drum kit, and with a hefty price tag of £765/$1195 (that’s £3500 or so in today’s money!), it was far from affordable for most people.

As a side note, Roland liked to call its drum machines 'Rhythm Composers', even though, to be clear, they certainly didn't do any composing themselves!

A disappointment to our childhood-selves who perhaps envisioned the likes of Hal 9000 programming the beats, while C-3PO played bass!

Unfortunately for Roland, the 808 was an overwhelming commercial flop. Production ceased in 1983, due to a shortage of semiconductors that were vital for continuing to producing the units.

In its latter days, Roland tried to cite the 808 as an affordable alternative to the newer and more realistic machines that had started to infiltrate the market, but plummeting prices meant that new and secondhand bargains were abound, leading the 808 toward a resurgence in the DIY world.

It made a comeback in the very same markets that would begin to also fawn over the burgeoning home production tech in the mid-to-late 80s.

The controllable bass drum, with its booming decay phase, was coupled perfectly with the lightweight snare drum and hi-hat. The 808’s character had a pure charm all of its own, which can still be heard on so many contemporary releases - even if the sound is more often than not bolstered by EQ and compression.

Meanwhile, also in 1980, American electronics designer Roger Linn was about to release the first in a series of machines that would seal the initial fate of the 808.

The Linn LM-1 was the first drum machine to use samples, instead of the inherent analog design of its predecessors.

The difference in realism was stark, with reports of ongoing projects removing analog sounds, in favour of the new digital drum machine world order.

While recording their album Dare, The Human League and producer Martin Rushent, replaced all of their analog drum sounds with the LM-1 as soon as the studio they were using to record the album took delivery of one-of-the-first units in the UK.

The LM-1 was an enormously influential success, and quickly became a machine of choice for a glittering array of commercial artists, from Prince and Michael Jackson, through to Gary Numan.

What makes the Linn story even more bizarre, is that Roger Linn took a relatively slapdash approach to recording the onboard sounds. The ‘phatt’ snare included on the machine, was created with a friend, who sat in a wardrobe (for the dry acoustic) and just hit a snare a couple of times, with a mic in close proximity!

The bright-but-thumpy kick, coupled with the ‘phatt’ snare and very realistic hi-hats, provided the backbone for a rhythm track which infiltrated the majority of the 80s. It might also explain why certain artists, such as The Weeknd, appear to be linked so heavily with the 80s sound, thanks to the current synth wave movement.

Roland’s response to the popularity of the Linn, was to produce a hybrid drum machine, following in Roland’s numeric line!

The TR-909 (also a Rhythm Composer) was released in 1983, and continued to employ analog technology for the majority of its sound creation, albeit a considerable enhancement over the 808 in terms of sonic realism.

Importantly, Roland chose to sample some of the onboard sounds, with the crash, ride and hi-hats all being supplied and recorded by one of the Roland software designers on the project, Atsushi Hoshiai.

Luckily, he happened to be a drummer and supplied samples of his own kit, at a mere 6-bit-depth rate.

Much like its predecessor, the 909 was also a commercial failure, and arguably more so than the 808. Perhaps because it was fully competing against the designs from Roger Linn, meaning that it quickly made its way to the bargain bins, just in time for younger musicians, eager for a cheap addition to their new 'home' studio, and curious enough to make the minimal investment almost as a punt!

To say that the presence of the 909 became ubiquitous, could be regarded as the understatement of the 90s.

The relentless sound of the closed/open hi-hat pattern, coupled with the 4-to-the-floor pulse of the kick and snare, became the must-have sound for house and trance music.

Unsurprisingly, it infiltrated the pop circuit, enticing underground and mainstream artists alike, from Daft Punk to Madonna.

As so many of us already know, the problem with cult equipment is that time has escalated the prices beyond the bounds of us mere mortals. 808s, 909s and Linn machines all attract secondhand prices of many thousands, but is it really necessary to go down this route?

The simple answer is ‘absolutely not!’ Roland took a while to become aware of what it really had with the 808/909 legacy, and wisely decided to re-create these machines in both Boutique hardware and software for a new generation. Embracing their organically-cultivated 'classic' status

In Roland’s own words, it has attempted to recreate the original machines, as people would want them to be today, which means they are equipped with clean sounds which can be easily manipulated, with degrees of control which extend beyond the original machine’s remit.

Unsurprisingly, Roland is not the only company to embrace these machines, with several other companies producing software re-workings, but if you are looking for something analog, without the analog price tag, Behringer has reproduced some very good hardware examples (RD-8/RD-9), for just a few hundred pounds, rather than thousands.

It’s a very similar story with the Linn LM-1, although you will also find some great software examples, including the G-Force software IconDrum which brings all revisions of the Linn samples to the desktop.

If you yearn for something a little bit different - verging on the bizarre - bear in mind that these classic machines also drew inspiration from many of the home organ-inspired machines from the 70s.

You will find that the secondhand ads and auction sites are littered with interesting, cheap, and in some cases, quite awesome drum machines.

One particular curio, which has been reinvented many times over, is the Suzuki Omnichord; a cross between a home organ, a guitar-of-sorts and a beatbox, it's this device that provided the creative backbone for the Gorillaz track, Clint Eastwood. You’ll hear its home-organistic backbeat running on a single chord for the duration of the tune.

Who said that old tech can’t give you a hit?

Alesis Nitro Pro: What is it?

Alesis has been on something of a tear of late, having surprised the world with not one, but three electronic kits featuring multi-sampled libraries delivered direct from the module with the BFD-equipped Strata Prime, Strata Core and, most recently the Strata Club kits. But, it’s not only been focussed on the higher-end offerings in its catalogue - prior to the release of those kits, it overhauled its affordable offering with the Nitro Max.

This setup brought us all-new sounds, ported (albeit not in the same multi-sampled/multi-mic’d resolution as the Strata series) from, you guessed it, BFD. I was impressed with the Nitro Max when I reviewed it; it serves up a five-drum/two-cymbal plus hi-hat configuration, mesh-headed tom and snare pads and Bluetooth connectivity, while relieving you of just under $400/£400.

Max, is of course, short for maximum. So, I was 110 percent impressed when Alesis revealed that they’d gone one-better with the Nitro Pro - a kit in the same configuration, but with some tweaks to the pads and some additional improvements all round. It’ll set you back $300/£200 more than the Max, too.

Except, on paper, you could be forgiven for wondering exactly what has changed - the Nitro Pro is also a five-piece-plus-cymbals setup, and the pad sizes are the same diameter as the Nitro Max. So what actually are the differences between the Nitro Max and Pro?

Watch my Nitro Pro demo below

First up, the Max’s bass drum pad - good as it is - has been swapped out for a mesh-headed, eight-inch tower that will easily accept a double bass drum pedal. Next, Alesis has unlocked a second zone across the tom pads; and the snare pad - while still featuring the same 10-inch diameter as the Max - gets a boost in depth. Finally (for the kit’s hardware) the aluminium rack of the Max has been upgraded to steel for greater stability.

You might have already spotted that the Nitro Pro module is red. But, as well as the colour change, Alesis has equipped this version with additional sounds in its core library, plus there are four extra preset kit slots. This leaves potential buyers with a conundrum: go Max or go Pro?

Alesis Nitro Pro: Sounds & performance

The first thing to note here is that, on paper, the differences between the Nitro Max and Nitro Pro may seem subtle. But many of the Pro’s advantages come down less towards sound, and more on the side of enhanced playability.

When it comes to a bass drum pad, a mesh drum head feels different to a rubber pad, and while you’ll be hitting it with a beater attached to a pedal rather than a stick that you’re gripping in your hand, it is certainly a noticeable change. First up, there’s the noise consideration. A mesh pad is friendlier when it comes to vibrations, and while the Nitro Pro’s 8-inch mesh bass drum pad still generates some noise (especially if you’re playing this kit in an upstairs room), it is lower than that of the rubber pad found on the Max. I found it to be more stable, too, with less side-to-side movement under harder strikes.

But, the big advantage here is that it’s tensionable. This means you can tailor the head’s tension to help create a comfortable and responsive rebound, and while this will likely be a set-and-forget feature, it does offer additional flexibility.

Similarly, the increased depth of the snare adds a little more realism when it comes to positioning. This is less about being able to get the snare in the right place, which can be done with any depth of pad, but by having an increased depth, it affects the positioning of other kit parts, hardware, and your legs.

With the kit set up, everything feels a little more spaced out - not a huge increase as with the Strata Prime, but enough to make everything less bunched-up and a bit more akin to the placement of drums in an acoustic set. It’s here that the steel rack displays a bit more stability, too.

One of the biggest improvements is the addition of the dual-zone toms. This means that you can apply a different sound to the rim zone of each tom pad as well as the head, effectively doubling the number of sounds you can get from your tom pads. When using the module, this can be anything from a more realistic acoustic tom articulation, or if you’re less concerned with replicating fully acoustic playability, it can be used to populate your preset with additional percussion, electronic sounds, or any of the other voices found in the sound set.

The Nitro Pro also has a MIDI interface built in, which functions via a USB connection. The tom head and rim zones produce separate MIDI notes, so, if you are considering using this kit as a controller for BFD, EZ Drummer, GGD or any other drum software libraries, you’ll be able to map them to their counterparts or additional sounds.

Elsewhere, the playability and feel of the kit is very similar to that of the Nitro Max. The included soundset is impressive for an affordable kit, and while it doesn’t offer the same dynamic resolution as Alesis’ Strata kits, it certainly holds its own within the context of its competitors thanks to the BFD-derived samples found within.

Alesis Nitro Pro: Verdict

The Nitro Pro should be thought of as an alternative to the Nitro Max from the outset. With so many similarities in terms of the module features (stereo outputs, a USB MIDI interface, Bluetooth, aux in), there’s little in the way of sound upgrades to really consider it a huge step up.

The enhanced hardware designs make it a ‘might as well’ type of buying decision if you don’t already own a kit - although it would have been a solid jump had Alesis offered the Nitro Pro with an acoustic stand-mounted hi-hat rather than a pad/foot controller arrangement.

In isolation, it’s every bit as impressive as the Nitro Max, and I love the fact that Alesis makes adding extra pads and cymbals simple - they’re easily found on the Alesis website, come with all relevant hardware, and the expansion sockets are clearly labelled on the back of the module.

If you currently own an Alesis Nitro Max and are thinking of upgrading, it’s more likely that you’ll skip the increment and head straight to the Strata series. However, if you’re upgrading from an older kit or buying your first electronic drum set, the Nitro Pro offers all of the things I enjoyed while testing the Max, but it just goes that extra distance thanks to the upscaled hardware and pad zones. It might fly under the shadow of Alesis’ bigger-ticket releases, but the Nitro Pro represents a solid, long-lasting purchase for those on a budget.

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Alesis Nitro Pro: Specification

• Module: Alesis Nitro Pro
• Pads: Alesis Pro 10” snare, 8” toms (dual-zone), 8” bass drum pad (mesh)
• Cymbals: Alesis Pro 10” x3 (chokeable crash and ride)
• Hardware: Steel rack, 3x cymbal holders, hi-hat controller
• Features: 36 preset kits/16 user kits, 529 sounds, Bluetooth, aux-in, headphones, stereo output, additional trigger input (tom and crash), MIDI (USB)
• Contact: Alesis

What is it?

The Strata Club is the newest addition to Alesis’ current line-up of electronic drum kits. This 4-piece configuration, plus hats, crash and ride pads is a downsized version of the Strata Core kit, both of which share the same powerful Core module.

Alesis’ current flagship e-kit is the Strata Prime, and the Strata Club comes complete with a stripped back version of the Prime module. Despite some obvious differences, including a slightly smaller 7” touchscreen (rather than 10.1”of the Prime), a cable loom instead of individual trigger jack inputs, no direct outs, and less storage space - the Core still retains an impressive amount of features. These include a full colour touchscreen, BFD 3 powered sound engine, huge 25GB sample library with 75 kit presets, room to expand by up to 4 additional pads (two on the loom and two jack inputs on the back), Bluetooth and WiFi connectivity, powerful FX engine, user sample import and much more, which I’ll explore throughout this review.

The hardware consists of a 12” dual-zone snare, two 10” dual-zone toms and an 8” bass drum tower - all featuring mesh heads. The pads are super shallow which is a break from the new standard of deep, acoustic style wooden shells. The snare measures in at a hair over 2.5” deep. Most of this depth is dominated by the black metal hoops (complete with a thick rubber rim) and the black plastic base. Between the two hoops is little over an inch of a rather fetching red and black wrap, reminiscent of the old school Rogers Onyx finishes. The sleek aesthetic is completed with gold coloured tension rods for a classy overall look. This look is repeated throughout the Strata range.

The hi-hat and crash pads are both 12 inches in diameter while the ride is a slightly larger 14”. Impressively these so-named ARC cymbals are all triple-zone (bell, bow and edge) with 360 degree triggering and choke functionality. The hi-hats also use an Active Magnetic Hi-Hat Controller, all of which mounts to a standard hi-hat stand. There are no separate foot controllers in sight here, just a good old fashioned bass drum pedal and hi-hat stand. Unfortunately neither of these are actually included with the kit so that’s something to budget for, although happily there is a snare stand in the box for the 12” pad.

So, where does the Strata Club sit in the range? At the time of writing, the prices for each model are: Strata Club, $1,799/£1,329/€1,569; Strata Core, $2,199/£1,599/€1,899; Strata Prime, $3,999/£2,499/€3,099.

I can’t help but notice that there isn’t much in it between the Core and Club prices, with the extra $400/£200 essentially affording you an additional tom and cymbal pad. The only caveat here is that the Strata Core comes with two 8” toms and one 10” tom while the Club uses two 10” toms - one up and one down.

In terms of actual floor space, the Club’s four-post steel rack is fairly compact and measures around 4ft wide by 2.5ft deep once expanded. Much of this is actually to allow for the module which is mounted on its own tube that protrudes from the left of the hi-hat stand (or right for those setting it up left-handed).

You can watch my sound demo of the Alesis Strata Club in the hands-on demos section.

Specs

• Configuration: All-mesh drum pads; 8-inch kick drum tower, 12-inch dual-zone snare, 2x 10-inch dual zone toms; 12-inch ARC triple-zone crash, 360° hi-hat cymbal with Active Magnetic Hi-Hat Controller, 14-inch ARC triple-zone, 360° ride cymbal
• Module: Core Drum Module with 7" touchscreen, multi-core processor, powered by BFD3 sound engine
• Number of kits: 75
• Number of instruments: 25GB+ of all new, multi-layered factory content, 370+ kit pieces, 800+ articulations across 4 sound libraries from Alesis and BFD
• Module trigger inputs: 9 via cable snake, 2 x 1/4" TRS (drum and cymbal triggers)
• Software: Free BFD Player, plus Core and Dark Mahogany expansion packs
• Included hardware: 4-post steel rack with locking rack connectors, 2x cymbal boom arms, snare stand
• Contact: Alesis

Performance & verdict

Once the rack is together it’s plenty strong enough to support the two tom and cymbal pads. As previously stated, the snare pad is mounted separately using the included stand, helping lighten the load on the small frame. The 12” pad does also feature a mounting bracket which gives it the potential to be mounted from a tom arm instead.

Although the purpose of the Strata Club is to be a compact e-kit solution for those drummers who lack space, or who don’t need a high pad-count, I couldn’t help muse on the idea of repurposing the snare pad as a floor tom and moving the 10” pad up as a second rack tom. This could be something to consider further down the line as there are plenty of options available for a larger replacement snare pad - there’s certainly ample expansion space on the module.

After waiting for the module to boot up (it takes a minute to get started), I’m greeted by a bright and eye-catching visual display. An illustrated image of the kit occupies most of the screen with the name of the kit displayed at the top, plus menu items down the right hand side and along the bottom of the screen. There are rotary dials corresponding to the parameters listed along the bottom which include ‘damping’, ‘attack’, ‘tuning’, ‘dynamics' and ‘pan’. The element of the kit in question is easily selected by pressing on its image on the screen. This cleverly blends tactile controls with the touchscreen, making for an agreeable and user-friendly balance.

To the left of the touchscreen there are more physical controls including a master rotary dial (which can also be pressed as a button for kit or sample selection), in addition to playback, recording and metronome controls. This facilitates the module’s functionality to import custom songs or backing tracks and also record your own drum takes, whilst keeping the drums and track separated.

The aforementioned menu items on the right of the screen give access to a list view of the kit patches, kit editing screen, mixer, imported tracks, trigger settings and overall settings such as Bluetooth and WiFi connections, system updates etc.

One of the cleverest uses of the touchscreen has to be the ability to audition sounds in a list, simply by simply pressing on its title. Tapping from left to right increases the velocity so it’s easy to hear each layer of an instrument before actually switching to it.

Unsurprisingly, the quality of the BFD library samples is generally excellent with the exception of a few slightly questionable ones. There is no question that there’s enough quality audio here to cater for every musical taste and present a massive amount of editing options. The ability to easily create sample stacks, individually apply multiple effects and quickly change tones with the twist of a dial or slide of a finger certainly makes the Strata Club module a powerful contender, particularly at this price point.

It’s worth mentioning before I close, the only drawback I found with this kit was the actual acoustic volume in the room - both the mesh pads and plastic/rubber cymbal pads are notably loud when compared to some other e-kit brands. The crack of the 12” snare pad and plastic-y thwack of the cymbal pads is something worth checking out for yourself, particularly if you’re a hard hitter and noise-reduction is your main reason for investing in an e-kit.

Hands-on demos

MusicRadar

Alesis Drums

Andertons

Roland has great news for anyone wishing to add digital elements to their analogue kit but who aren’t keen on festooning their already complex physical set-up with ugly wires.

Their new DrumLink system has been developed in partnership with Drum Workshop and aims to make adding the flexibility of an electronic drum kit to your acoustic set-up (or simply getting rid of the wires on your digital kit) as simple and as seamless as possible.

Key to that goal is the wireless nature of the system. The new WT-10 Wireless Trigger Adapter takes the analogue trigger outputs from existing Roland drum pads and cymbals and converts them to wireless singles which are then picked up by the new DH-10 DrumLink Hub.

Each WT-10 has two inputs, meaning that it can take single- and dual-trigger pads and cymbals and communicate both to the hub, making it ideal for use with hi-hats and cymbals featuring bell and edge triggering. Alternatively, for simpler single trigger drums, you can attach two pads to one WT-10.

There’s an integrated flexible mount allowing you to effectively ‘hide’ each WT-10 as part of your kit, eliminating ugly cables and making pre-gig set up fast and worry free.

Most importantly though, the DrumLink system uses a proprietary technology developed specifically for the purpose of speedy transfer meaning that up to 30 channels can be at play simultaneously, all wirelessly, all delivering your hits to the Hub with lightning-fast response and rock-solid performance that feels exactly like you’re playing an acoustic kit.

Supported sound sources out of the box include the Roland V71, TD-50X, and TD-27 sound modules, SPD-SX PRO Sampling Pad, and the DW Soundworks software instrument. The WT-10 also makes it easy for owners of Drum Workshop’s DWe acoustic-electronic wireless convertible drums to integrate Roland pads into their set-ups.

Up to 15 units. Up to 30 channels

A single DH-10 DrumLink Hub can capture the trigger signals from up to 15 WT-10 units, which are sent to the sound module or a computer via a simple USB-C connection. The DH-10 also features a MIDI output for sending MIDI note messages and CC data to external gear.

And they’ve even created a bundle to get you started. The Roland 4CY-4WT-01 DrumLink Cymbal Pack allows you to quickly outfit a DWe acoustic-electronic wireless kit with Roland’s electronic cymbals. The bundle includes three CY-16R-T crash/ride pads, one VH-10 V-Hi-Hat pad, and four WT-10 Wireless Trigger Adapters ready to talk to the kit's DWe DrumLink Wireless Hub.

Drum Workshop also now offers complete four- and five-piece DWe kit bundles with Roland V-Cymbals and WT-10 units already included.

To learn more about the DrumLink system, visit Roland.com. And to learn more about DWe acoustic-electronic wireless drum sets with Roland V-Drum cymbals head to DWdrums.com.

What is it?

In MusicRadar’s guide to the best electronic drum amps, writer Tom Bradley placed the first iteration of the Alesis Strike 12 monitor at the top spot thanks to its power and versatility. Alesis has always been known for offering great value for money and the MK1 Strike amp certainly ticked that box. So, what’s new with the MK2 model?

Well, it builds upon its predecessor with an upgraded peak power of 2500-watts, allowing for more headroom - more is more, as they say. Alongside the bump in power comes refined tonal clarity, touting itself on the official Alesis website as being “precision-tuned for electronic drums”. This refers to the improved EQ contouring feature, which now provides more natural, studio-inspired shaping, offering a balanced mix without excessive colouration.

The Alesis Strike Amp MK2 is still relatively lightweight, coming in at 15.7kg. It’s not the easiest piece of kit to cart around, granted, but compared to other 12” amplifiers - such as the Roland PM-200 - there is a noticeable difference. The multi-position design allows for flexibility - use it as a floor wedge, upright, or mounted on a pole, while a redesigned handle placement makes it even easier to transport.

Other improvements include Bluetooth functionality - which is a welcome addition, but I would argue this should have been present in the original already - and better ground noise rejection, through an upgraded ground lift switch, which effectively eliminates hum and interference.

These upgrades make it as easy a recommendation as the original. I took the new version for a test run to see how it compares.

Specification

• Power output: 2500W peak power
• Woofer: 12” woofer
• Driver: High-frequency compression driver
• Inputs: 2 XLR/¼-inch combo jacks with individual volume controls
• Output: XLR output for daisy-chaining multiple speakers
• Mounting: Integrated pole mount and floor wedge placement
• EQ: Dip switch for +3dB high/low frequency contouring
• Noise reduction: Ground noise reduction feature
• Frequency response: 50Hz - 20kHz
• Dimensions: 18.5” x 15.6” x 25.5”
• Weight: 15.7kg
• Contact: Alesis

Performance

Besides the price point - $399/£319 at the time of writing - the MK2’s biggest draw is the 2500W peak output. At full throttle, this speaker is capable of delivering room-filling volume without strain, making it a drummers’ perfect companion for live gigs. One thing I’d note though, if you’re just looking for an amplifier to use at home or in a modest studio setting, the power on offer here might actually be overkill. I even accidentally tripped a switch when first plugging it in! Be mindful of your circuits, folks.

That said, once I got the amp working and turned up to maximum output, I was pleasantly surprised at the lack of distortion. I tested this amp at all volumes, using a combination of e-kit, multipad and MPC. I played through a range of tones (electronic and acoustic) and found the kicks nice and weighty, while snares were crystal clear. Cymbals sounded a bit trashy to my ears, and when I played music through it like a regular speaker, the onboard EQ sounded somewhat cheap.

In general, the low end of this speaker is a tad muddy, when compared to some of its more expensive contemporaries. This is exacerbated by the lack of configurability of the EQ too. It seems like a missed opportunity to not have any kind of High/Mid/Low knobs to tweak on the rear of the unit.

Another new addition is Bluetooth. Although I think it should really have been included in the first iteration, it’s good to see Bluetooth 5.0 support here, especially if you’re looking to use this amp to blast bangers before a show, or to play interlude music between live sets. I tested it as a Bluetooth speaker in a medium-sized room, with my phone controlling playback two rooms away. There was no latency and I found that, in spite of my EQ reservations, all genres of music were delivered with decent clarity, with the amp at half-volume for the most part.

I’d say that, for most purposes, using the Alesis Strike Amp 12 as a speaker will be just fine. Granted, it doesn’t have the best EQ and the Standard Bluetooth Codec can muddy that sound further still, but what it lacks in clarity, it makes up for in volume. Small, single-room wedding gigs or parties would be fine if this speaker were used to fuel the dancefloor. For larger gigs and needs, you could always use the XLR out to chain it together with other speakers. There’s an included High Pass Filter switch, which can give drummers a bit more sparkle in the highs, especially at a live show, which should help you cut through boomy mixes in untreated rooms (we’ve all been there).

The inbuilt ground noise reduction is another welcome update too, although ground noise from amplifiers tends to increase over time, so it’d be difficult to call this a definitive win just yet.

Verdict

Overall, I found the Alesis Strike Amp 12 MK2 to be a powerful, versatile, and portable drum monitor that delivers clear sound, at a great price. While it might not have a configurable EQ and there are better options at higher price brackets, it remains an excellent choice for drummers of all types - particularly those on a budget.

Also try

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

Electronic drum sets are the weapon of choice for many drummers - whether as a quiet home practice tool for established players who also play acoustic drums or, as is becoming increasingly common, a first kit for many beginners.

E-kits have become more advanced - and top-end features more affordable - over the years, and here at MusicRadar, our writing team has tested a huge variety and approaching hundreds of electronic drum sets since the site first launched in 2007. From beginner e-kits to the most technologically advanced on the market, these reviews act as a base for product selection in our buying guides.

We use a rigorous process when conducting our reviews, carefully testing each product to ensure an accurate overview for the consumer as well as a direct comparison with others in the market.

This page is to explain, in detail, our approach to testing e-drums. In a nutshell, these are the main areas we explore in our tests:

• Configuration & build quality: Here we assess the physical feel of the pads/cymbals and the response of the playing surfaces. Are the components - such as wing screws, cymbal arms, ball and socket joints, module mounts - of an adequate quality and designed to last? And, crucially, we assess the acoustic sound of the kit in the room - e-kits are supposed to promote ‘quiet practice’, but in reality how quiet is the acoustic sound of a stick or beater hitting a pad?
• Ease of use/setup: How easy is the kit to construct out of the box? Once built, how easily can the kit be adjusted to fit the setup needs of the average drummer? Is the module user-friendly? How easy is it to connect pads to the module? Is there an opportunity for expansion with more pads? Is there also USB/MIDI connectivity for recording?
• Sounds: What level of quality are the supplied sounds? We’re not necessarily looking at quantity here. A large number of sounds is often an attempt to cover up a lack of quality. We’re also looking at the variety of sounds on offer, and the level of editing functionality for those sounds.
• Other features: What additional features come complete with the kit or module and how well do they work? For example, many e-kits now feature Bluetooth connectivity, but how reliable is it and how easy is the connection process? Is it possible to add your own sounds to the module? If so, how easy is this process?

How we choose products

All of our recommendations are made purely based on the product’s merit - nobody tells us what to say in a review, or what we should or shouldn’t review. All of the content that goes into our tests is the expert view of the writer - we only work with experts who have experience in the field and will have used and reviewed many other products in that category. We never take money to produce a review, operating independently of manufacturers, and we’re never afraid to point out the flaws in a product.

We’re usually in direct contact with manufacturers or distributors who will send us a sample product for review. When selecting which products to cover, we rely on our own experience, discussions with other editorial staff, as well as experiences of others in our local music scene to determine which are the most popular or top-performing products that are worth reviewing.

We try to test every single product that we recommend personally, but of course, this isn’t always possible. You will find in most of our buying guides that we have tested a large portion of the products, which allows us to provide a useful recommendation in any instances where we haven't been able to get hands-on.

How we test

Here’s a detailed breakdown of our process when it comes to testing e-kits and the key questions we ask around each element of every kit we review.

Unboxing/setup

From the moment a kit arrives with us, we start our assessment, firstly focusing on the packaging. How well is it packaged and does it come in a single box or multiple boxes. Once inside the box/es, we determine if the rack comes built, partially built, or is it entirely stripped down to its component parts of tubes, clamps and feet. This determines the difficulty for the end user to put it together as well as the time it will take. Our reviewers always keep an eye on how long it takes from opening the box to sitting down to play.

Ironically, it’s more affordable for the manufacturer to pass on the do-it-yourself elements, yet the knowledge required to assemble for a beginner means that these savings could be applied to the least experienced end of the market. This is a subjective opinion as each kit is different, but we take our intuition and prior experience of assembling acoustic/electric kits into account when thinking about the target audience of the kit.

Are there instructions for building? Video guides to help? Printed instructions are often light on details and words and can be difficult to follow. We’ll comment on any difficulties or helping hands we experience.

Once assembled, how user-friendly are the fixings and adjustments? Some kits rely on drum key bolts for most adjustments, others use thumb bolts.

Then we assess whether everything can be positioned and adjusted easily, without other parts restricting the movements. Are the fixings consistently secure, or do they work loose over the duration of our testing? And what are they made of? Are they likely to stand up to years of tightening/loosening without cracking, stripping or shearing? Shards of soft metal or grinding, stiff fixings at this stage are a bad sign for longevity.

Cables

Snakes are the most common, and also the most frustrating in our opinion. When looking at cabling we explore whether cable lengths are cut to minimise surplus. Is there cable management (usually Velcro ties) included in the box and, crucially, does it do the job? The test for us is whether we can make the kit look neat for taking photos/videos for our reviews, while still being able to make adjustments to pad and cymbal placement.

On the subject of cables, do they feel strong enough to withstand snagging/treading/tangling? Moulded jacks are the most common connector in this type of system, and can only be fixed by being cut off and replaced. Likewise, if a cable in a loom breaks, it will need to be cut and a replacement soldered in place, or the entire loom will need replacing. So, it’s important we know they will last. We test for this.

Similarly, is the connection at the module-end sturdy? DB-25 connectors feature fairly fragile pins. Each of these supplies the signal from one of the cables in the loom - if it snaps off you’ll need a new loom at best, but if it breaks off inside the module terminal it could be difficult to retrieve.

Pedals and foot controllers

These are often the only parts of the kit that aren’t attached to the stand. Therefore, they move. Are they spiked? Attached to the floor or your rug with Velcro? Both? Is that something the user might need to know before they ruin their flooring? How well do they stay put? Are they susceptible to dust ingress? They live on the floor, after all and in the case of a hi-hat controller it could clog the switches over time. Then of course we assess the physical performance of supplied pedals. How do they feel and respond?

Pads and playability

Although pads are a lot more standardised these days, there is still some variation, and our testers have experience with all types available on the market today:

Mesh heads

Are they multi-ply mesh, or a single layer? This has an impact on the feel and response of the pad. Are they tensionable? If so, does the dynamic response change as you change the tuning of the head? What colour are they, and are they likely to need cleaning regularly?

Rubber pads

Not all rubber pads are equal. Some feel harder and more plastic-y, others are padded and more forgiving on your hands (Yamaha, for example). Do they absorb vibrations, or send them back into the stick? How loud are they in the room? How do they compare in these ways to pads by other, potentially more established brands?

Rims

Do the pads have rims and, if so, are they playable zones? Sometimes manufacturers will place the limitation on the module, so a pad might be capable of two-zone playing, but the module isn’t. This could mean that someone could upgrade their module at a later date.

Are the rims the same material as the centre of the pads, or are they harder plastic? This will result in loud rimshots. Similarly on wood shell pads, are the rims metal? Are they covered with a ‘bumper’ to keep noise down?

Pad sizes

Do the sizes feel natural and in proportion to each other? Lower end kits will prioritise the snare, and sometimes bundle three identical pads for the toms. At the lower end, these can be quite small and not very realistic. Can you play the kit comfortably or is everything bunched up/too spread out due to pad sizes?

Cymbals

The sizing questions above also apply to cymbals, but the size can also have an impact on the movement of the cymbal pads. A 10” hi-hat that’s fixed in place is never going to feel as real as a 14”, two-piece hi-hat mounted on an acoustic stand. Does the ride swing a bit or does the mounting hardware even allow for this? Are the cymbals spinning, or are there anti-spin locks included?

Cymbal response

Hi-hats and choking are the main areas we think about here. Do the hats and controller (pedal or stand sensor) respond to your foot movement well while playing? Is there lag? Is the curve and transition between open/closed and in-between articulations smooth? Are there mis-triggers while keeping time? Can you perform fast barks mid pattern? Do the cymbals choke cleanly, or do they require a lot of pressure to choke the note?

Module

How intuitive is it to switch the module on and start using it? Many modules follow a similar format, but different brands have their own approach to navigation. We scroll through presets first before trying to change individual sounds within a kit, editing a bit and then moving to the wider functions of the module. If there’s Bluetooth, we’ll hook up a smartphone, play some familiar tunes and try out some of the kits in context.

Recording

Some modules have basic MIDI sequencers that will capture your drumming. Others record audio and can record incoming Bluetooth or aux signals as part of the recording - great for people who want to post covers online etc. We’ll take this functionality for a spin and report on ease of use and the quality of our recordings.

On-board songs

These can range from cheesy MIDI-generated backing tracks to audio recordings of real musicians. Are they worth your time? Are they trash? This should be determined by the target user - a beginner might be glad of some stuff to play with regardless of the quality (although with the ubiquity of aux/Bluetooth functionality it’s debatable whether these backing tracks are warranted at all).

Training/Coach modes

These can be brilliant, regardless of ability, but are often overlooked. Does it fit with the level of player the module is aimed at? Do they keep our engagement? Are they boring? If it’s a selling point of the kit (in some cases it is - such as kits aimed at beginners) then this is a very important area of focus for us.

USB/SD

If the module has USB, what is it for? Audio? MIDI? Both? Does it work well? Does it require additional drivers? Once connected, is it usable in terms of latency/dropouts/crashing? Likewise for an SD card slot; is this for loading kits and samples, recording performances? If the functionality is there we always try it - where do the kits come from, are they free? Is it easy to do? Can the module load a one-shot sample, is it worth doing?

Claims

The weighting of all of the testing areas listed here depends on context, which can be determined by the manufacturer’s claims. If the kit is “the quietest on the market” then we need to determine how accurate that is. Actual comparisons to other brands or series’ can help with this. If it’s the most affordable kit in its class, is it worth the saving, or should the reader invest a bit more for exponential gains in hardware, feel or sound?

Then of course, one of the biggest elements of any e-kit is whether the sounds in the module are good for the money, or genuinely good all round? There are levels, and drum sounds from a module need to be taken in context rather than compared to Superior Drummer (unless it’s a kit that contains multi-layered samples that look to compete with GBs of sample data).

Conversely, other kits might offer a low cost acoustic-style playing experience with fairly mediocre module sounds and features. Someone could view that kit as a ridiculously affordable (in context) controller for software, which places a different application on the kit than the manufacturer might have intended.

Key claims can be found within the bullet-pointed highlights of the manufacturer’s description of the kit, retailer websites or press releases and it’s the things they shout about the most that we test against.

Our reviews are carried out fairly, within the context of the market and with realistic expectations based on the price of the product.

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Hands-on demos

We deliver loads of quality written reviews, but we also have loads of great video content and hands on tests on our MusicRadar and MusicRadar Tech YouTube channels. Both feature interviews, gear-demos and video lessons. Where possible we aim to create video demos, or at least record audio examples of the kits we are reviewing.

NAMM 2025: Roland Corp, a long-term enabler of the hybrid acoustic/electronic drum set community, is showcasing the next generation of its highly-respected drum triggers at NAMM 2025, and look, ma, no wires.

The WT-10 Wireless Trigger Adapter and DH-10 DrumLink Hub aren't available quite yet, but when they do hit the shops, you'll be able to get your hands on a solution to all that irritating cabling. The WT-10 also enables owners of Drum Workshop’s DWe convertible drums to seamlessly integrate Roland pads to their set-ups.

Promising "lighting fast triggering" - a minimum requirement, frankly - the whole DrumLink set-up is aimed at pros, so we're confident it will deliver. All being well, we'll get hands-on in Anaheim very shortly to confirm that,

As you'd also expect, the WT-10 and DH-10 can be used with Roland drum and cymbal pads, RT-30 series acoustic drum triggers, the V71, TD-50X, and TD-27 V-Drums sound modules, as well as the SPD-SX sampling pad series. As mentioned above, the WT-10 can also play nice with the DWe Wireless Hub via DrumLink, the wireless receiver for DWe convertible drums.

We don't have a release date or price point yet but will bring those to you ASAP. In the meantime, stay tuned to Roland.com for more info.

There’s an inherent issue with playing the drums that has plagued drummers since the birth of the drum kit. It’s one that can range from being a small problem or, at its most extreme, the difference between being able to pursue drumming as a hobby or not. And it’ll rear its head for all of us, regardless of our ability or budget. I am of course talking about noise. There’s no escaping it - playing the drums is a loud activity. Electronic drums go a very long way when it comes to diminishing the amount of intrusive noise we create while playing, but even with headphones and mesh heads, depending on where your kit is located you could well still end up annoying those around you.

Roland has been at the cutting edge of many developments in electronic drums, and its latest is the VQD106 kit (VQD stands for V-Drums Quiet Design), which claims to be able to reduce the noise levels by 75% when compared to other electronic drum sets. In fact, Roland is so sure of its noise-busting features that it says that the VQD106 produces the “lowest playing-noise in the history of electronic drum kits”.

Build quality

That’s quite a claim, so what exactly makes the VQD106 capable of being so much less intrusive than its competitors, and indeed, Roland’s other electronic drum sets? There’s no single answer, instead, the solution lies in a number of design points which have been applied to pretty much every area of the kit.

First though, we need to understand the main causes of the noise issues when it comes to electronic drums. There are two bothersome areas: airborne and vibrational noise. The first is the noise we create when hitting a pad with a stick, and while loud in the room, is less prone to travelling too far.

Vibrational noise, however, is often the most problematic - particularly if you’re playing upstairs - to the point where you might not even realise it’s a problem at all. That is until your co-dwellers and neighbours start banging on the walls and ceilings. Vibrational noise comes from every part of the kit: hit a pad and the vibrations travel through your drum rack and straight into the floor. Similarly, your floor-mounted pedals are primed to send the thump of the bass drum and hi-hat controller straight into the fabric of the building.

Unless you’re playing on a solid concrete floor, this will travel through the floor joists to the room below as well as into the walls. This isn’t just marketing hot air, either. I’ve experienced angry neighbours knocking on my door during what I believed to be a near-silent post-10pm practice session. As I quickly found out, it turns out that even the most tolerant of grindcore fans don’t appreciate the three-two clave of Rosanna interrupting their blastbeats of an evening.

So, the way to combat this is via isolation, or ‘decoupling’. That is, removing the ability for vibrations to transfer between the drum kit and the room you’re playing it in. Roland has gone to town in this regard, even creating its own mini-documentary detailing the story of the VQD.

Starting from the floor, the VQD106 is built around what appears - at a glance - to be a regular drum rack. But look a little closer and you’ll spot the domed rubber feet under each post. This is the first step towards vibration-busting, but it’s literally just the start. The bass drum pedal and hi-hat controller are mounted on NEQ-K and NEQ-H platforms, similar to the Noise Eater products we’ve seen previously from Roland. Combined with the rack feet, these are designed to achieve a similar result to the homebrew ‘tennis ball platform’ you might have come across, except they’re a lot neater looking and you don’t have to make them yourself.

Next is the KDQ-8 bass drum tower, which again is equipped with boom-busting rubber isolation feet to minimise the amount of impact noise travelling through the floor. But, as well as this, the VQD comes with a nifty tennis ball beater. This squidgy mallet works with the mesh head and a floating, triple-layered playing surface to reduce the initial amount of vibrations created by hitting the pad as well as minimising the airborne smack sound in the room.

But the biggest news comes from the pads. Inside, the playing surface is made of a honeycomb-shaped rubber material. In each case, this is topped with a mesh head coating in order to maintain a familiar feel when playing, but to further aid with stopping the vibrations travelling into the stand, the underside of each pad is vented. These vents allow stick vibrations to disperse rather than transfer, effectively stopping the problem before it arises.

The cymbals feature the same honeycomb/mesh combo on the bow section of the cymbals, and the edge zones are cushioned with a soft rubber coating, the idea being that you can play time on the crash or ride edge without compromising the low-noise properties of the VQD. Finally, the playable sections of the cymbals are isolated from the plastic parts, once again… you guessed it, stopping vibrations.

The VQD106 comes as a five-piece configuration, plus 3x CYQ-12 cymbal pads for hi-hat, crash and ride cymbals (both two-zone, choke-able). The PDQ-8S snare pad is two-zone, while the PDQ-8 tom pads offer a single zone, and the whole lot is built around Roland’s TD-07 module. As well as this configuration, Roland offers the VQDPADS setup - a brainless kit in the same configuration listed, allowing you to hook the pads up to your existing Roland drum module if you already own one.

Sounds & verdict

For the first time in a long time, this review isn’t going to feature on the sounds coming out of the module (you can read our review of the TD-07KV for that). Instead we’re interested in the sound the VQD106 claims not to produce. To do this, Roland kindly sent a regular TD-07 in order to compare the noise levels first-hand, meaning the VQD should be fairly instantaneous in its noise-beating performance.

MusicRadar’s e-drum testing room sits above a communal kitchen area in a busy photo studio. But there’s a problem - how do you know how noisy a drum kit is in the room below if you’re upstairs making all the noise? Simple, you enlist a colleague armed with a decibel meter, and take turns to play/listen.

I’ll cut to the chase - the VQD not only works, but it does everything it says. Inside the room it’s noticeably quieter all round when compared to the TD-07KV kit, but what surprised me the most was the feel of the kit. With so much foam in place, it’s surprising how similar to Roland’s standard mesh-equipped pads it feels. There is a difference - it’s spongier and more forgiving on your hands, almost like a cross between Yamaha’s TCS and Roland’s PDX-8. But, these heads are tensionable too, so you can customise the feel to an extent.

They’re responsive and feel great to play while achieving the low-noise performance they set out to. The only major gripe is that the tom pads are single-zone. This is also a limitation of the TD-07 module, however if you did want to connect this to a two-zone capable brain, or purchase the PADS configuration, you’ll still only be able to get one zone from the tom pads.

I was expecting the cymbals - specifically the soft, squidgy edges - to be the biggest change in feel. They do feel different, particularly if you’re used to playing Roland’s latest CY-14T or CY-16t ‘thin’ models. But it’s not necessarily in a negative way. There’s a little bit more weight to these, but crashing on the edge results in an absorbent response. Roland makes no claims of reduced hand fatigue, but with all the vibrations disappearing into the honeycomb and other design points, it certainly feels like there are fewer fatiguing vibrations transferring back into the stick. That’s a double win for anyone who has ever wailed on an electronic kit for a couple of hours only to find that their wrists and forearms are starting to ache.

Overall, I have to applaud Roland. The electronic drum market is becoming a fiercer arena by the month, and while there’s no shortage of options when it comes to copycat kits, innovation has to come from somewhere first. Of course, that innovation comes at a price. The VQD106 is not at an entry-level price point, but it is paired with a mid-range Roland module.

The big question is, is it worth the difference? That’s where you’re going to have to decide for yourself. If noise isn’t a big problem, then it wouldn’t make sense, but if the building where you play your kit makes it impossible to enjoy without annoying everyone around you, it’s a far cheaper option than investing in structural soundproofing measures.

Once again, Roland has proved that it’s pushing things forward, and it’s not hyperbole to say that the VQD could well unlock drumming for people who otherwise can’t possibly play a kit at home.

Hands-on demos

Andertons

65Drums

Specification

• Type: Five-piece, low-noise electronic drum kit
• Configuration: Kick, snare, 3x toms, hi-hats (w/foot control), crash, ride
• Pads: 1x KDQ-8, 3x PDQ-8, 1x PDQ-8S, 3x CYQ-12
• Stand: Four-post w/noise-lowering feet
• Module: Roland TD-07
• Contact: Roland

Using electronics alongside acoustic drums has never been easier, and the Roland SPD-SX Pro is the go-to electronic drum pad pad for thousands of pro drummers worldwide for triggering sounds, loops and backing tracks. You can save $200 on one over at Sweetwater, but you’ll need to do it ASAP, because this Roland SPD-SX Pro deal expires on Cyber Monday.

As you probably already know, Roland has been at the forefront of ‘hybrid’ drumming products for decades, and its sample pads have been a key part of that. It started with the SPD-S, which evolved into the seemingly-omnipresent SPD-SX.

In 2022, Roland released the SPD-SX Pro, to much acclaim. It's the number-one choice in our electronic drum pad buyers guide, and it we crowned it as our favourite electronic drum product that year.

The SPD-SX Pro overhauls the SPD-SX concept with a whole host of features us drummers were missing on the SPD-SX, including:

• Expanded, 4.3-inch colour screen
• 32GB internal memory for importing backing tracks and samples
• Balanced TRS master output
• 4x balanced (TRS), assignable direct outputs
• Hi-hat control compatibility
• 8x trigger inputs (4x dual-zone connections)
• 16-step sequencing

All of the above mean that you can get a lot more out of your sample pad, leading to enhanced flexibility and, of course, creativity in your hybrid drumming.

First, the 32GB memory means that you can pack the pad with full-fat samples and backing tracks, so you won’t need to worry about running out of space. If you do need to switch things around though, Roland’s SPD-SX Pro Editor software makes this quick and easy, far eclipsing the editor for the original SPD-SX.

Thanks to the hi-hat pedal compatibility, you can turn the SPD-SX Pro into a stealth electronic drum kit - no more “Dude, can you play cajon?” requests. Likewise, the addition of balanced outputs make this rock solid for playing live: you can ditch the DI box in order to get a noise-free, impedance-matched connection into the PA.

But one of my favourite things is the sequencing, which can transform your static loops and samples into interactive, more intelligent phrases. For example, if you want to play along to a bassline or melodic phrase, you can cycle through it one step at a time, in the rhythm of your choosing. Perfect for live remixing!

Similarly, you can program the SPD-SX Pro to cycle through different combinations of sounds. Want to play a snare sound but with a clap added on every other backbeat? It can do that, and you don’t even have to change which pad you’re hitting.

Our reviewer Tom Bradley –– a seasoned pro when it comes to using the previous SPD-SX –– couldn’t get enough of the SPD-SX Pro when he reviewed it, scoring it with the maximum rating while adding that it’s a “must for any serious hybrid drummer”.

If that’s you, then head on over to Sweetwater to claim yours, but do it before the deal runs out on Cyber Monday.

In-ear monitors are becoming more and more common, particularly for us drummers. But nearly as common is the confusion over what to actually plug them into! Behringer’s P2 is a compact, portable, battery-powered personal monitor solution that takes away this question. If like me you don’t like spending loads of money on the parts of your setup that you don't actually play, you’ll appreciate the fact that you can bag this awesome in-ear amp for just £27 in Thomann’s Cyber Week sale.

Why would you want to, though? Well, when it comes to our in-ears, we need to plug into something with a headphone amp in order to drive our monitors. Common solutions for this include sending the feed from the PA system into the auxiliary input of a sample pad, an audio interface, or, carting around an additional mixer. All of which require powering and add to setup time - not ideal on multi-band gigs with short changeovers.

I’ve done all three at various points in the past, sometimes bringing a Roland SDP-SX for sample-less gigs solely to use for my in-ear feed. But, I haven’t had to think about any of that since buying the P2 - I’ve used mine at every gig since I got it.

With the Behringer P2, you get an active, plug-and-play solution for handling your monitor feed. It measures just 33x38x132 mm (HXWXD), is powered by 2x AA batteries and will run for around 12 hours.

It’s also equipped with a combo-XLR/jack socket for the input, so regardless of what cable the engineer is using, (or whether your own PA uses jacks or XLRs for the aux sends) you’ll be able to plug the feed straight in.

Engineers love it, because it makes their life easy, and (as I’ve done frequently), you can just borrow the cable that’s already running to a wedge monitor without disrupting the signal flow back at the desk. Just remember to put it back when you’re finished!

From here, you plug your in-ears into the mini-jack output socket, turn on via the switched volume control and boom, you’re now in control of the level of your monitor feed. It’s got a belt clip so you can hook the P2 onto your clothing, and the handy LED will let you see the battery level/power status.

Talking of which, when it comes time to change the batteries, you can quickly open the P2 up without any tools. Inside, you’ll also find a switch to select either mono or stereo operation. While you’re there, grab Thomann’s four-pack of AA batteries for just £1.60.

Black Friday was yesterday and we’re now in the grips of Cyber Weekend. Every year, top of my own deals wishlist sits Toontrack’s Superior Drummer 3 software and its SDX sound expansion packs. Why? Because my name is Stu and I've had a Superior Drummer addiction for the last 15 years or so. This year, you can start your own obsession with Toontrack’s amazing drum software thanks to the enabler that is Thomann, who’s discounted Superior Drummer 3 to £249 in its Cyberweek Sale as well as offering great saving on SDX sound expansion packs.

That’s about £100 off the going rate (Thomann usually sells it for around £333, and it’s more expensive from other retailers). So, while it’s still an investment, you’re getting entry into a truly remarkable product with a significant saving.

What’s more, you’ll receive it as fast as your internet connection can download it and be enjoying stellar drum sounds from the comfort of your electronic drum set today. Here are just a few of the highlights:

• Over 230 gigabytes of expertly-captured drum samples
• Playable direct from your electronic kit
• Mix-ready presets straight out of the box
• Comprehensive mixer section including effects processing for crafting your sound
• Compatibility with Toontrack’s SDX and EZX sound expansion packs
• Intelligent drum sound replacement built in - perfect for enhancing your existing acoustic drum recordings

But if you’ve never tried it and don’t understand what the fuss is about, let me explain. Recording acoustic drums is difficult. First you need a great-sounding drum kit and cymbals, and a room that you can play them in without receiving noise complaints - spoiler alert, this room also needs to sound good or even the best acoustic kit will record badly.

Next, you’ll need enough microphones to capture each drum, plus overheads, and if you want to add any sense of size and dimension to your drums, room mics. This can get expensive (don’t forget to budget for cables and stands!), but even then, you’ll also want an audio interface with enough inputs to keep all of these mics on their own track.

With all that sorted, the next challenge is to figure out the microphone placement to not only achieve a great sound, but minimise phase problems too. Sounds like a hassle, doesn’t it?

Instead, Superior Drummer allows you to hook-up your electronic drums to a computer, where you can play its ridiculously good sound library from the comfort of your drum pads.

To everyone else, it’ll sound like you’re hitting your electronic kit, but inside your headphones, you’re rewarded with drum sounds that are captured in the exact same way (and very often, location) as the drums on our favourite albums of all time have been.

Realistic dynamics, comprehensive multi-microphone placement and meticulous attention to detail are all on the menu. To say it’s been a game-changer for me as someone who spends most of their spare time playing and recording drums from an electronic drum kit would be an understatement. I guarantee you’ll be impressed from the first hit of a snare pad.

It’s easy to use too, just load up a mix-ready kit preset and start playing. But that’s just the start, because if you want to get your hands dirty, Superior Drummer 3 is a complete drum workstation.

You can swap any part of the kit from Superior’s vast menu of classic and contemporary drums and cymbals. There’s a comprehensive mixer section for blending the virtual kit’s close, overhead and room mics, applying processing such as EQ, compression, reverb and loads more. I’m really just scratching the surface with the sound-shaping options that are included.

By purchasing Superior Drummer 3, you're also opening up a world of expansion possibilities. If you can think of a style, Toontrack has likely created a definitive, quintessential SDX or EZX sound expansion pack to fill your needs. Thomann has knocked money off a range of these too, so even if you already own Superior Drummer 3, you can build-out your drum sound collection for less.

• Toontrack SDX The Rock Warehouse - was £90, now £41.00

• Toontrack SDX Metal Machinery - was £90, now £41.00

• Toontrack SDX Custom & Vintage - was £90, now £41.00

• Toontrack EZX Duality I - was £75, now £24.50

• Toontrack EZX Duality II - was £75, now £24.50

• Toontrack EZX Seventies Rock - was £44, now £24.50

• Toontrack EZX Number 1 Hits - was £44, now £24.50

• Toontrack EZX Traditional Country - was £44, now £24.50

One of the most common questions I see regarding electronic drum sets of any brand is how to get not only more, but better sounds. If you’re bored with your e-kit’s sounds, and no amount of tweaking is scratching your sonic itch, there’s one very simple, pretty much universal way of upgrading to some world-class drum sounds in almost an instant: Toontrack’s EZDrummer 3 software. The even better news is that Thomann’s Cyber Weekend sale sees EZDrummer 3 reduced to just over £100, you can have it up and running today - no waiting by the door for a courier to arrive!

With around 15GB of drum samples included, all us drummers need is a electronic drum set with a MIDI connection (check your module for a MIDI port or USB), and you can play EZDrummer 3’s incredibly impressive library from your electronic kit.

The EZ Drummer 3 library was captured at the world-renowned HANSA Studios in Berlin by producer Michael Ilbert (Coldplay, Adele, The Weeknd). Every drum and cymbal is recorded at multiple playing levels, with multiple microphones placed around the kit and in the room. So, when you play these sounds from your kit, you’ll hear album-quality drums with real room ambience - just as you would if you recorded an acoustic kit in a studio.

The dynamics available go far beyond those that are on offer inside most drum modules, because the resolution of the data is so much greater. Hit your snare drum lightly and EZDrummer will play back a snare sound that was recorded with a light hit. Hit it loud, and you’ll get a hard hit, recorded by a real drummer. It’s not just the same couple of samples played back at different volumes - these really are organic, authentic drum sounds, and it still blows our minds that they’re available for EZDrummer’s already-low regular price.

Go even deeper with over 60% off EZX expansion packs!

By purchasing EXDrummer, you’re not only getting the included library - it puts you in the EZ Drummer ecosystem, which means you can continue to expand your sound collection with Toontrack’s EZX expansion packs.

These are add-on sound packs that load within the EZDrummer software, tailored toward specific genres. Toontrack has nearly 70 EZX expansion packs in its current catalogue with something for every style you’re likely to need, and Thomann also has some chunky reductions on its EZX packs, in some cases nearly 70% off. With prices set at under £25, this is your chance to grab a smorgasbord of amazing drum sounds for an ultra-low price. Here are a few that caught my eye:

• Toontrack EZX Duality I - was £75, now £24.50

• Toontrack EZX Duality II - was £75, now £24.50

• Toontrack EZX Seventies Rock - was £44, now £24.50

• Toontrack EZX Number 1 Hits - was £44, now £24.50

• Toontrack EZX Traditional Country - was £44, now £24.50

Not just for drummers

EZDrummer provides some amazing drum sounds for its low price tag. But it’s not only for drummers, far from it in fact. Some of its standout features are aimed at song-writing guitarists, bassists, keyboard players and producers who are looking to put pro-sounding drum parts together quickly and, (ahem) EZilly.

EZDrummer 3 and every EZXpansion pack comes with a collection of MIDI grooves and fills –– all played by pro session drummers –– that can be dragged and dropped to build a drum track in minutes.

But as well as this, EZDrummer 3 can work intelligently to craft the parts to your needs, with complexity, dynamics and even grid-editing all on hand.

By using the built-in Bandmate function, you can even import an audio file and let EZDrummer make up its own part that’s stylistically suitable for your song!

2024 has been a great year for electronic drums with plenty of progression across every price point. Black Friday is done, but far from dusted - all of the below deals are still up and running.

I’ve been scouring the internet to find the best deals on our favourite kits, and five out of the top eight picks from our best electronic drum sets buyers guide have received price reductions, making this the best time of year to pull the trigger.

Each of the kits below serve a particular purpose for different players across different budgets, with reductions on sets from the three biggest names in the game. So, if you’ve been holding off for a Black Friday electronic drum set deal to bag your first kit, or maybe upgrade to a higher level, now’s the time. Let’s take a look at the reductions.

At the top end, the Alesis Strata Prime is on-sale over at Sweetwater, marking the first time the brand’s flagship, BFD-loaded kit has had a reduction since launch. Now, there’s a caveat: the deal is on the Alesis Strata Prime Expanded, which sees the kit beefed-up with an additional tom pad and two extra cymbals.

Sticking with Alesis, but at the other end of the price spectrum is Guitar Center’s deal on the excellent Nitro Max. I reviewed this kit when it was launched at the end of 2023, and it didn’t disappoint. There’s mesh heads all round, samples within the module derived from the BFD software library, bluetooth and more. As an extra bonus, you’ll receive a 90-day free subscription to leading online drum lesson platform, Drumeo - worth $120 if you paid for it on a rolling monthly subscription!

Of course, no list of electronic drum set deals would be complete without an offer on a Roland kit. Here, we see another upper-entry/mid-level kit get its price chopped with the Roland TD-07DMK losing $100 off its regular price at Guitar Center. The TD-07DMK gives you Roland’s patented mesh heads across the snare and toms, while maintaining a compact format. The TD-07 module is packed with a range of brilliant sounds covering acoustic, electronic and percussion samples. As well as this, there’s Bluetooth for streaming your music for jamming, an audio/MIDI interface for connecting to a computer and Roland’s excellent Coach Modes for helping you to develop your key drumming skills.

Yamaha’s most recent DTX kits are very impressive indeed, and the DTX-8K sits in the middle of the range, and Sweetwater has knocked $400 off two configurations. While it’s been a couple of years since it launched, we’d have no hesitation in recommending it as premium electronic drum set. The sounds within the module are impressive, and the pads make the move towards real shells, straight from the Yamaha acoustic drum factory. There’s a choice of mesh heads (DTX8K-M), or if you spend more you’ll get Yamaha’s much-loved TCS playing surface (choose the DTX8K-X) . With acoustic-style hi-hats, two crashes and a ride cymbal, it’s a pro setup that you’re not going to outgrow in a hurry.

In a time where electronic drums are evolving at a rapid pace, it takes a special product to really stand out from the crowd. Evans’ Sensory Percussion System does just that, with the ability to turn a regular drum set into a hugely-powerful electronic set, or a fully-melodic instrument. Thanks to Guitar Center’s Black Friday sale, you can snag yourself a bag piece of the Sensory Percussion action with a whopping $500 –– that’s a reduction of a third –– off the regular price.

Included in the deal are three Sensory Percussion sensors, the Sensory Percussion Portal audio interface and of course, a license for the Sensory Percussion software. As well as this, you’ll receive all the necessary cables to get started straight out of the box.

But, if you’re not familiar with the Sensory Percussion System and what it does, here’s what you need to know. Sensory Percussion was originally developed by Sunhouse, who in 2022 teamed-up with Evans to make some tweaks and bring the technology to a wider audience via its distribution channels.

At the core of the Sensory Percussion concept sits its sensors. These look like traditional side-mounted acoustic drum triggers, but there’s a lot more going on. The system uses a combination of drum-mounted sensors and machine learning to map the surface of a regular acoustic or mesh drum head. Users can then designate up to 10 zones per-head, giving a hugely flexible and creative take on standard drum triggering.

Yep, you read that correctly - 10 zones per-drum including traditional head, rim and cross-stick, but also including edge, shell and more. The sensors plug into the Evans Portal audio interface, allowing access to the Sensory Percussion software. From here, you can train the software’s machine learning platform to recognise each zone.

Included with the software are Sensory Percussion’s 6 sound packs, featuring over 100 preset kits. These are made up of over 2,300 samples covering everything from complex melodic and harmonic electronic instruments, electronic drum sounds and authentic acoustic drum samples.

Sensory Percussion is an incredibly powerful hybrid drum system, and with this much money off, it’s the perfect opportunity to bring added dimensions to your live performances.

Black Friday is all at once an extremely promising and extremely difficult time of year for the musician, as myriad jaw-dropping deals make it harder and harder to exercise restraint with respect to gear expenditure. ‘Restraint’ is an apt word to use here, as Alesis’ top-of-the-range Strata Prime electronic drum kit exercises absolutely none in the spec department - and as a result it’s one of our favourite kits on the block right now. Thanks to Sweetwater’s own no-restraint Black Friday price reductions, you can pick up the expanded edition of the Strata Prime for $300 less.

Alesis is a leading brand within the electronic drums space, with a hugely competitive range of e-kits for every skill level; in the last year alone we’ve seen a complete overhaul of some of their key ranges. Though much better-known for cost-effective entry-level kits like the Alesis Nitro Max, they now have some real weight to throw around at the upper end of the price spectrum, thanks to the Strata Prime, a break-the-bank slice of e-drumming excellence that we absolutely love. You can read our full 4.5-star Alesis Strata Prime review here.

The expanded version of the top-shelf Alesis kit is an expansive 7-piece affair; besides the huge 20” kick and a 14” snare, you’ve got five (yes, five) dual-zone toms to play with, including two beefy 14” floor toms. On top of the stand-mounted 14” hi-hat, you also get five tri-zone cymbals - two 16” crashes, and three 18” crash/rides. These cymbals feature a 360-degree playing surface, which means that wherever you hit them, you will produce a sound.

All of these feed into the awesome Prime drum module, which offers a frankly ridiculous level of versatility and customizability. The Strata Prime’s BFD sound engine is a major selling point here, allowing you to benefit from high-quality BFD samples that rival other sample libraries - but the beauty is that they’re native to the module, rather than needing a separate laptop to run them. There’s over 400 kit pieces arranged into 75 drum kit presets, but you can also build your own presets, or use your own samples.

Want to delve deeper and unlock even more cool tech? The built-in Stacks feature means you can layer up sounds, from cool trashy cymbal stacks to hand claps layered over your snare.

We love that the module has a big old 10.1” touchscreen that makes navigating presets and variables as easy as can be - you also have a row of rotary encoders beneath to add tactility and convenience to the experience. On the back, you’ll find I/O for days, making it super easy to interface this kit with your specific recording or MIDI needs.

Will we see Black Friday discounts on the standard Alesis Strata Prime configuration, or the all-new Alesis Strata Core? Here’s hoping, but we should find out in the coming week as the deals hot up. We’ll be sharing all the offers on our highest-rated e-kits on our Black Friday electronic drum set deals page.

• Shop Sweetwater's up to 60% off early Black Friday sale
• Our pick of this year's best Sweetwater Black Friday deals

Earlier this year, Alesis dropped a bombshell with the Strata Prime: an electronic drum kit that seemingly came from nowhere and instantly wowed me with its performance. I say seemingly, because on the surface it was a quiet plot unveiled to rapturous applause.

However, if you’ve been paying attention, the Strata Prime was actually more of a logical progression for the brand. You see, in 2020, Alesis’ parent company, InMusic snapped up the BFD virtual drum library, which had been somewhat left floundering without much development by previous owner ROLI. What does a hardware company need one of the leading drum software plugins for? To power its hardware, of course.

That’s exactly what happened, and I was impressed. The Strata Prime module features a soundset powered by BFD 3, delivering what we drummers keep asking for: a drum module with multi-sampled sounds that will convince us to unplug the MIDI connections to our laptops, making using an electronic drum set a more viable proposition when it comes to the three-legged stool of practice, live performance and recording.

But, as we’re about to find out, the Strata Prime was only the beginning of the story. Having one flagship product is all well and good, but Alesis has long been known as the brand that delivers at multiple price points. Make a great e-kit and that’s exactly what you have, expand with another and you’ve got a series. Clearly, the folk at Alesis don’t put much value into getting a Good Night’s Sleep, because while the world is still asking each other on forums about the Strata Prime, they’ve only gone and ruddy released the next, more affordable chapter in the Strata saga: meet the Alesis Strata Core.

Alesis Strata Core review: What is it?

A quick glance at the Strata Core’s spec sheet confirms that what I’m presented with here is a case of ‘Honey, I Shrunk The Kit’. Starting with the overall configuration, there’s a five-piece, all-mesh drum pad setup: 12-inch snare (with an acoustic snare stand included), 8-inch bass drum pad (a tower, rather than the Prime’s real-shell 18-inch bass drum), 2x 8-inch rack tom pads and a 10-inch floor tom pad. These follow the same design and visuals as the Strata Prime pads, with the deep red oyster-ish wrap offset by black rim bumpers and gold tension rods. It looks classy, and feels every bit as quality as the Strata Prime, just smaller.

The drum pads are accompanied by a set of Alesis ARC (Alesis Rotatable Cymbal) 14-inch ride cymbal, two 12-inch crashes and a 12-inch hi-hat pad. Each cymbal is 360-degree playable, which is nerd-speak for saying ‘it doesn’t matter where you hit it’. They’re all triple-zone and choke-able, so all the common cymbal articulations (crash, bow and bell) are achievable. The hi-hat pad is a single-piece design, so there’s no top/bottom moving parts, but it does mount to an acoustic hi-hat stand (not included). It also makes use of Alesis’ magnetic-sensing technology to transition between open/closed pedal detection. Once again, these are the same series which ship with the Strata Prime, only smaller.

Finally, there’s the Strata Core module, it shares the same colour touchscreen concept as the Strata Prime, with a reduced real estate of 7.1-inches of tapping space. The insides have been stripped back a bit too with the factory sample content reduced from 40 gigabytes to a how-will-we-possibly-survive 25GB of BFD3 samples. This being a more consumer-level product, hardware connectivity is reduced too. Gone are the discrete trigger inputs and direct outputs of the Prime, replaced with a DB25 cable snake (hiss) for connecting the triggers, and master left/right outputs for sending everything to a PA system for amplification. Also present at the back of the module are two additional trigger inputs for a tom and cymbal, a mini-jack auxiliary input, 5-pin MIDI in/out, and USB memory/host slots. Here is where I find one of the first big features to be removed entirely: the USB socket is for MIDI only, not audio. So, if you do want to use this with a computer for audio, you’ll need a separate audio interface.

To the front, there are dual headphone outputs, which share the same control but make it a great feature if you’re using this kit for lessons where more than one person needs to hear what’s being played.

The Strata Core also inherits a couple of other connectivity features that I love about the Strata Prime, too - WiFi (for hassle-free downloading of firmware updates) and Bluetooth (for wireless audio streaming into your headphones while playing, as well as a wireless MIDI connection).

Alesis Strata Core review: Sounds & playability

I’ve said it before, and I’ll say it again now - the least fun part of getting your hands on an electronic drum set is the initial build. The Strata Core arrived in one fairly sizable box containing everything, including the steel rack and clamps. Assembly will take you around an hour, perhaps a little longer if you haven’t done it before. Grab a coffee, put on a podcast and make sure there’s nobody offended by bad language as you curse the metal tubes and clamps, and it’ll pass in no time.

That is, until you connect the pads. A cable snake is most definitely an efficient solution to delivering multiple connections in an affordable way, but if the sight of looping, tangled cables bothers you, now is the time to pay attention to the bag of velcro cable-ties that Alesis provides, because you’ll need them to try and get everything even approaching tidy. Of course, this isn’t a criticism of Alesis or the Strata Core specifically, as running the cables around the stand is the accepted way of plugging everything in for many brands. However, I do wish there was a neater option.

With the kit set up and plugged in, I hooked the Strata Core module up to my WiFi connection. This is the first time you’ll notice the touchscreen, which makes inputting our WiFi password a doddle: no scrolling, no awkward backspaces, just tap it in like you would on a keyboard. Once connected, the Core informs me that it would appreciate a firmware update. I oblige by jabbing the screen, and the module does the rest. About 25 minutes later, it’s downloaded, installed and re-booted.

Now it’s time to play. The Strata Core’s sound engine comprises 370 kit pieces (a drum or cymbal, for example). These have been created using multiple microphone positions: close/overheads/room to capture the realism of an acoustic drum kit being played in a top-notch acoustic environment. As well as this, each kit piece is recorded by a real human drummer hitting the instrument at different volume levels, so, when you hit a drum pad softly, it plays back the sound that was recorded with a soft hit. Hit it hard and you get the harder-hit sample, rather than the same sound being played back at different volumes.

This is done in detail, with multiple dynamic layers for every kit piece, so the Strata Core contains over 144,000 sound files to make up those 370 drums/cymbals. These kit pieces are arranged into 75 factory preset kits, and are interchangeable. This means you can swap any part of any kit, as well as combining sounds to create ‘Stacks’. These layered sounds allow for blending of up to four multi-layered sounds on one pad, so you can design your own hybrid drum sounds, combining sonic elements like snare drum body from one drum, while embellishing the attack and crack by blending in another sound. When you’re done, there’s user memory available for you to mix-and-match the factory sounds into your own custom kits.

Often, when a product is derived from a more expensive one, the limitations are noticeable from the off. But with the Strata Core, you get sounds plucked from the same pool as the Prime: Alesis Core Acoustic, BFD Dark Farm, Alesis Core Electronic and BFD Percussion. There’s just fewer of them to choose from.

The result is that everything responds with pretty much the same authenticity as the Strata Prime, with buzz rolls and ghost notes playing and sounding natural across the kit. Some of my favourite kits from the Strata Prime (Binary Cleanse, That Alesis DnB) are also present. The user interface is very similar too, with most operations being within reach of the kit screen. As with the Prime, the Core’s touchscreen and visual approach makes this very intuitive, albeit slightly more cramped with the reduced screen size.

If you want to change a drum or cymbal, you can either hit the pad to select it, or tap its on-screen counterpart, from here you can tap (or scroll using the rotary control if you’d prefer) to your chosen selection, tap again and you’re done. There are six rotary encoders beneath the screen if you need to make adjustments finer than your digits will allow, and overall the combination of both touchscreen and analogue-style control means that you’ll be navigating your way around the Core in no time.

One big feature that was missing at launch with the Strata Prime was Bluetooth Audio (this came in a post-launch firmware update), but I’m pleased to report that not only is Bluetooth available straight out of the box here, it works seamlessly too!

It would be a little unreasonable of me to expect the Strata Core to bring design improvements over its more expensive sibling, and while the Strata Core includes everything I love about the Strata Prime (the impressive sounds, the wireless connectivity, touchscreen and more), it also inherits one of my big gripes. That lies in the snare drum pad, which, while perfectly responsive thanks to the tensionable mesh heads, features the same two-zone performance of the Prime. This gives you a centre head zone, a rim zone, and the facility to play them together for rimshot sounds. However, the detection for playing a crosstick isn’t intelligent. You have to tell the Core that you want the snare’s rim to either create a rim click (a stick striking the rim only) or a cross-stick sound. With the latter, playing your hand on the head as you would with an acoustic drum while you play a crosstick sound is redundant. So in order to play a cross-stick, you either strike the rim of the pad while holding the stick in your regular grip (which isn’t authentic), or lay the stick so that the butt and tip bridge across the top of the rim (better, but still not entirely natural). It’s not a dealbreaker, but I’d love to see an improvement in this area for a future update.

Elsewhere, the triggering is faultless. Alesis’ magnetic hi-hat sensor/controller works very well with the reduced-size of the 12-inch pad. It’s fast and responds to my foot position straight out of the box, and this only improves once I’ve calibrated it using the easy, two-step setup function. You can recalibrate whenever you like too, so if you change stands or simply want a little more or less play on the pedal, it’ll be sorted in about 30 seconds.

I was worried that I’d miss the larger format 18-inch bass drum, and find the introduction of a tower a bit more flimsy. But, there’s plenty of space for a double pedal, and the tower stayed put on my rug throughout my time with the Strata Core. Visually, it’s not as impressive, but the space-saving, rock solid performance more than makes up for this.

And that brings me to my main observation with the Strata Core: pad size. Acoustic players love the familiarity of ‘real-size’ pads and cymbals, but the upscaling of electronic kits to match (or get near to) our acoustic sizes is a fairly new trend. With the Strata Core, it’s a compromise that includes a more home-friendly kit size and ultimately a significantly more affordable kit. It’s most noticeable on the rack toms, which would feel a little more realistic if they were 10-inch, with a 12-inch floor tom pad to match the snare’s diameter.

The 14-inch ride cymbal is comfortable to play, and in reality the most likely candidate for you to be playing bell sounds on. I found that the smaller size did mean that I was more prone to hitting the stand’s wingnut in this position, but it’s by no means an unreasonable size. If you’re used to playing larger diameter electronic cymbals, it might take a bit of time to adjust, and of course, the larger ARC cymbals are available as a post-purchase upgrade if you’d rather have more realistic sizes. But I should punctuate this with my opinion that the included sizes are absolutely workable, and in-line with what I’d expect from a kit at this price.

Alesis Strata Core review: Final verdict

Earlier in the year, I predicted that the Alesis Strata Prime would net the prize of MusicRadar’s favourite electronic drum kit of 2024. Since then, we’ve seen the introduction of Roland’s V71, which sees the Japanese giant flexing its foray into multi-sampled drum sounds within a module. Now, with the introduction of the Strata Core, it looks like Alesis’ biggest competitor to the Strata Prime is currently coming from itself. There’s very little not to be impressed with here, from the extremely playable sounds to the slick and easy user interface.

You’ll save a pretty substantial chunk of change with the Core, if you’re willing to give up the audio interface (which is a fairly affordable purchase) and some of the authentic pad sizing. Similarly, the reduced audio routing puts this closer to the spare room than the stage. To some, that’s a compromise, to others, it’s actually exactly what’s required. After all, why include features that aren’t going to be used, or add drums and footprint that aren’t as viable at home? What you get here is the essence of Alesis’ flagship electronic drum set, with all the great 2024 features, minus the stuff that (let’s face it) is likely to be ‘nice-to-have’ rather than essential. The answer is in the name: Core indeed.

Alesis Strata Core review: Hands-on demos

Sweetwater

Andertons

Alesis

Alesis Strata Core review: Specifications

• Module: Alesis Strata Core
• Pads: 8” bass drum tower (single-zone), 12” snare drum (dual-zone), 2x 8” rack toms, 10” floor tom
• Cymbals: ARC cymbal pads - 12” hi-hat (one-piece w/magnetic sensor), 2x 12” crashes, 14” ride cymbal (all three-zone)
• Hardware: Alesis steel rack w/ABS clamps, cymbal boom arms, snare stand, module clamp
• Features: 7.1” touchscreen, 25GB samples, 75 preset kits, Bluetooth MIDI and audio, USB MIDI interface
• Contact: Alesis

Alesis, which has been busily chiseling out an upwardly mobile stake in the e-drums market, has revealed its latest kit, the Strata Core.

The Strata Core is, essentially, a slimmed-down iteration of the Alesis Strata Prime, which we recently reviewed and found to be “a bonafide game-changer”.

A compact-for-this-level, all-mesh kit with a smaller footprint (and price) than Strata Prime, Strata Core’s key features, other than the module, which we’ll come to shortly, are the 12” dual-zone mesh snare drum, with head, rim click, and rim shot triggers, and an ‘Active Magnetic’ 12” hi-hat. The toms are also dual-zoned, and the 8” mesh kick is double-kick friendly, if that’s how you roll. Overall, we have

Hardware-wise, we have a curved steel rack, while those ARC hi-hats mount to any stand, and the crash and ride cymbals can be mounted to any stand you have around, regardless of the rack.

That module, then? The main USP of Core's 7" touch-screen, as with Prime, is the BFD sound engine and a sonic hinterland of over 25GB, across 75 kits, 370+ kit pieces, 800+ articulations, and 144,000+ samples. More than you, realistically, need, basically.

In terms of tweakage, you can fiddle with mic channels, experimenting with stacks as you go to layer articulation settings and, yes, layering those mic channels. Outboard Alesis e-kit triggers are also supported for more creative options.

Library-wise, Alesis Core ships with four complete sound collections, namely...

• Alesis Core Acoustic - ecorded at Powerstation Studios in New England
• BFD Dark Farm - an all-acoustic rock expansion pack from the BFD team
• Alesis Core Electronic - the best of the Alesis Strike Multipad one-shot electronic drum sounds tailored for layering over acoustic sounds
• BFD Percussion - a diverse collection of percussion sounds across BFD’s classic percussion packs

Alesis Strata Core is available now (RRP: £1,699/$1,999/€1,999) , for more details, check out alesisdrums.com

Alesis Core specifications and features

KICK: Strata Kick 8 (8in kick tower, mesh head)
SNARE: Strata Drum 12 (12” mesh
TOM 1: Strata Drum 8in (8” mesh)
TOM 2: Strata Drum 8in (8” mesh)
TOM 3: Strata Drum 10in (10” mesh)

HI-HAT: ARC Hi-hat 12 Active (12” 360 degree triple-zone cymbal with stand mounted active magnetic control system)
RIDE: ARC Cymbal 14 (14” 360 degree triple-zone cymbal)
CYMBAL 1: ARC Cymbal 12 (12” 360 degree triple-zone cymbal)
CYMBAL 2: ARC Cymbal 12 (12” 360 degree triple-zone cymbal)

MODULE: Core Drum Module w/ 7” touchscreen, multi-core processor, powered by BFD3 sound engine.

NUMBER OF DRUM KITS: 75
NUMBER OF INSTRUMENTS: 25+ GB of all new, multi-layered factory content, 370+ Kit Pieces, 800+ Articulations across 4 diverse sound libraries from Alesis and BFD

MODULE TRIGGER INPUTS: 9 via cable snake, 2 x 1/4” TRS (drum and cymbal triggers)
MODULE ANALOG INPUTS: Stereo 1/8” TRS
MODULE ANALOG OUTPUTS: 2x 1/4” TRS (main)

HEADPHONES: 1 x 1/4” & 1x 1/8” Stereo headphone outputs

MODULE MIDI I/O: USB MIDI, 5-pin In/Out, Bluetooth MIDI

USB: 1 x Type B (host) & 1x Type A (storage, external MIDI controllers)

USER STORAGE: 1GB+ internal drive

SOFTWARE: Free BFD Player + Core and Dark Mahogany

INCLUDED HARDWARE: 4-post Steel Rack, 3x Cymbal boom arms, snare stand

Following hot on the heels of last week’s flagship 7 Series TD716 release, Roland has just dropped what might be the best electronic drum set on the market for those wanting to keep the noise down, with two all-new V-Drums Quiet Design VQD106 kits.

The exciting news here (for you and the rest of your household/neighbours) is that Roland claims that the VQD106 delivers “the lowest playing-noise in the history of electronic drum kits” and by that we think it means by anyone. Anywhere. Ever.  

The VQD106 uses Roland’s existing TD-07 module, and comes as a five-piece (dual-zone snare, 3x single-zone toms, bass drum) electronic drum set, with hi-hat (including FD-9 hi-hat controller pedal), ride and crash cymbal pads. 

What’s more, it’s available as the VQD106PADS setup, which nets you everything we just mentioned except for the module, allowing you to add the V-Drums brain of your choice. 

Aimed at drummers looking to reduce the amount of airborne and transferred noise that results from hitting drum pads and operating foot pedals – particularly when played in an upstairs room or apartment – Roland says that the VQD range reduces the pad and pedal noise by 75%.

It does so through a series of technical changes to the pads’ structure and design, in combination with some more familiar features that have been upgraded by Roland. First is the rubber ‘honeycomb’ internal pad design, which absorbs the vibrations caused by the stick impact. This is, of course, topped with a tensionable Roland mesh head covering to maintain authentic stick feel and rebound.

Next up, the PDQ-8S snare and PDQ-8 tom pads are vented to allow air pressure to escape and disperse, rather than creating sound, and in the case of the rim-equipped PDQ-8S snare pad, the rim is covered in a rubber bumper to help keep things quiet.       

The noise-busting continues with the KDQ-8 kick drum pad design, which comprises an 8-inch (double pedal-friendly), triple-layered foam playing zone, wrapped in a mesh-style covering. The playing zone is held in suspended frame, largely decoupling it from its housing to reduce vibrations. Add to this the inclusion of the foam-core KDB-Q beater, and you can see how Roland is achieving its “whisper-quiet” performance. 

But it doesn’t stop there, because the bass drum and hi-hat controller pedals sit on the NEQ-K and NEQ-H -  updated versions of Roland’s Noise Eater platforms which look to eradicate any remaining vibration transfer in order to stop it reaching the floor and structure of your room.

Now, as we discovered in our DWe review, cymbals can also be a culprit when it comes to noise. For the VQD106, Roland has overhauled its cymbal design too. Once again featuring a combination of rubber honeycomb internals and a mesh outer skin, the repetitive pulse of your time-keeping and accents is greatly reduced. We get three CYQ-12 cymbals for use as a ride, crash (offering bow and edge zones in these positions) and hi-hat pad.

The VQD106 and VQD106PADS are available now priced at $1,799 and $1,599 respectively. For more information, head to the Roland website.

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

Roland has lifted the lid on its brand new 7 Series electronic drum set configurations, which replace the TD-50X-equipped V-drums and VAD sets with a brand new V71 module as the centrepiece. There’s new pads, new sounds and some exciting new features to delve into. You can read our full Roland TD-716 review here.

First is the new V71 module, which features across all three configurations. The V71 sees Roland overhaul its top-end offering by keeping the things we love (kit-part volume controls, individual trigger inputs, three digital trigger slots, balanced direct outputs and more), but it’s seemingly gone to town on the areas that matter most.

That’ll be the sounds, then. Roland says that it’s “onboard drum library has been created from the ground up with world-class instruments never featured in any previous module.” That’s a big claim, especially given that Alesis’ Strata Prime came out of nowhere earlier this year, packing the entire BFD sound library into its brain. But Roland has employed multi-sampled, 32-bit/192kHz samples, captured in new sessions to populate its module, and this is no small news, given the brand’s previous reluctance to jump aboard the sample-heavy ship.

The on-board sound engine makes use of ‘round-robin’ sample playback, picking from a pool of up to 16,000 samples per-instrument. This means you’ll never hear the same sample played consecutively, in a bid to eliminate unnatural machine-gunning.

Of course, Roland also owns DW, whose DWe kit is centred around its Soundworks software sound engine. While 7 Series kit owners will receive a copy of the Soundworks software, the more important news here is that Roland has ported the original Soundworks samples into a module-friendly format. So, you can import multi-sampled kits into the V71, and play them straight from the module, and leave your laptop at home.

With this in mind, the V71 also includes its own WiFi connectivity which allows for direct, wireless connectivity to Roland Cloud for downloading and installing expansion packs, jam tracks and more into the module. 7 Series owners will receive a 6-month tial for Roland Cloud, offering unrestricted access to all upgrades. When the trial ends, you can continue with a paid subscription, or cancel it (your downloaded assets will, naturally, cease to work without the subscription or purchase of a lifetime key for individual products).

There’s Bluetooth too - a feature previously left off the spec sheet of Roland’s flagship modules, and Roland has equipped the V71 with a colour screen to help make navigation even more user-friendly.

As well as the V71 module, Roland has made upgrades across its drum pads. Starting with the snare, the digital PD14-DSX features a similar digital throw-off to DWe’s idea, but Roland has gone a step further and added a digital strainer, so now we can adjust the tension of our virtual snare wires in the same way that we do on an acoustic drum.

The tom pads included on the TD-716 have been overhauled too. The PD-10X rack toms and PD-12X floor toms both feature die-cast hoops, with a new rim bumper design that gives them a lower profile, making the physical rim of the drum less intrusive, while still offering the required articulations for playing rim shots and rim hits.

As we’ve already mentioned, the 7 Series electronic drum sets are available in three configurations at the time of launch, all of which include the V71 module. First is the TD-716, which features a real-shell KD-18 bass drum, 2x PD10X rack toms, 2x PD14 floor toms and the PD14-DSX snare drum. It’s joined by a pair of VH-14D digital hi-hats, CY-18DR digital ride, and two CY-16R-T crashes, and is mounted on an MDS-STG2 rack system, complete with internal routing of the cables.

Next up is a more compact V-Drums setup in the TD-713. Here, the bass drum pad swaps to a KD-12 mesh head bass drum tower. One of the crash cymbals is swapped for a CY-14C-T crash cymbal, and the four tom pads are the current PDX-100 mesh-head models. We get a change in rack, too, with the lighter-weight MDS-GND2 stand holding everything up.

Finally is the VAD716 setup. These configurations remain the same six-piece-plus-cymbals setup, but as you already know, the kit is based around real wood shells throughout (except for the PD-14DSX snare drum). The cymbal configuration is the same as the TD-716, and the VAD 716 is available in a choice of finishes: Pearl White, Satin Walnut, and three transparent lacquer finishes applied over maple veneers - Gloss Cherry, Gloss Natural and Gloss Ebony.

The kits are due to start shipping in October, priced at $2,599.99 V71 module, $6,333.99 for the TD713, $7,999.99 for the TD716, and $8,999.99 for the VAD716. For more information, visit the Roland website.

It’s been a busy 12 months for Alesis when it comes to electronic drum sets, starting with the Nitro Max, which raised the bar for entry-level kits thanks to its inclusion of mesh heads and a BFD-derived sound set. Next came the flagship Strata Prime, which ports the multi-sampled BFD 3 library into a touchscreen-equipped drum module for the first time. Now, Alesis is following up with the Nitro Pro - which expands on the features of the Nitro Max, offering what Alesis says "caters to both new and experienced players, providing unmatched flexibility and features at an accessible price point."

Running alongside as the bigger sibling to the Nitro Max, the Nitro Pro is once again an eight-piece, mesh-headed electronic drum set. For the Nitro Pro, however, Alesis has made the three included 8-inch tom pads dual-zone, and scaled up the snare drum offering with a 10-inch, extra-deep pad for more realistic placement.

The Nitro Pro gets an upgrade when it comes to the bass drum tower, too, with a larger, 8-inch pad offering the same tension-able mesh head performance as the rest of the kit, and sized to easily accommodate a double bass drum pedal.

It’s all mounted to a beefed-up sturdy steel frame with reinforced mounting hardware to ensure that everything stays put, and Alesis is also bundling a bass drum pedal and hi-hat controller with the Nitro Pro.

For the cymbals, we get the same 10-inch hi-hat (single-pad, rack-mounted), crash and ride pads as seen on the Nitro Max, with each of the latter offering two playable zones as well as choke functionality.

Turning to the bright red module, and it’s clearly sporting the same phone support and BFD logo as the Nitro Max, offering over 500 sounds derived from the BFD software library. These are organised into 36 user kits with an additional 16 slots for you to create your own combinations. 

Internally, there’s a sequencer for recording your playing, built-in jam tracks, and reverb and EQ effects.

It comes with Bluetooth onboard for cable-free jamming to your music library, along with MIDI-over-USB for hooking up to your computer, or a five-pin DIN I/O connectors if you want to interface with hardware over MIDI. 

Audio connectivity is handled by a stereo line outputs along with a headphone socket and mini-jack aux-input. The Nitro Pro is expandable with additional trigger inputs for an extra cymbal and tom pad, and if that isn’t enough, then Alesis is including its BFD Player software as well as a free 90-day subscription to online drum lesson platform, Drumeo!

“We are proud to extend the Alesis Nitro family with Nitro Pro," says John Boudreau, Director of Product Management at Alesis. “This kit presents an unparalleled value in the marketplace, offering professional studio quality sounds and advanced features. With Nitro Pro, we invite drummers to take their passion for drumming to the next level."

The Alesis Nitro Pro is available now, priced at $599£679/€799. For more information, head to the Alesis website.

The Alesis Strata Prime burst onto the electronic drum kit scene earlier this year, turning heads (including ours) in the process – and making a very convincing play for the title of the best electronic drum set of 2024 – with its BFD-powered, multi-sampled sound engine, colour touchscreen display and mesh heads all-round.

But, despite being very impressed with the Strata Prime’s overall sound quality, playability and performance during our Alesis Strata Prime: first impressions and more detailed Strata Prime review posts, there was one feature missing that we’d have expected to see from a premium pro/consumer electronic drum set in 2024: Bluetooth audio.

Now, that’s not to say the Strata Prime doesn’t have Bluetooth capability, it most certainly does. Except upon its release, this was limited to work as a wireless MIDI connection rather than the more obvious and familiar audio connection.

All that has just changed, though, as Alesis has just given the Strata Prime its first full software update since launch with V1.1 and amongst the new features, Bluetooth audio is top of the list. This means that Strata Prime owners can now give their 3.5mm jack cable and annoying phone adaptor a break, and hook their device up to the Strata Prime wirelessly for jamming to music libraries and backing tracks.

That should be reason enough to grab the update, but just in case you’ve been holding off, Alesis details a number of other improvements which have been made with its incremental updates. 

As well as the Bluetooth addition, there’s a new ‘CDD Class’ factory kit, support for 55 external triggers (including third-party models), UI enhancements including a simplified Home screen with quick buttons for Kit and Kit Piece selection, as well as minor bug-fixes to help everything run smoothly.

Strata Prime users can get the V1.1update for free now. It can be downloaded and installed directly using the Strata Prime’s built-in WiFi connection and update manager, or alternatively you can download the update to a Mac or PC and transfer it over a cabled USB connection or thumb drive.

For more information and to download the Strata Prime V1.1 update, visit the Alesis website here. 

Alesis Debut review: What is it?

As the name very much suggests, the Debut is an entry-level offering in Alesis’ ever-expanding and evolving range of electronic drum sets. Just a few years ago we reviewed the Nitro Mesh which was at that time Alesis’ starter set (and was the number one choice in our best beginner electronic drum sets guide - now replaced by the Nitro Max). This Nitro mesh was later bumped up with the introduction of the Turbo Mesh and the Debut, which is a great e-kit option for kids.

This ultra-compact kit is aimed squarely at young kids looking to get their first kit and comes with everything they need to get started in one box. The setup comprises four 6” mesh pads (snare and three tom-toms), three 10” cymbal pads (hi-hats, crash and ride), two small pedals for hi-hat and bass drum and the sound module - all of which are housed on a simple two-poster rack. 

For the uninitiated, a sound module is the computing element of an e-kit that translates strikes of each pad into pre-recorded sounds which can be monitored through speakers or headphones (which are included with this kit). Despite the small size, this 8-piece configuration delivers everything a young drummer needs for learning the basics and beyond.

The rack comes ready-assembled with the snare and tom pads already attached. This is then folded out in order to attach the cymbal arms and remaining pads. The module then connects to each pad via the wiring loom provided - each jack cable is clearly labeled for its designated pad, making it a breeze to rig up. The setup time is surprisingly fast and can be completed in less than 10 minutes.

All that is left is to throw the included stool together and grab a pair of sticks which, you guessed it, are also included! Having everything practically ready to go out of the box is a great move from Alesis - we’ve reviewed countless e-kits where the playing doesn’t start for a good 90 minutes while we build everything from the ground up, from piecing together the rack to mounting and positioning pads. This move by Alesis means that total beginners can get straight to the fun bit!

Alesis Debut review: Performance & verdict

The module features ten preset kits with a total of 120 individual samples. Considering the Debut’s extremely low price-point of just over $269/£200, the sounds aren’t at all as offensive as one might expect. The kits range from some drier pop-style kits to reverb-soaked stadium rock sounds. There is also an EDM-style drum machine setting and a couple of percussion kits for a balanced mixture. There are no separate head and rim sounds (which is no surprise as it’s not a feature we’d expect to see for this price) but the module does produce slightly different sounds depending on how hard the pad has been struck. This feature gives this small and fairly basic kit a leg-up in terms of expression.

Where we found the Debut falls down is with the bass drum and hi-hat pedals which we found to be fairly hard work. Perhaps they’re not so bad for a young child who has nothing to compare them to, but for anyone who has played a kit with ‘real’ pedals before, these will likely feel a bit awkward. The foot switch style mechanism is so small that the only way to play them is to sort of float your foot around over the top, and they’re so light that they move around readily under movement - I actually managed to catch the side of it and flip it over like a Tiddlywink at one point during testing.

Now, for those of you with questions like “what age is the kit for?” or “how much space does it actually take up?” then the following information should be useful to you.

The vertical poles of the portable rack system are 63cm high which means the toms sit just over this height on the maximum setting, while the cymbals can extend to 90cm from the floor.

Fully extended, the entire kit is no more than 1 metre wide, but can be compacted to less, with a total depth of 50cm (not including the stool), which is ideal if you have limited space for rum kit. Interestingly, the horizontal bars of the rack can slide all the way to the bottom of the vertical posts, allowing the whole kit to be lowered dramatically. Aside from making cymbal positioning slightly trickier due to the posts protruding out of the top, this actually opens up the Debut kit to kids who aren’t even out of nappies yet. So, in terms of versatility for young drummers, this is a kit that will literally grow with them for those early years of playing.

In addition to the ten kit presets, the module does come with some added functions for budding drummers. Aside from 12 built-in playalong tunes, the aux input allows your own music to be played into the module from an external device like a smartphone, alongside the drum sounds.

There are also five dedicated coaching functions on-board he module, which use the inbuilt metronome to offer timing challenges such as Beat Check (where it tells you if you’re on, ahead or behind the beat) and Rhythm Change Up which helps with practicing specific sub-divisions). There are also free interactive lessons included from Melodics, hich you access via computer or tablet.

Overall, for the price, this is an excellent option for first-time players. It’s small enough to not overstretch more slight players and, while the sounds won’t win any awards, they’re more than adequate to give the full experience of playing the drums. The only drawback for us is the hi-hat and bass drum pedals, which are tricky to master and won’t translate well if you move up to standard hi-hat and bass drum pedals.

Alesis Debut review: Hands-on demos

Andertons

GAK

Gear4Music

Alesis Debut review: Specification

• Module: 10 kits and 120 sounds
• Configuration: 4x 6-inch adjustable mesh head drum pads, 3x 10-inch cymbal pads, bass drum and hi-hat floor pedals
• Other features: Sturdy metal mounting rack, drum throne, sticks, headphones and cabling included. Melodics learning software also included
• Contact: Alesis

Alesis Strata Prime review: What is it?

Take a look at the electronic drum set market and you’ll realise just how much competition there is out there. And, as we discovered earlier this year with the release of Alesis’ Nitro Max set, this competition is incentive enough for some of the more established brands to work harder in order to get their gear in our shopping carts. Traditionally a slight underdog to Japanese giants Roland and Yamaha, Alesis – a brand that has been involved in electronic and hybrid drum triggering since before the latter phrase was even coined – has emerged over the last decade or so as a serious contender with value-packed kits for less money.

But, while offering similar features at a lower price point is brilliant for us customers, what about innovation? Well, we’re about to find out, because with the Strata Prime, Alesis has quietly devised what could be a game-changer: the power of computer-based sounds housed in a self-contained, mesh-headed electronic drum set.

The whole concept begins with Alesis’ parent brand, InMusic, having acquired the BFD software drum library in 2020. BFD, alongside Toontrack’s then-titled Drumkit From Hell (now Superior Drummer 3), started the boom in computer-based drum libraries 20-odd years ago.

Why is this important? Well, every sound we play from our electronic drum kits is an audio sample; we hit a pad, the module plays back the selected sound at the velocity level of our strike, and we hear it through our speakers or headphones.

But drums can be hit at infinite different levels, each one producing a different sound - a snare drum tapped lightly sounds very different to a hard-hitting rimshot, for example.

Not only that, but the drum sounds we’re used to hearing on recordings aren’t just coming from one source, the overall sound of a recorded drum kit is made up of many close mics bleeding into each other, overheads, plus room/ambience mics. In short, it’s not just the same sound played quietly or louder.

With these factors in mind, then, it makes sense that in order to have a realistically playable electronic drum kit, we need to be able to recreate the sound of our drums and cymbals played at many different light and harder strikes, as well as having control over the overall balance of the microphones that have captured these sounds.

As you can imagine, this sort of forensic sampling of an acoustic drum kit requires a lot of audio files, and in turn, this requires vast amounts of memory and lightning-fast processing. DW’s recent DWe takes this approach, albeit with sole reliance on a computer.

That’s because drum modules have traditionally been held back by these technological limitations, and the samples housed within are limited to anything from a single one-shot sample to a handful of velocity layers.

It’s this lack of detail which in part causes the famous ‘machine gunning’ effect, where the same sample is triggered repeatedly with no change. But this is 2024, memory and processors are more powerful, and if you own an entire company whose fortune was founded on creating detailed acoustic drum samples, there’s a whole lot of work already done.

Alesis has done just that, and ported its BFD 3 library straight into the Strata Prime drum module, giving us multi-velocity-layered, and multi-mic’d samples of every kit part, captured in pro studios with expensive outboard gear.

The Strata Prime module forms the nerve centre of the kit, and everything is based around a 10.1” colour touchscreen. Inside, it’s pre-loaded with over 45 GB of sample data (with a 128GB capacity hard drive), arranged into 75 preset kits. There are hardware controls for the master output, headphone outputs and aux-input, as well as a main scroll wheel and six rotary controls for making selections away from the touchscreen.

Around the back, there are 13 trigger inputs, all of which operate on TRS quarter-inch jacks for dual-trigger capability. Outputs include stereo L/R outputs via XLR sockets, plus four direct outputs for routing kit parts to their own dedicated output. MIDI is handled with 5-pin sockets, USB or Bluetooth.

But, the module is only part of the story, because as we’ve grown accustomed to, Alesis has stocked the Strata Prime with mesh headed-pads all round, and they’re configured to faithful acoustic-style diameters with a 20” bass drum, 8”, 10”, 12” and 14” toms and a 14” snare drum pad. Joining these are Alesis’ new ARC cymbals, all of which are triple-zone with a 360-degree playable surface, and once again we don’t have to compromise too much on sizes, with a 14”, single-piece hi-hat, two 16” crash cymbals and an 18” ride all designed to get close to our acoustic cymbal setups in terms of size. The whole lot is fitted to a wide, three-sided rack stand with ABS-stlye heavy duty plastic clamps to lock everything in place.

Alesis Strata Prime review: Performance & verdict

Our kit arrived in two boxes, one containing the bass drum and one with the disassembled rack, pads and module. It comes with a stand for the snare pad, as well as the cymbal boom arms, but you’ll need to source your own hi-hat stand, drum throne and bass drum pedal. Assembly is simple, even if it is tedious, and the size of the rack means you might want to enlist some help to speed things up, but all-in-all, you should be able to get it built in under an hour.

Upon starting up the module, we’re greeted by its beautiful display, and (for the first time we can remember) the Strata asks to connect to the Wi-Fi. This is to handle firmware and library updates, which removes one more reason to go anywhere near a computer. There’s a walkthrough for setting up the hi-hat calibration, and the same can be done to calibrate the crosstalk control between the drum pads using the LearnXTalk feature.

It’s an important step, particularly as everything is mounted to a rack, and vibrations aren’t as isolated. For the most part, this process is set-and-forget, with the exception of perhaps the hi-hat which might require the odd tweak if you change the pedal tension.

The big news here is the module, so we’ll start there. It’s based around a similar GUI to BFD’s main screen, with a kit overview allowing you to select presets, swap drums and cymbals, and fine-tune your sound. Naturally, the excitement lies in the sounds, and we were sceptical right up until the point where we started to play.

In short, it lives up to its claims, with dynamically layered sounds serving up an experience that’s analogous to the difference between an MP3 and uncompressed audio, or in visual terms, SD to UHD. The Strata Prime responds to our buzz rolls and light taps, all the way up to heavy, rim-shotted backbeats with a pool of samples tailored for the job. At first it’s quite surreal, especially if you’re used to hooking your kit up to a computer in order to get this level of detail.

You can control a lot of parameters from the main kit selection screen, and towards the bottom we get a selection of controls that are assigned to the rotary controllers. These are handy for making finer adjustments, and despite having the touchscreen, we found a combination of both to be intuitive and useful.

The Strata Prime also includes the Stacks feature. This allows you to layer sounds underneath your core selection, in a similar way that modern drum recordings are bolstered by layers of multiple drums. You can choose up to three additional Stacks on a kit piece, so if you want a snare drum that’s full of punch and body, but perhaps lacking in overtones, you can just scroll through, find an additional snare with more ring and blend it in. All the while maintaining the fluid dynamic response that makes the Strata so appealing in the first place.

It’s also great for creating convenient layers - a snare with a handclap or tambourine, an acoustic bass drum with an electronic sub-bass, the possibilities are only limited by the sounds you have to hand. Speaking of which, if you can’t find a suitable sound within the module’s massive selection, you can also import your own via the SD card.

Navigating your way around the module is easy thanks to that touchscreen, but it will take you a short while to remember the infrastructure. From the mixer screen, you can blend your close, overhead and room mic levels, as well as applying effects (up to three per-channel) and assigning channels to the respective outputs. In use, we found that between the main screen and mixer display, you’re unlikely to have to spend a lot of time delving around elsewhere, unless you’re making utility/settings type adjustments to things like the dynamic response of the pads.

Which brings us to the other half of the story, the bits we actually hit! The Strata Prime’s pads are somewhere between what we’re used to seeing on the Strike Pro and the more recent Nitro Max, with the toms and snare taking on a less shell-like appearance, but with more depth than a simple drum pad. The mesh heads are sturdy, and neatly pinstriped throughout, meanwhile the tuning lugs are gold plated, which, while joining the ruby red wrap to create a head-turning look, might not be to everyone’s taste.

However, it’s the sizing and configuration that really stands out. The 8” pad is a great addition rather than having to be the starting point for our toms (although it definitely works well as a first rack tom with a suitable sound selected). What we really get is some flexibility - set it up as your first rack tom and you’ve got a cool extended tom set, or alternatively, move it to the other side of your hi-hat and it can be an auxiliary snare drum or effects pad, without losing a traditional three-tom setup. The same can be said of the floor tom placement - particularly if you feel like a 12” pad is too small to act as a first floor tom. The pads stayed pretty solid throughout our time with the kit, although we did find ourselves having to tighten up the largest floor tom every now and then. It’s relatively heavy, and being hung from a rack does mean that there’s a fair amount of leverage when hitting it. But, tighten it up properly and you shouldn’t have any real concerns.

The snare drum pad is really good, with the 14” sizing not only faithful to most peoples’ go-to snare size, but it matches the largest tom, rather than dwarfing it. We’ve said a similar thing about ‘shell’ based kits before, and while the Strata Prime pads don’t have the depth limitations of a full-shell setup, the diameters mean that you’re likely to space everything out more naturally. It’s almost subliminal, but it really does make a difference to the way you play, forcing a more realistic movement around the kit and making everything feel that much more ‘real’.

It’s here though, that we find our first major gripe with the Strata Prime. The snare drum has two zones - the head and rim. That means we can play centre-of-head sounds, the rim on its own or a rimshot. Of course, a cross-stick is also a major articulation of any snare drum, and the Strata Prime can do that too. Except in order to execute it, you have to tell the module whether you want the rim to create a rim sound, or cross-stick - it can’t do both autonomously. Selecting cross-stick means that you can play the rim from your standard grip (like you’re hitting the drum), which as we all know, isn’t very realistic.

If you anchor your hand and the stick on the drum head while you play a cross-stick, the Strata Prime registers it as a rimshot. We found that laying the stick across the width of the pad, with both ends touching the rim either side allowed us to at least play a cross-stick from a more natural (but still a bit awkward) hand position. It’s not a big enough issue to make us discount the Strata Prime, but with so much thought put into realistic reproduction of drum sounds, combined with the lack of positional sensing found on kits such as the Roland TD-27, it seems a little bit of an oversight.

Next are the cymbals, which are frankly, excellent. Once again, the sizes prescribed by Alesis add to the realism. The ARC, isn’t just a marketing acronym (Alesis Rotatable Cymbal, if you’re wondering). Each one has a 360-degree playing surface, and is chokeable. To the edge, there’s a distinct curve, which makes it feel less like you’re hitting a rigid slab of rubber, particularly when crashing. While there’s weight to them, they move freely with swing and stick bounce all feeling very natural.

The hi-hat pad sits on a plinth type sensor unit, but unlike the traditional sensing we’re used to, it uses magnets - in what Alesis says is a world-first - to determine the open/closed positioning. Hi-hats are one of the most difficult parts to get right when it comes to electronic cymbals, mainly because the mechanical nature means that there are so many interactive sounds available at any given moment. Roland’s VH-14D are no doubt the most impressive we’ve tried, but, if you’ll allow us a pun, we’re going to say ‘Hats off!’ to Alesis. The 14” diameter combined with the fluid response make these a lot of fun to play. It’s here though that we’ll reiterate the importance of making sure your hi-hat stand is set comfortably, and that you’ve calibrated the hi-hat in the module. There are too many variables at play (preference, hi-hat stand tension/clutch height, playing style etc.) for it to just have a guess straight out of the box, and this really applies to electronic hi-hats from any brand. Spend a few minutes dialing it in, and the reward is smooth timekeeping.

Edit: When the kit first launched, it had Bluetooth, which surprisingly could only be used to transmit MIDI wirelessly, but not audio. That has now changed with the latest firmware update opening up all Strata Prime users to Bluetooth audio. Our update took less than 2-minutes over Wi-Fi, and pairing our iPhone to the module was painless. It genuinely felt great to ditch that cable...

Alesis Strata Prime review: Conclusion

The Alesis Strata Prime currently occupies a unique space in the electronic drum world. First is that stellar BFD sound set, which in our opinion really does open up the possibilities of using an electronic kit in a live situation. Yes, you can already do this if you’re prepared to take a laptop, and possibly a multi-channel audio interface to a gig. Pearl’s Steven Slate Drums-equipped MIMIC module is the next-closest rival, but it needs to be paired with pads or triggers. Here, it’s all self-contained with pads and cymbals designed to play nicely with the module.

At times, it does seem like the Strata Prime is straddling the worlds of home practice and professional use, features such as the two-zone snare come across as a bit indecisive as to who the target user is, but this is a minor niggle rather than a real problem.

We’d love to see Alesis produce a ‘stage’ version of the Strata Prime with real drum shells for a more traditional acoustic look, removing the need to haul a rack.

Ultimately, though, the Strata Prime is incredibly impressive. It’s common for gear brands to make hyperbolic claims, only to find they’re talking hyper-bollocks. In this case, we’re looking at a bonafide game-changer that, as we approach the midpoint of the year, has its hands firmly on the Best New Electronic Drum set of 2024 chalice.

​​Alesis Strata Prime review: Hands-on demos

66Samus

Adam Tuminaro

Guitar Center

​​Alesis Strata Prime review: Specification

• Module: Alesis Strata Prime with BFD 3 sound set
• Pads: 20” ‘shell’ bass drum (single-zone), 14” snare drum (dual-zone), 8”, 10”, 12”, 14” toms (dual-zone)
• Cymbals: ARC cymbal pads - 14” hi-hat (one-piece w/magnetic sensor), 16” crashes x2, 18” ride cymbal
• Hardware: Alesis aluminium rack w/ABS clamps, cymbal boom arms, snare stand, module clamp
• Features: 10.1” touchscreen, 128GB hard drive, Bluetooth MIDI and audio, USB-C MIDI interface
• Contact: Alesis

Earlier this month, Zildjian teased its (perhaps surprising) Alchem-E electronic drum sets with a just-detailed-enough shot of one of the kits. At the time, the 400-year-old cymbal brand promised to reveal all on 10 May, and that’s exactly what it’s done, with the full Alchem-E lineup announced.

The Zildjian Alchem-E series comprises two versions, presented in three configurations – full-shell five-piece Gold-EX and four-piece Gold kits, plus the Alchem-E Bronze five-piece setup – all of which feature three-zone snares and toms, as well as triple-zone cymbals and mini-tube lugs. 

Interestingly, the Gold-EX/Gold setups can have their mesh heads removed and replaced with regular heads, turning it into a fully-acoustic kit. Each setup is centred around the Zildjian E-Vault ZEV1 module, which is equipped with a 5" touchscreen, and a pretty generous level of connectivity. Let's take a look!

Zildjian E-Vault module

The E-Vault module is based around a 5” touchscreen, and inside it’s home to around 32GB of on-board sounds, including a host of ever-expanding, updatable cymbal sounds sampled from Zildjian’s vault.

To the back there’s plenty of connectivity with 6x drum inputs, 6x cymbal inputs, 8x direct outputs and a stereo L/R output. There’s digital connectivity too, with 5-pin MIDI I/O, USB C audio (10x out, 2x in) and USB memory stick sockets. In addition to this, Zildjian has equipped the module with a cabled aux-input, as well as Bluetooth audio for streaming music from your device.

Zildjian Alchem-E E-Family Cymbals

Of course, Zildjian’s 400-year experience in cymbal-making makes us wonder about how it has tackled the conundrum that, to many is the final piece of the e-drumming puzzle. With the Alchem-E kits now out there, Zildjian is confident that it has it licked with the E-Family, metal electronic cymbals, while also revealing that its acquisition of BAC audio in 2022 has played a part in its electronic expedition.

Based on Zildjian’s low-volume cymbals, the E-Family range offers realistic sizing and response from a triple-zone cymbal (bow, edge, bell). Each model is equipped with a sensor which sends the signal to the E-Vault module via a proprietary ethernet connection, where the position you’re hitting is detected.

Size-wise, E-Family cymbals start with the two-piece, 14” hi-hats, with 16” crash cymbals, and 18” and 20” crash-rides also available throughout the configurations.

“The longtime pain point of electronic drumming has been the rubber cymbal pads that don’t look, feel or respond like real cymbals,” says Zildjian CEO, John Stephans. “As a company that’s been pioneering cymbal technology for over 400 years, solving the challenges of electronic drumming was the next logical evolution in our company’s journey. We set out to create the most realistic, authentic playing experience across the entire kit and are confident that drummers will agree.” 

“Two years ago, Zildjian made the strategic move of acquiring BAC Audio”, adds Zildjian 14th-generation owner, Craigie Zildjian. “BAC Audio is a team of master electronic instrument engineers established by Ikuo Kakehashi, the son of Roland Corporation’s founder, Ikutaro Kakehashi. This acquisition combines centuries of cymbal making expertise with decades of leading-edge electronic percussion. We’re excited that the BAC Audio partnership has allowed Zildjian to take the e-cymbal to a place it has never been before.” 

Zildjian Alchem-E Gold-EX and Alchem-E Gold

The Alchemy Gold-EX and Gold configurations are built around the same concept. Both kits are equipped with 7-ply North American maple shells, finished in Gold Foundry Shimmer lacquer, with the difference coming in sizes.

Gold-EX setups include a 20” bass drum, 10” and 12” rack toms, and a 14” snare drum. As well as this, it ships with a cymbal pack comprising 14” hi-hats, a 16” crash, 18” crash-ride and 20” crash-ride.

Meanwhile, the smaller Gold setup gets us an 18” bass drum, 10” rack tom and 14” floor tom, with a reduced cymbal pack featuring 14” hi-hats, 16” crash and 20” crash-ride.

Both Gold-EX/Gold configurations come with boom stands for all included cymbals, as well as tom holders, module mount and stand, a 32GB USB drive, microfibre cleaning cloth and Zildjian Alchem-E drumsticks.

Zildjian Alchem-E Bronze

The Alchem-E Bronze setup follows a similar concept to what we’ve seen on Roland’s more affordable VAD 300-series electronic drum kits, with shallower drum shells making for a more portable, space-saving setup while approaching the more realistic diameters of acoustic drums. Here, it's finished in a matte black wrap.

Here, the poplar/basswood shells are configured as and 18” bass drum, 2x 10” rack toms, 12” floor tom and 14” snare drum. Alchem-E Bronze kits come with a three-piece cymbal pack: 14” hi-hats, 16” crash, 18” crash-ride, as well as a hardware pack including 2x cymbal stands. 3x tom mounts and a module stand.

Zildjian Alchem-E kits are available to pre-order now, priced at $6,999 (Gold-EX), $5,999 (Gold) and $4,499 (Bronze). For more information, or to find your nearest stockist, head to the Zildjian website.

Zildjian has shared two cryptic images, revealing that it’s about to drop a surprise new release, and it’s a big one, as it looks like the brand is about to make an attempt to enter the ever-growing electronic drum set market. 

Posted to the brand's social media pages, the images feature the text “An electronic experience 400 years in the making” and “Coming 5.10.2024” (10 May).  

Obviously, information is limited at this time, but with just under two weeks before Zildjian lifts the lid entirely, here’s what we can glean from its teaser posts.

It’s called Zildjian Alchem-E (or maybe Alchem•E)

Zoom in on that bass drum resonant head and you can see the clearly legible word, ‘Alchem-E’ (geddit?). It's hard to see how Zildjian has styled it, whether it's Alchem-E, Alchem•E or Alchem E, but either way we see where this is going.

Of course, it's a nod to the brand’s 400-year expertise in turning molten bronze into its renowned cymbals, as well as a look towards the future (that’ll be the ‘E’ bit).

It uses full-size shells

The trend for bringing electronic drums closer to the physical feel and placement of our acoustic kits isn’t going away, in fact, we’d say that it’s no longer the exception to the pads-on-a-rack rule. Zildjian’s offering looks great (at least the backlit silhouette of the kit does), with tube lugs offering a touch of class all-round, joined by that familiar logo applied to a circular badge on each drum. Finally, they look to be full-size shells (or at least, close-to, and in proportion) too. 

But, is this likely to be the only configuration? Roland’s VAD sets come in full-depth, double-headed shells, but they also come in the cut-down ‘half-shell’ VAD 307 and 107 kits, with each offering's module available in a shallower pad/rack format in the V-Drums range. 

So, is Zildjian giving us a glimpse of its flagship model first, with a complete range to be unveiled on the 10th May? Or is it dipping its digital toe with a heavy leaning towards tradition as a ‘concept’ type release? 

It’s got mesh heads, but is it exclusively electronic?

The first photo shared in Zildjian’s teaser clearly shows us a view across the plain of the rack tom, where we can see that the Alchem-E drums are sporting mesh heads along with rubber rim bumpers, at least on the batter side…

Underneath, the toms are fitted with mylar resonant heads, which suggests that Zildjian might have taken a leaf out of DW’s DWe book and made this ‘acoustic/electronic convertible. Finally, is that a snare mechanism we spy? Because it looks very much like a throw off to us on the drum’s left side (right from our perspective).

The cymbals are metal, and full of holes

Come on, you wouldn’t expect the oldest-running cymbal brand on the planet to produce rubber cymbals now, would you?

Remember the Zildjian ZMC-1 and ZMC-10? Or more recently the Gen 16 system? The latter paired now-common low-volume cymbals with electronics (a contact-pickup and module) to offer you real-feeling cymbals with complete control over its amplified sounds via volume and EQ controls. 

That’s different to what we’re used to with ‘electronic cymbals’ where the sound the pad creates can be reassigned to any sample we choose from our module. Here, we can see that the cymbals are once again perforated, low-volume style, and made of metal, with what appears to be a piezo pickup mounted below. 

We’d expect these to be three-zone, in keeping with high-end offerings from other brands, after all, if there’s one big improvement to electronic drums we’d want to see from Zildjian it will be the cymbals. 

DW’s metal electronic cymbals are acoustically quite loud, and the common complaint with rubber is weight and stick response. Can the Big Z finally crack the cymbals (pun absolutely intended)? We don’t have long to wait to find out!

It’s not wireless

For decades, we’ve (perhaps begrudgingly) been forced into plugging in cables for every pad, cymbal and controller that’s connected to our electronic kits. One of the biggest game-changers of DW’s DWe is its wireless triggering, which is frankly, nothing short of brilliant. 

But, that technology is owned by the Oxnard giants (and now, parent company Roland), so to immediately expect to see wireless technology on every kit that comes out hereafter is unlikely. There are cables. You’ll need to plug them in. Business as usual.

It’s module-based

This point means a couple of things: for those of us who don’t want to use a computer, you apparently won’t need to. For those of us who use a computer and wish that our modules had the same capability as software libraries, well, it might. 

The recent release of the Alesis Strata Prime - packing the full multi-sampled, multi-mic position BFD library - along with the Pearl MIMIC (fuelled by Steven Slate Drums) before it, prove that module sounds don’t need to be limited to a couple of dynamic layers. 

The module can be seen peeking its way into the right-hand corner of the photo, and the only visible element from the angle we’re given shows it mounted on a stand, with a solitary gold control knob sitting proud. So, possibly a touchscreen? Possibly controlling loads and loads of sample memory inside the brain? We hope so, and we'll find out on 10 May.

Alesis is known for delivering a lot of bang for your electronic drum set buck, but today it has unveiled its latest flagship electronic kit in the Strata Prime. But, while on the surface it might appear like another familiar evolution in the Alesis line-up, this 10-piece, all-mesh kit is packing a potentially game-changing trick up its sleeve. Big talk, but backed up by the fact that the trick is actually a 40GB sound library, lifted straight from BFD 3 and placed inside the Prime module. So, just to reiterate, that’s a multi-layered, multi-microphone (including close mics, overheads and room mics) sample set housed in a drum module.

As well as this, the Prime module is based around a 10.1” touchscreen, allowing you to tap your way through your kit presets, drum selections and…well, pretty much the entire user interface without having to endlessly scroll through menus.

Thanks to the good folk at Alesis, we got our hands on a Strata Prime ahead of launch, so while we ready our full review, here are our first impressions, including some things we love, and a couple of things we’re not so sure about. 

We love: The BFD sound engine

If you’ve ever sat at your e-kit triggering one of the many drum sample libraries from a computer and wished you could import more than basic one-shot samples, you might want to pay attention. 

The Prime module is loaded with over 40GB of sample data running in a BFD engine. They react dynamically – because they are dynamic – so a softer hit triggers a softer sample, and a harder hit gives you a harder sample. 

The sounds transition nicely and straight out of the box there’s very little machine gunning. A few tweaks of the sensitivity settings and velocity curves, and you’ve got studio-quality drum sounds dialled in. 

No computer, no audio latency. Plus, there are a lot of very cool instruments to choose from - from vintage drums to modern metal, funky hi-hats to Istanbul Clap Stacks, all with adjustable close, overhead and room mic positions. Nice!

We love: The touchscreen

It’s 2024, and we’re conditioned to prod at any sort of backlit display we come across. Alesis has obliged by fitting the Prime module with a massive tablet-style touchscreen that takes care of 95 per cent of business while using it. It looks great too, with a full-colour output making everything nice and clear, we quickly forget we’re sat at a drum module. 

Of course, some things still benefit from hands-on control, and there are volume knobs for the main output, aux input and headphone levels, plus Alesis has placed six rotary controllers at the bottom of the touchscreen for making more detailed adjustments to your sounds and settings. Overall, though, it’s a very intuitive user experience.

We don’t love: The Bluetooth

As with above, it’s 2024, so upon getting the strata Prime set up, we reached for our phone to start jamming with our Spotify library. Jabbing at that touchscreen quickly puts us on the settings screen, and just as with the Alesis Nitro Max recently, we go about syncing our phone to the Prime’s Bluetooth connection. 

“Instant pairing? Excellent!”. Except there’s a problem - the sound is still coming out of our phone. That’s because the Strata Prime is equipped with Bluetooth MIDI, but not audio. Now, arguably it’s not fair to criticise a pro-level module for not including a consumer-level feature such as Bluetooth audio. Some of the Strat Prime’s rivals such as the Roland TD-50X don’t have it either. 

But, we can’t help but mention it, especially as there is some Bluetooth capability onboard. Alesis tell us that this could be a possible update in the future, but for now, we get wireless MIDI (which is admittedly, great) only. So, you’ll need to dig out cable if you want to jam with your music library.

We love: Stacks

A big part of creating our own customised sounds involves stacking a couple of sounds together. The Prime module allows us to do this easily via its Stacks feature. Want a bass drum with more weight but without losing the slap? You can scroll through and blend multiple, multi-layered samples together to create a huge sound. 

The Prime module can mix-and-match any of the internal sounds, or import your own to do this, and the result can be anything from a modern, massive production type-sound to convenient layering of sounds (a snare drum and a handclap, for example), or, you can set it to switch between the sounds at any given velocity level. Bravo!

We don’t love: The cross-stick

With such a massive amount of realism on hand from the sound set, coupled with the slick looks of the module, we can be forgiven for trying out all of the snare articulations as one of our first ports of call. Snare head? Check. Rimshot? Check, check. Cross-stick? On yer bike, pal. 

Unfortunately, the cross-stick on the Strata Prime is executed by hitting the rim in the same way as you’d play the other snare articulations. Ok, so it’s not like it can’t play a cross-stick sound, but we feel that since Alesis has gone to pretty great lengths elsewhere – not to mention with the realistic pad sizes – it’s a bit of a faux pas. 

But, we did find a workaround by laying the stick parallel across both sides of the snare pad’s rim, allowing us to at least get near a convincing placement for those '90s ballads/Police covers.

We love: the cymbals

Electronic cymbals can be a divisive thing. Too heavy and you don't get the natural swing and feel of a traditional cymbal. Make them from anything other than rubber and you risk annoying those around you. 

Alesis has struck a great balance with its ARC cymbal pads, which play nicely, have a good stick response and move with an acoustic-like swing. The choke function responds quickly across the crashes and ride, and the 360-degree playability is another welcome addition.

Most impressive, though, are the sizes. Where electronic cymbals have traditionally been smaller-sized, having 16" and 18" pads to play on adds to the realism, and the same can be said for the 14" hi-hat. Talking of which, we love how easy it is to get the hi-hat set up. The Prime module includes a simple configurator to help us get the open/closed position set comfortably, and it tracks our pedal position well.

We love: The pad configuration

Across the entire kit, it's clear that Alesis has gone for realistic sizing. From the fusion-size 20" bass drum (with a real drum shell), to the 8"/10"/12"/14" tom layout, it feels like we're playing on a real drum kit in terms of spacing.

While we unashamedly love the growing trend for acoustic-style shells on electronic kits, largely due to the fact that it forces a realistic positioning of every part of the kit, we also understand they're not for everyone. 

The fact that the diameter of each Strata Prime pad is pretty faithful means that there's no tricking yourself by placing everything close together, plus those mesh heads are tension-able, so you can make each pad react in a similar way to its acoustic counterpart.

One big bonus of having the additional 8" pad is that you can set it up wherever you like, without losing the realistic sizing across the toms. So, if you want an auxiliary snare, for example you can move it to the left of your hi-hat and still have a traditional five-piece setup.

Alesis has unveiled its latest electronic drum set, the Strata Prime, and it’s not playing around. The 10-piece setup boasts mesh-head pads all-round, a 20” kick drum, and most impressively, a 40GB sound engine packing sounds straight from BFD. Let’s dive in!

First, we’ll start with the Prime drum module. Alesis acquired BFD in 2020, and has already started rolling-out products containing BFD-derived samples, such as the Alesis Nitro Max we saw earlier this year. 

However, the big news – and it’s pretty massive – is that the Strata Prime module houses the full BFD 3 library inside. That’s over 40GB of samples, split into 75 core presets offering multi-sampled, multi-microphone (close mics, overheads, room mics) playable across the pads. What's more, it's driven by a multi-core processor to trigger the samples with zero latency, all without having to go near a computer, making this a huge game-changer for live use as well as home practice and recording.

It’s all largely built around a 10.1” colour touchscreen display, meaning that you can simply tap your way through your settings and selections without having to scroll through screens of text. However, at the bottom of the display, Alesis has equipped the Prime module with six rotary encoders for fine-tuning your adjustments, and there are also additional hardware controllers for scrolling, confirming selections and adjusting volume levels.

On the back, the Prime module is well-stocked with connectivity with 14 trigger inputs, master L/R outputs (balanced XLR sockets), four assignable outputs (jacks) and a stereo aux input. The internal 128GB memory is also expandable thanks to SD card slot and USB memory stick slots, and the Prime also features a USB connection for hooking up to your computer. Meanwhile, MIDI in/out is delivered via 5-pin connections, but the Prime also features wireless Bluetooth MIDI.

As we’ve already mentioned, Strata Prime comes with 10 kit pieces: 8”, 10”, 12” and 14” toms, a 20”x14” real shell bass drum, and 14” snare pad, all of which are equipped with tuneable mesh heads. The toms and snare are all dual-zone, offering assignable head and rim sounds (including rimshot when played together).

Cymbal-wise, we get a full set of Alesis’ ARC, 360-degree-playable cymbals, with 2x 16” crashes, an 18” ride and 14” hi-hats. These are triple-zone, offering bow, edge and bell sounds throughout, and the hi-hat makes use of Alesis’ Active Magnetic acoustic stand-mounted sensor. 

The whole lot is mounted to the Strata Prime four-post frame, which is made from sturdy-yet-lightweight steel and features locking clamps to keep everything where you put it.

Included with the Strata Prime are the cymbal boom arms and snare stand (hi-hat stand and bass drum pedal sold separately). As well as this, Alesis is bundling a 90-day subscription to Drumeo, a 30-day subscription to Melodics, plus a free copy of its BFD Player software for Mac/PC.

The Alesis Strata Prime is priced at $3,499. For more information, head to the Alesis website.

Donner Backbeat review: What is it?

Perhaps not a household name in the world of electronic drums quite yet, but self-described ‘global music store’ Donner hosts an impressive array of instruments, ranging from ukuleles and guitars to microphones, guitar pedals, MIDI controllers and of course e-drums. Founded solely as an Amazon store in 2012, all of the Chinese company’s products can still be found on Amazon in addition to its own website which offers worldwide shipping.

The Backbeat is the most expensive of Donner’s e-kits by quite a margin at $/£1,399. The range also includes the DED-80 ($349.99), DED-200 ($599.99) and DED-500 ($799.99). Aside from the show-stealing light-up pads (which we’ll get to shortly), there are a number of additional noteworthy features which elevate the Backbeat to justify this higher price bracket.

These standout features include a touchscreen module, dual-zone mesh pads, Bluetooth connectivity and multi-track USB audio. It’s commonplace to find separate head and rim (dual-zone) triggers on a snare pad, but to feature it on each of the toms as well is a welcome treat. This is something that even Roland and Yamaha don’t offer in the same price bracket. 

The 10-channel USB audio support is also quite a flex on Donner’s part in comparison to Roland’s 2-channel USB on the TD-07 module. This allows each instrument to be recorded to a computer in complete isolation. In Roland’s defense though, the TD-07KVX does come with an extra cymbal pad and a more realistic hi-hat pad that uses a real stand (something which wouldn’t go amiss here).

Donner Backbeat review: Performance & verdict

The Backbeat’s configuration includes two 8” rack toms, a 10” snare, 10” floor tom, 10” hi-hats, 12” crash and ride cymbal pads plus a sturdy 10” kick tower which is ample size for a double bass drum pedal. The kit comes with a single bass pedal which matches the standalone hi-hat controller pedal. Everything you need is in the box except for a drum throne (there’s even a pair of sticks thrown in).

The four-post rack has an interesting design twist in that the module’s wiring loom is hidden inside. The module mounts directly onto the top of the end post, simultaneously connecting the loom neatly. Small patch bays can then be found at the end of each horizontal post which minimises the length of cable needed to connect the pads.

As a result the upper part of the rack folds out and stays as one piece which then just leaves the legs and snare arm to be attached before we’re up and running. 

Naturally the first thing we can’t wait to check out is the customisable LED lights and it doesn’t take long to witness a demo. When we first turn the kit on each drum pulses blue in sequence which, if we’re honest, is as exciting as it sounds. In the menu there’s a surprising number of options for not only colour but also customisation over how the drums react when struck. These include having the light on and then flashing brighter when struck, or only illuminating when triggered. There’s also a funky setting where the colour circles around the shell and an ambient mode which fades the light up and down, essentially turning the kit into a rather expensive lamp.

The colour of each drum and cymbal can be changed independently which has great potential for teaching, particularly when it comes to younger students. My kids had a ball endlessly tweaking with the colours, which is possible not only from the touchscreen module but also from the Donner Music app via Bluetooth - nice touch Donner, nice touch. The shells are a dark grey perspex which not only disperses the light effectively but also gives the kit a clean look when the lights aren’t on.

The module’s touchscreen works fairly well although some of the menu items are a little small which can be fiddly if you suffer from sausage-finger-itus like this reviewer. Of the 50 inbuilt kits, the samples are a little hit-and-miss, with some kits being noticeably weaker than others. The trigger settings also need some tweaking out of the box in order to dial in a more realistic response. With around 1,100 total samples in the module, there is a good mix of styles and presets plus the ability to edit effects such as reverbs, EQ, compression and delays.

Overall the kit is of a respectable standard and has some surprising tricks up its sleeve but doesn’t stand up to some competitors in terms of general playability and quality of samples. The touchscreen is a blessing and we’d like to see this more commonplace with newly released e-kits. Depending on the user, the lights will either be a major selling point or a gimmick - if in the latter camp, the Backbeat might not be the kit for you.

Donner Backbeat review: Hands-on demos

65Drums

Nick Cesarz

Donner Backbeat review: Specification

• Module: 7” touchscreen, Multi-channel USB audio, app control, Bluetooth audio in, full mixing tools and FX groups
• Features: Intelligent light control drum and cymbal pads, internal cable management system
• Pads: All mesh pads. Dual-zone snare, toms and cymbals. 10” snare and floor tom pads, 8” rack tom pads, 12” crash and ride pads, 10” hi-hat pad, 10” bass drum tower. Space for two additional pads (crash 2 and tom 4)
• Contact: Donner

Alesis Nitro Max review: What is it?

The market for entry-level electronic drum sets is a fast and fierce one, and one which, until not that long ago, was dominated by the three big names in e-kits: Roland, Yamaha and Alesis.

But with the emergence of brands such as Donner, NUX, and Thomann-owned Millenium, that battleground has become a lot more aggressive.

Bad news for big-name brands, then, but excellent news for us end users. A rising tide sails all ships, and more competition means not only more options, but better value to boot.

The response to this upward pressure can be seen in the most recent releases from the ‘Big Three’, with Yamaha’s DTX402 and Roland’s TD-02 making persuasive plays for our affordable budget. Alesis has long been the purveyor of added value, teasing people away from the Japanese giants with its Surge, Command and Strike configurations. But what happens when the under-cutter begins to get undercut? The Alesis Nitro Max is here to tell us.

On the surface, the latest electronic drum set offering from Alesis could be mistaken for more of the same. It’s got four frame-mounted, mesh pads taking the role of snare (10-inch) and toms (8-inch). These are joined by a 6-inch bass drum tower - a welcome addition over footswitch-style bass drum triggers at this price point - plus three cymbal pads offering a single-zone ride, chokeable crash and hi-hats.

The pads connect to the Nitro Max module via a 25-pin cable snake, plus there are additional inputs for an extra crash cymbal and fourth tom (available as an expansion pack set including mounting hardware) on the module.

So far, so similar to the Alesis Nitro Mesh, the kit which the Nitro Max replaces and a model we have long held as one of the top beginner e-kits out there. But this is where things get interesting...

We said that on the surface it could appear to be more of the same from Alesis, who offers the once-premium mesh-headed pads in configurations across its entire product range. However, in 2020 Alesis’ parent brand, InMusic acquired BFD: the multi-sampled drum kit instrument that alongside software such as Toontrack’s EZ Drummer and Superior Drummer, helped kickstart (and continue) a revolution in sampled drum sounds two decades ago.

This is significant, as the Nitro Max is the first kit to start joining the dots between a long-established electronic drum hardware company and a renowned drum-sampling software brand. As such, the Nitro Max’s module is stocked with sounds from the BFD library. Now, does this mean that Alesis has pulled the trigger on equipping a $/£399 electronic kit with built-in, multi-layered samples of some of the finest drums on the planet, captured in a world-class studio? No, at least not quite, because that wouldn’t make great business sense, would it?

Instead, we get samples that originate from the BFD library, which in itself is a huge boast when compared to its competitors. It’s also savvy repurposing, allowing for a ready-made sound library that’s never featured in Alesis’ previous drum modules. As well as the internal sounds, Alesis has bundled the Nitro Max with BFD Player - a cutdown, free version of BFD which will get you started with hooking your kit up to a computer.

Alesis Nitro Max review: Performance & verdict

But with all that said, it’s the implementation that counts. The Nitro Max is impressive on the sonic front. The module itself comes with plenty of features. First up, there are 32 preset kits, plus an additional 16 user kit memories for you to create your own, and you can do this from the 440 internal sounds - all of which are lifted from BFD.

As you’d probably expect, the sounds cover everything from ‘Studio’ type all-rounder kits through lively jazz, snappy funk, processed metal, percussion and electronic EDM/hip-hop. While some of the kit sounds are veering towards over-processing, there’s a comprehensive range on offer to keep you interested, and the BFD influence is definitely present. It’s most noticeable on the snare and kick drum sounds, which are rich in character and (especially in the case of the snare drums) react well dynamically. When it’s good, it’s very good indeed, and we have to remind ourselves that we’re playing on a sub-$/£400 kit.

While the included sounds are a big part of the Nitro Max, there’s plenty more to talk about when it comes to the module, too. Alesis has built-in Bluetooth, so you can wirelessly stream your music service directly into your headphones via the module, and you may have noticed the shelf-like design at the back of the module.

We say shelf-like: it’s a shelf. This isn’t the first time we’ve seen this idea - Roland’s TD-17 module features a stepped section which allows for a place to rest your phone, or a pair of sticks. However, Alesis has gone big with it, offering upright support to hold your phone or tablet securely. It makes sense, because the software bundling continues with 100 free lessons and a 30-day trial from drum-learning app, Melodics, as well as a 90-day subscription to Drumeo. Even if you don’t extend these trials into a paid subscription, Alesis is anticipating that your phone or tablet are likely to be nearby while you’re at the Nitro Max and it definitely makes things easier if you’re simply jamming to your favourite songs from your device.

The Nitro Max module is also home to a number of other features - there’s a master reverb effect - the amount of which can be adjusted for each pad - as well as a master EQ. Plus there’s a metronome, built-in jam tracks, a simple recording facility for capturing your playing and the on-board Learning modes.

This follows a similar format to training modes found in modules from other brands, where your timing is measured against the metronome. It’s here that we’ll highlight the slightly less intuitive nature of the Nitro Max. Scrolling through presets and swapping sounds is easy, but when using the songs and training functions it’s easy to get lost in a sequence of button presses. This is something that a bit of time will cure as you get used to the transition between ‘Normal’ and ‘Learning’ modes, as well as the designation of beats, rhythms and patterns.

The good news is that while this feature is no doubt useful, the fact that Alesis has also made interactive learning via Melodics and Drumeo accessible to owners of the Nitro Max means that you aren’t solely dependent on the learning functionality in the module.

Conclusion

Alesis and its many kits are likely to appear high on the list of potential e-kit customers, and the introduction of the Nitro Max is clearly a glimpse of what we can expect to come from Alesis. It sounds great, is easy to use from a playing perspective, and the build quality of the stand is sturdy enough to absorb some heavy hitting. The fact that it’s equipped with tension-able mesh heads means you can start tweaking to replicate the feel of an acoustic kit - important if you’re jumping between electronic at home and acoustic for lessons.

It’s not perfect - the snare pad is two-zone so if you need to play cross-stick sounds, you’ll need to assign it to the rim. But, it does have a rim, which is a definite plus above some kits at this price point. Likewise, the ride is a single-zone pad with no bell zone (it will play a bell sound when hit at higher velocities). But, we think the inclusion of a bass drum tower over a footswitch is an important inclusion, meaning you’ll be able to practice with a traditional bass drum pedal, and with a bit of tweaking to our double pedal, we were able to fit a twin onto it too. Overall, it’s a very enticing package which combines some well-thought-out hardware, very good sounds and some software extras that will make drumming as fun as you hope it will be.

Our audio demos

We've picked three of our favourite kit sounds and recorded some playing so you can hear this kit in action.

Alesis Nitro Max review: Hands-on demos

MusicRadar

Alesis

COOP3RDRUMM3R

Sweetwater

Alesis Nitro Max review: Specification

• Pads: Five (10” snare, 8” toms, 6” bass drum, 10” cymbals) with expansion slots for extra cymbal and tom pad
• Heads: Mesh (snare and toms)
• Cymbals: Ride, crash and hi-hat
• Module: Alesis Nitro Max
• Sounds: 440
• Kits: 32 factory, 16 user
• Connections: Pad inputs (cable snake), L/R audio output, headphone output, aux input, 2x trigger inputs, USB, Bluetooth
• Contact: Alesis

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