Shawn ‘Clown’ Crahan of Slipknot has revealed that he needs heart surgery and has said that sometimes he feels like he’s “dying”.

All a bit worrying for fans of metal icons. Crahan – who is only 56 – talked candidly about his health on an edition of Rick Rubin’s Tetragrammaton podcast.

“I have a skipping heart and I got to get a surgery,” he started. “And I found this out after my last tour. I went in, I wasn’t feeling good, and I went in and the nurse was trying to get an EKG thing going on me or whatever and it just wasn’t happening. I kind of fell asleep and I woke up. I’m like, ‘Are you going to get this thing?’ And she’s like, ‘Oh, it’s not working.’

"They thought I was having a heart attack right there. Anyway, my heart skips and apparently I’ve taught myself to be like a cross country runner.”

He continued: ‘So, I’m overweight and my brain is so strong that it tells this stuff what to do. So, my standing heart rate at night is 43 and during the day I get down to 33. (It) hasn’t happened since I’ve been here with you, which is good, because I’ll go from ‘on,’ to just straight up I feel like I’m dying. So, I got to get a surgery. It’s a very easy surgery. You’re usually out on the same day. It’s not like they rip you open.”

The alternative, Crahan explained, was a pacemaker, which he said is an absolute no no. “I was like, ‘Doc, listen, I get a pacemaker. I’m done, right? Touring, Slipknot?’ So he goes, ‘Oh, no. You’re going to feel better.’ And I just I lost it. I was like, ‘I can’t get out of this to save my life’. I’m like, there is nothing... It’s going to be better because of Slipknot.”

Inevitably, this sort of talk led to some reflections about the two Slipknot members who are no longer with us: Joey Jordison and Paul Gray. Crahan explained that after Gray’s death in 2010 he had to be convinced to continue: “He’s the whole reason I’m sitting here.

"He hijacked me from my art career. So many people innately wanted to say, so blindly, well, ‘You know, Paul would want you to go on’, and I wouldn’t say much. And then finally, I had enough. And I’m like, did anyone think that maybe I might not want to go on without my friend?”

Zultan has announced the launch of a new line of cymbals – the ALARIS, which, according to the German manufacturer, is a new collection that “redefines tone, touch and expression.”

There are 14 of them in all – two light Rides in 21” and 20”, three Rides in 22”, 21” and 20”, five Crashes in 20” size going down to 16”, three Hi-Hats in 16”, 15” and 14” and an ALARIS Cymbal Set, all forged from premium B20 bronze and handcrafted in Turkey.

In a statement, Zultan said that they “deliver a light, open sound with exceptional stick definition and a gentle, airy wash. Designed for drummers who value subtlety and dynamics, they respond beautifully to every nuance, offering full control over softer, more expressive playing styles.”

“The bell remains clear and articulate, while the playing surface offers a smooth, balanced character that is responsive to the touch. Sonically, the ALARIS Series bridges the gap between classic 1980s clarity and modern sophistication, combining timeless sound with a contemporary edge.”

Prices vary between £255 to £167, depending on the cymbal. The cymbal set, which consists of a 14” Hi-Hat, 16” and 18” crashes and a 20” ride, will set you back £794. For more information head over to the Zultan website here.

When was the last time you saw somebody play, or attempt to play, the spoons?

Seriously. Probably a very long time ago, if ever. They are, after all, the sort of instrument (if you can use that word) an elderly eccentric relative might claim to have a proficiency for at a family gathering. Or maybe it was your drunken mate one time, boasting that he had the skills to coax a tune from them as he eyed up your cutlery drawer.

Well, one fellow is on a mission to revive the instrument. He dubs himself Hunter The Spoon Man and (inevitably) he’s found a kind of viral fame uploading videos of himself playing all sorts of tunes on this primitive piece of percussion. Check out his take on Billy Strings’ Hide and Seek:

As you can see Hunter is using a carved wooden one piece pair, rather than the teaspoons you might commonly find in your kitchen. They make a satisfying clacking sound and with them Hunter is able to replicate the complex arrangement of the original.

Hunter is obviously keen on Billy Strings – he’s uploaded covers of several of the young bluegrass musician’s songs, including Slow Train, Living Like An Animal, Long Journey Home and Secrets.

Beyond Strings, he also has songs by Primus, Tool and Tom Misch in his repertoire. And he’s something of a multi-instrumentalist – he’s also proficient on the banjo, guitar and washboard.

But it’s clear the spoons are where his heart is. He’s keen to spread the word about them, writing on his Instagram page: “If you enjoy watching me play these spoons, you can get your own pair!!!”, encouraging his followers to click a link on his page where they can purchase a pair.

Meanwhile in another part of the US is Abby the Spoon Lady, a born drifter who along the way acquired the skills on the spoons. She became a busker, ending up for a while in Nashville before tourism decimated the city’s street performance scene. After that she moved to Asheville, North Carolina where she formed the Asheville Buskers Collective. 

Latterly she’s taken to YouTube, uploaded a succession of videos and like Hunter, found a very modern kind of fame. Here she tells her story and how she came to play the spoons:

So could Hunter and Abby be the vanguard of a full-blown spoons revival? Well, stranger things have happened. After all, the banjo and ukulele have both enjoyed a resurgence of interest in the 21st Century, so why not the humble spoons?

The word ‘hybrid’ has become increasingly familiar with drummers over the last decade, and where combining electronics with acoustic drum setups used to be a complex and sometimes intimidating process with limited results, in 2023 things are much easier.

The EVANS Hybrid Sensory Percussion Sound System not only delivers an entirely different approach to hybrid drum setups, but it unlocks a whole new level of creativity, flexibility and power - turning the acoustic drums that you’re familiar with into a complete hybrid controller.

Far from the traditional trigger and brain system, Sensory Percussion’s innovative sensors, hardware and AI-driven software allow you to create up to 10 separate, playable zones for creating various different sounds from a single drum. 

This means that rather than being limited to simple one-dimensional samples, a world of percussion, electronic and acoustic drum sounds, and entire melodic and harmonic soundscapes are placed at the strike of a stick. But how does it work? Let’s find out a bit more.

The Sensory Percussion concept

Sensory Percussion is powered by technology originally conceived by Sunhouse. In 2023, EVANS partnered with Sunhouse to bring its innovative sensor/software to a wider audience, complete with an overhauled sensor design, the all-new Portal interface and redesigned Sensory Percussion software.

It starts at the drum: Sensory Percussion can work with either regular acoustic drum heads, as well as mesh heads. A small metal pickup element is stuck to the surface of the drum head, and Sensory Percussion’s sensors attach to the rim of the drum, precisely reading the vibrations from the drum head via the sensor element, meaning you can capture the nuances of your drumming in unprecedented detail

From here, the sensor is connected to the Portal interface which — as well as being a fully-stocked audio interface equipped with mic and line inputs, analogue and digital outputs, MIDI and more —  features seven sensor inputs. 

The Portal interface plugs into a Mac or PC running the included Sensory Percussion 2 software, and it’s here that all of your sounds are generated. Sensory Percussion 2 comes with over 100 presets and thousands of raw sounds, and the modular design of the software means you can mix-and-match any sound (including your own custom samples), and apply it to any zone of your connected sensors.

But that’s just the start, as Sensory Percussion 2’s processing and manipulation tools place sophisticated tools such as sequencers, controllers and studio-level effects processing at the click of a button.

Playable melodic phrases and full chord sequences are made possible by simply striking a drum head or rim, cycling through your progression with every hit. Meanwhile, the software opens up assignable, dynamic control of nearly every parameter. Want to change the pitch of a drum across the plane of the head? How about increasing the level of effects based on how hard you strike the drum? Or maybe you want to turn your drum shell into an electronic switch for loops and phrases. All of this — plus much, much more — is possible with Sensory Percussion.

What’s included?

Every EVANS Hybrid Sensory Percussion System bundle comes with three sensors, the EVANS Portal interface and a code to access your Sensory Percussion 2 software. Also in the box are 12 pickup elements, three sensor cables, USB cable and power supply, plus a pair of limited edition ProMark drumsticks. EVANS also includes an adaptor for users who have an EVANS EMAD head fitted to their bass drum. 

Drum Zone Training

Thanks to Sensory Percussion’s machine-learning algorithm, it’s possible to create up to 10 zones per-drum from a connected sensor. Training is easy - you tell Sensory Percussion the type and size drum you’re using, and what kind of head you have fitted. Next, the software walks you through three levels of training, where it learns each zone you have assigned to your drum and sensor along with your playing dynamics.

Available playable zones include the head centre, edge, rim (including cross-sticking), shell and more, and Sensory Percussion 2 even knows whether you’re hitting the rim with the tip or shoulder of your stick, or an open or buried bass drum beater strike! When you’re finished, you can save your sensor training and zone settings forever.

Play, Edit, Mix…

The Sensory Percussion software is designed to deliver a user-friendly experience so that you spend more time playing, and less time at the computer. It’s divided into three main screens: Play, Edit and Mix, with the Play screen giving you lightning-fast access to your kits (Sets) and Sessions (a collection of Sets).

Every Set is loaded with a clean, graphical layout complete with an explanation of where sounds are mapped and how you can manipulate them by playing in various zones, or by playing style (velocity, speed etc.)

Here, you can also make quick tweaks to the sound on-the-fly thanks to the dedicated and user-definable macro controls and volume sliders. 

If you want to get under the hood of your Set with detailed sound editing, control and effects processing, the Edit screen is home to sound selection, mapping and control. It’s a great place to gain inspiration on how to apply Sensory Percussion’s uncapped potential when creating your own Sets.

Finally, the mix screen gives you a cleanly-designed virtual mixer where individual levels, panning and master effects can be applied to your Set with ease.

See it in action

Drummer and composer, Ian Chang demonstrates Sensory Percussion’s ability to dynamically play and manipulate sounds from a four-piece acoustic drum kit.   

Find out more…

To learn more about the EVANS Hybrid Sensory Percussion Sound System, or order your Sensory Percussion bundle, click here

Sometimes a tambourine is that missing ingredient that can really enhance a groove and lift a track. From The Beatles’ 'Day Tripper' to Fleetwood Mac’s 'Go Your Own Way' (not to mention the entire Motown Records catalogue), these songs just wouldn’t be the same without one of the best tambourine laying it down.

The tambourine is not only an essential instrument to keep on hand in any recording studio, but it also plays a key role in a dedicated percussion set-up. Alternatively, the humble tambourine is a must-have accessory for anyone fronting a band. Heck, it could even serve as a child’s first instrument. In this guide we’ll be discussing the main considerations for which tambourine is best suited to your needs, and offering our top choices across a range of price points.

We've included some in-depth buying advice at the end of this guide, so if you'd like to read it, click the link. If you'd rather get straight to the products, keep scrolling.

Best tambourines: MusicRadar’s Choice

Our top pick from our list of the best tambourines is the Pearl Ultra Grip. This clever bit of kit ticks all the boxes, resulting in an amazingly versatile instrument. Jingles can be individually muted enabling players to dial in the desired sound and it also features a quick-release mount for easy setup.

And we couldn’t possibly leave out the classic Rhythm Tech RT1010 model which was the original half-moon shaped headless tambourine. This revolutionary shape paved the way for the majority of styles we see on the market today, and it remains a drum and percussion staple.

Best tambourines: Product guide

This incredibly versatile tambourine from Pearl allows each pair of jingles to be individually muted via a movable washer on each set. With a total of 12 pairs of jingles arranged in a double row, this offers countless combinations, including the ability to limit the jingles to a single row if desired.

Pearl’s QuickMount holder allows for the tambourine to be played in a mounted position or simply removed with a flick of the wrist for a more traditional hand held playing position. The ergonomic grip has grooves cut out for each finger to offer comfort and stability. We found that it wasn't ideal for particularly large or small hands, but should be comfortable for most.

The Rhythm Tech tambourine has become the go-to for many players since its original release in the 1980s. The American company were the first to develop a crescent shaped tambourine, enabling the hand to be positioned more centrally, greatly reducing fatigue during longer sets.

Featuring eight double rows of bright and cutting nickel zills, the classic Rhythm Tech tambo is available in a large range of colours including black, white, red, blue, yellow, pink, purple and glow-in-the-dark. There is also a drumset version which features a fixed mounting bracket.

Considering Meinl’s pedigree as a top cymbal and percussion brand, its Tour Tambourine is an amazingly wallet-friendly option. The circular frame is constructed from ABS plastic and the jingles are nickel silver plated steel for bright, sharp sounds.

The smaller 8” version features a single row of seven jingle pairs while the larger 10” model has a double row of eight for a total of 16 pairs. Each model is available in black, red or white finishes.

The thin yet durable frame makes the Tour a lightweight option and the extra wide handle offers a comfortable grip.

Latin Percussion (LP) is a giant in the percussion world and this high quality tambourine is an example of why. The Black Cyclops features 14 pairs of hand-hammered brass jingles arranged in double rows which deliver “a distinctly warm yet cutting sound that projects in any percussive mix”.

LP’s patented pinning system ensures that the jingles stay in place no matter how vigorously shaken. The tambourine also features an ultra-comfort textured handle and its patented shape makes it easier to play over long periods of time.

From the sister company of high-end drum manufacturer British Drum Co., Keo Percussion, comes this unique offering. The all-wooden body is constructed using a high-density fibreboard – meaning it can be super thing yet retain strength.

This beautifully crafted tambourine features nine pairs of jingles for a shimmering sound and laser-cut birch handle strips in addition to a laser-cut Keo logo at its centre.

The Keo Tambourine is also designed to be used in addition to a drum kit set-up, which makes sense considering its shape and profile.

This small 6” traditional tambourine features a synthetic head pinned in a fixed position. A single row of four jingles give this a much more subtle sound than the other examples in this best tambourines guide.

The drumhead offers versatility in playing style, making this a fun option for young children exploring rhythm for the first time.

Its sturdy wooden frame should afford it a long life despite the low price tag.

Best tambourines: Buying advice

Choosing the best tambourine for you

To the uninitiated a tambourine is simply a tambourine, but like any other musical instrument, they can vary enormously across a range of factors. Originally the tambourine was devised as a single-headed wooden drum with slots cut out from the shell to accommodate small pairs of cymbals called ‘zills’ (also referred to as jingles). These classic style tambourines are still commonplace within many styles of music and are regularly found in orchestral settings or worship groups.

Headless tambourines are more typically found in contemporary music which, as the name suggests, eschew the traditional drumhead element leaving just the frame and jingles.

More modern tambourines tend to use a crescent shape to make playing less fatiguing, but circular ones are still around.

In terms of materials, we generally have a choice of wood or plastic for the frame which often features a rubber or foam grip for playing comfort. There will be some tonal difference between the two but the main variable in sound will be the jingles – what they are made of and how many of them are used. Typically the jingles are steel but are also found in aluminium, nickel or brass. These are then arranged in single or double rows. Generally, the more pairs of jingles, the louder the tambourine will be.

One other consideration is whether the tambourine is hand-held or mounted. A drummer for instance would benefit from a mounted type, incorporating it into a kit set-up. Some actually offer removable mounts which could be great for mounting to mic stands or for keeping your playing options open.

Find out more about how we test music gear and services at MusicRadar.

Related buying guides

• Take a look at our pick of the best ukuleles
• Check out the best beginner electronic drum sets
• Hit stuff with the best drumsticks
• The best bass drum pedals for every budget

Adding to the increasingly popular list of accessible electronic drum pads Carlsbro has announced the release of the Okto A Percussion Pad, an eight-zone, two-pedal multipad.

As well as the eight hard-wearing rubber pads, the Okto A houses 408 voices, arranged into 30 kit presets and 20 user kit slots as well as on-board performance recording, playback and learning functions.

Adding to the playing surfaces, the back of the unit features inputs for external snare, ride, hi-hat and bass drum pads, while additional sockets allow hi-hat and footswitch control.

The Okto A also includes editing functionality including pitch, filtering and 6 reverb effects, and can connect to a computer via its USB MIDI interface. Perhaps most surprising, though, is the inclusion of a micro USB power input connector, designed to allow the Okto A to be powered from a portable power bank!

The Carlsbro Okto A is available now, priced £229.

NAMM 2019: On the surface, Meinl’s Pickup Vertical Subwoofer Cajon is a regular box drum with a tasty Baltic birch faceplate and eco-friendly medium density fiberboard body, but delve deeper and you’ll discover a fantastic performance tool for live acoustic situations.

Inside is a Piezo pickup which amplifies your playing when connected to an amp or PA through the quarter inch port. Discrete controls on the side enable you to tweak tone and volume with ease. Whether you’re busking with your band or playing an acoustic club set, you’ll certainly be heard. 

The cajon also features large, front-facing sound ports to help enhance and project bass notes, whether you’re amplified or not.

If you already own a cajon but want a wider spectrum of sounds from the instrument, the Meinl Cajon Preamp is worth checking out. The device mounts to the inside top panel of your box and can be tuned to the particular sound characteristics of any cajon. A tone control helps you dial in the perfect mix of bass and treble, while the phase switch changes the overall timbre.

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NAMM 2019 - all the news

The dust is settling, but our ears are still ringing. You'll find all the stories that counted in our massive news hub. Below, enjoy our findings as we regrouped at the end of the show.

Officially launched at the summer NAMM show in 2018, Keo Percussion is the latest brainchild of Keith Keough, the British Drum Co’s renowned woodsmith.  

Keo offers a mouthwatering range of UK manufactured percussion instruments and accessories. Our first taste of the new wares arrives in the form of a very special drum practice pad.

Build

Designed in conjunction with legendary Iron Maiden sticksman Nicko McBrain, the 10" pad features a 5mm thick red natural gum playing surface with a black engineered HDF baseplate. Unlike other practice pads the Boomer includes a large border with a raised rim, designed for rimshot and cross-stick practice. Small circular cutouts around the outer rim emulate the tuning rods of a 10-lug snare giving it a fun, authentic aesthetic. 

The pad border is emblazoned with the words Nicko ‘Boomer’ McBrain written in the unmistakable Iron Maiden font, plus a Keo logo on the opposite side. The underside of the pad features a 5mm non-slip foam baseplate for table-top practice and an engraved natural-wood Signature Series nameplate.  

Hands On

The rubber playing surface possesses plenty of rebound and responds naturally as we put it through its paces. Placed on top of a snare drum the pad feels secure and doesn’t bounce around as some smaller pads do, this is likely due to the extra weight of the base. The non-slip foam on the underside keeps it firmly planted on any flat surface. The pad also works well in a snare stand but has no mounting thread for attaching to a cymbal stand. 

The rim is an interesting addition that we haven’t seen on a practice pad before. In theory this is a good idea for developing technique and exploring dynamic options, but in reality the solid wood creates a considerable noise, which is disproportionate to the quieter rubber surface. Cross-stick also feels a little unnatural due to the small dimensions of the pad. 

The Boomer certainly serves its purpose as a portable practice tool; it’s the perfect size for stashing in the bag with a pair of sticks if you find the time to grab a few minutes practice on the hoof.

From its original - and legendary - crescent tambourine, to bongos, congas, studio shakers and a host of innovative accessories for kit players, Rhythm Tech has earned itself a strong reputation in the percussion world. 

Today, we’re taking a look at the brand new Rhythm Tech Cajon, complete with Enhanced Bass Port. 

Build

The standard size 30x30x48cm cajon features a smart two-tone faceplate, which combines walnut-esque dark browns in a vertically-striped woodgrain. The remaining body is finished in a smooth gloss black with curved edges that appear near seamless. The 41⁄2" sound port on the rear features a red plastic ring that recesses four inches into the cajon. Officially named the Enhanced Bass Port, this small addition is designed to amplify the cajon’s all-important lower frequencies. 

Guitar strings are used for snare response which, unlike many other cajons we’ve tried, do not appear to be easily replaceable. String tension can be adjusted using two hex screws located on the cajon’s base. Rhythm Tech bundles a tool with the instrument. A neat touch, removable velcro strips are placed over the strings for adjustable dampening. 

Despite looking good overall, the build quality lacks in places, and on close inspection we see small gaps along the top edge of the faceplate. We also notice poorly finished edges around some of the screws.

Hands on

Starting right at the top edge, the slap sound does not encourage much snare response, making it sound a little dead. Moving slightly further down the faceplate with the fingers brings the strings jumping to life, at which stage the cajon becomes incredibly responsive and delivers a crisp snare sound. As we head further down the tapa, striking just above the centre results in a hefty bass note. We’re happy to report that the low-end capabilities are certainly as advertised, almost definitely enhanced by that port. 

Small jingles can be found mounted on a wooden joist, which runs vertically through the inside of the box. These are not adjustable (or removable), but listening very closely it’s possible to hear a subtle sound that does actually contribute to the overall snap of the snare. 

Shaw Percussion is probably best know for its range of sticks and drumming accessories but it also has a long and rich history of drum making. 

Established in 1866, Shaw celebrated its 150th anniversary in 2016 and continues manufacturing custom drums from its Kidderminster HQ. The M-Class hardware on review is one of two stand ranges recently added to its product lines. 

Build

Slotting in below Shaw’s K-Class series, the M-Class stands share features and design cues with the higher spec Ks. Both ranges evolved from designs penned by the now-defunct but highly-regarded hardware manufacturer Big Dog. 

Shaw distributor The Music Shipping Company acquired the tooling rights for the original Big Dog designs when the company closed; these were tweaked and modified before being rebranded and marketed as Shaw stands. 

While the K-Class series includes bass drum pedals, the M-Class range currently consists of stands only. Shaw feels that undercutting the K Class pedals’ price point by the required amount would involve too great a compromise on quality. 

“We give a two-year manufacturer warranty on all Shaw hardware,” TMSC’s Craig Fenney explains, “so a ‘cheap’ pedal does not fit into our thinking.” Interestingly, while Shaw offers a selection of drum thrones and stools, none of them are aligned with either the K or M-Class series, but are marketed as standalone products. 

Shaw is planning to add new stands to both hardware ranges whilst also looking to develop all-new hardware lines in the longer term. For the time being though, the M-Class consists of the four stands on review: an upright cymbal stand, boom-arm cymbal stand, snare stand and hi-hat stand. 

As with the K-Class, M-Class stands are manufactured in Taiwan; in these times of near-ubiquitous Chinese mass-production this is a refreshing bucking of the trend. The stands certainly look the business, gleaming with a superb chrome-plated finish. 

Hands on

Unboxing them, there’s also no mistaking a feeling of reassuring heftiness. The lightest two stands of the quartet - the snare and upright cymbal stand - are both 2.75kg, while the boom stand and the hi-hat stand weigh in at 3.45kg and 3.65kg respectively. Much of this bulk can be attributed to the generous tubing and sturdy, double-based tripods, which spread wide enough to cope with the heaviest of loads. 

Mirroring the solid metalwork above are Shaw’s branded and rather impressive chunky rubber feet. Their ribbed finish means that once they have been planted in the correct spot, the stands are unlikely to wander in any direction. In the case of the hi-hat stand, extra traction is available in the form of a pair of retractable spikes. 

Shaw has clearly designed the stands to be as versatile as possible; the snare and hi-hat stands have lowest setting points of 15" (385mm) and 25" (640mm) apiece, making an 8" deep snare still playable while open-handed hi-hat players in the style of Simon Phillips would be able to nestle their hats below a crescent of rack toms. 

Both the cymbal stands also have a wide spread of height adjustment, starting from 33" and topping out at 41⁄2ft (1,375mm) and 6ft (1,830mm) respectively. The boom arm slides down inside the tubing for packing, making the boom stand only marginally taller than the upright when folded up. 

In the place of conventional cymbal felts Shaw has instead fitted Swiss-made Cympads, cellular foam discs, which claim to be superior in just about every way (isolation, suspension and, most importantly, sound). Appropriately, scaled down Cympads are also found on the hi-hat clutch. 

The claims would appear to have substance, as my cymbals sound, well, more cymbal-like, particularly in the quality and depth of the decay. Cympads feel good to handle as well - you get the impression they won’t fray or deform over time in the way that felts inevitably do. 

The tilters are all toothed - while the hi-hat tripod swivels to make room for a double pedal. Shaw’s Ferrari-red cast footboard - designed for the K-Series - is found on the hi-hat stand. It features a professional grade single chain and an angled heelplate that is almost a continuation of the main footboard. 

Unlike the K-Series equivalent there is no spring adjustment to be found on the M-Series stand. However, the action is beautifully smooth and silent and right down the middle in terms of tension - only players who favour extremes of spring feel will have anything to complain about here. 

The snare stand’s cradle will splay wide enough to fit a 15" diameter drum and then close to minimum of 12", making it suitable for main or auxiliary snares and also toms. 

Heavy-duty Shaw wingnuts are found at every locking point on the stands. They tighten securely and, due to their curved design, are equally compliant when being freed off; another great detail that adds to the feeling of quality. 

These brand new SPD::ONE series percussion pads join Roland’s family of electronic percussion and come in four different flavours: Electro, Kick, Percussion and Wav. 

The first three share common features and functionality, while the SPD::ONE Wav - aimed at those wishing to incorporate their own backing tracks and click - works slightly differently (more about that later). So, with the first models in Europe landing at our Funky Bunker days after they were announced, we’re feeling the need for SPD. 

• Get creative with the best electronic drum pads

Build

One thing you may notice when you first take a look at the SPD::ONE pads is their resemblance to Roland’s iconic Boss pedal line-up - the brightly-coloured, all-metal chassis and font styling wouldn’t look out of place on your guitar player’s pedalboard. 

Interestingly enough, these pads are designed to be played with a stick, hand or even tapped with your foot, and as such Roland isn’t just aiming these at drummers - for us, though, it means they can be placed anywhere within your kit. 

If you do want to mount them (which most of us will) you can use the included hardware which clamps each pad to a tom holder, L-rod or cowbell post up to 12.7mm in diameter. This is good news for many, however our Pearl Reference holders didn’t stand a chance, so we fashioned a mounting solution from our V-Drums kit and a spare multi-clamp in order to use the Electro pad on a gig. 

Hands On 

With mounting sorted, let’s talk about sounds. We’re going to take the fact that Roland has covered every base here (and it has) as read. Each module is loaded with useable, model-appropriate sounds spanning classic to contemporary, and they’re all sampled with great detail and quality. 

As mentioned, the Electro, Kick and Percussion pads feature a similar layout and feature set, and it’s all very self-explanatory. From left to right you have a 12-position rotary control for selecting your sounds, tuning control for altering the pitch of the sample, a dual effects control (you can select one of two) and your master volume. 

Now, the sound selector actually has two layers to it, so out of the box you actually have two sounds per position at your disposal by pressing the instrument variation switch. When you do, the LED next to it blinks once or twice to indicate which layer you have selected. Handy. 

As well as this, each of these three pads can load a custom sample into the twelfth position. You simply select the User slot, connect to your computer via USB, press the variation button and drag a .wav file into the SPD::ONE (which appears as a flash drive). Once you do, you can effect it in the same way as the on-board sounds. 

Talking of which, the tuning control is great for tailoring the on-board sounds more closely to your song, meaning you can get a lot of mileage out of a fairly small selection. The effects are also useful - the Electro and Percussion feature reverb and delay, while the Kick has reverb and distortion. You select which effect you want to apply by turning the control left or right. 

The further you turn it, the more intense the effect becomes (in the case of delay, it changes the delay time). They’re great fun on-the-fly, however we did find the reverb to be a bit noisy at more intense settings. As with the tuning setting, your effects are global, so if you change sounds, you’ll need to reset the tuning and effects settings if they aren’t needed.

So far, we haven’t mentioned the SPD::ONE Wav pad. That’s because it’s quite different to the others in the range. It’s designed as a sample playback solution for drummers who want to trigger sounds, phrases and entire backing tracks live, along with a click track. 

So, by connecting it to a computer over USB, you have access to 12 folders (one for every switch position). Each folder contains a Master and Click folder. You place the click-less backing track, one-shot sample or phrase (the playback is determined by the file name) audio file in the master, and the corresponding (and synchronised) click track in the click folder. 

The SPD::ONE Wav then outputs the ‘master’ sounds to the main output as well as your headphones, while the ‘click’ folder sounds only go to your cans. Using the mix control, you can then balance the track and click levels in your ears. It’s simple and really cleverly done in a way that is sure to make using a click in a live situation a doddle. 

We do have one small gripe though: the inclusion of a line-in would have allowed us to incorporate a regular monitor feed to hear the rest of the band, without having to start using an external mixer. 

Originally founded by José Leiva, the Spanish company J. Leiva Percussion is now headed up by José’s son Pepe and it boasts a vast range of cajons and accessories. 

These include a foldable travel model, a transparent acrylic model and even a design with a carbon fibre front plate. With a reputation for offering respectable entry-level instruments as well as top quality pro-level products, we have high hopes for a couple of J. Leiva’s latest models. 

Build

Both review cajons represent an evolution of previous J. Leiva models that have been treated to some aesthetic upgrades. 

The Sweetspot cajon is based on J. Leiva’s popular entry-level Zoco model with which it shares the majority of its characteristics. The chassis is constructed from 12mm MDF that has been treated to protect it from humidity, and is painted externally with a bi-component epoxy paint that gives the cajon a smart gloss black finish. 

The 3mm frontplate (tapa) is made from 100 percent Russian birch and has a natural finish that appears to be lightly varnished, leaving the wood smooth to the touch. With the ‘J. Leiva Percussion’ logo just above centre and the Zoco print located at the bottom right of the tapa, this new model would appear identical to the original Zoco if not for the new and unique Earth Pi crop circle design.

This latest addition is where the Sweetspot gets its name as the design shows the player exactly where to strike in order to achieve the best bass tone from the instrument. There is also a smaller debossed logo on top of the cajon body. 

The Mezquita Natural cajon is identical to J. Leiva’s Alma model except for the new artwork displayed on the tapa. In addition to the white of our review model, the sunrise-style pattern is also available in red. The slightly more expensive Mezquita features a 12mm all-birch body that is, once again, 100 percent Russian. 

Sharing the same 3mm frontplate as the Sweetspot, the Mezquita has an overall lighter appearance and feels completely natural to the touch. The Sweetspot’s sound hole is positioned on the rear near the bottom, whereas the Mezquita sound hole is located at the top rear. 

Both cajons use J. Leiva’s proprietary Direct Tension System (DTS) that allows the snare response to be tuned without the need for any tools. The system uses guitar strings tensioned vertically across the back of the playing surface, which can then be tightened or loosened using a dial on the back panel of the cajon. 

A long rod stretches all the way across the depth of the cajon from back to front and attaches to a small square of wood at the other end, which in turn pushes against a horizontal beam that pins the strings to the playing surface. 

The Mezquita uses two strings that are doubled back on themselves and each one has its own tension rod. The Sweetspot has just one string, doubled in a V-shape for maximum coverage. Both cajons are a standard size of 48cm x 30cm x 32cm and come supplied with a black rucksack-style carry case.

Hands On

Although the Sweetspot takes the prize for producing the lowest pitched bass note, the Mezquita offers a purer and more pleasing resonance with a dryness to its tone that is complemented well by the extra strings - giving edge notes a tighter snap. 

The Mezquita offers a balanced snare response, while the sonic characteristics of its birch body make for a generally more responsive and high-quality sounding instrument. 

We had difficultly achieving the desired snare sound with the Sweetspot. It seemed that no matter how we tensioned the strings, there was a subtle yet ever-present buzz, which caused a slight hum on the back of the playing surface. 

Having said that, the Earth Pi crop circle marking did as advertised in highlighting the purest bass note available on the playing surface. The surprisingly high sweet spot makes it very easy to play and means less leaning forward whilst playing - particularly useful after a heavy lunch! 

The smooth and rounded edges of the Sweetspot make it comfortable to play, especially at the edge. The tapa of the Mezquita doesn’t sit quite as flush to the body of the cajon and, in fact, protrudes a little further at the middle than it does at the edges. 

We also noticed that the finish around the Mezquita’s sound hole would benefit from further sanding to increase smoothness. The supplied Soar Valley carry cases appear heavy duty and feature a small front pocket in addition to some light in-built padding. They’re robust enough to prevent any scratches or dings but, most importantly, the backpack-style straps should make taking your cajon out for busking a doddle.

Boss has revealed the DR-01S Rhythm Partner, a beatbox made to produce 'organic' percussion accompaniment for acoustic players.

The DR-01S is being pitched in opposition to "rhythm machines used by electronic musicians and DJs"; designed with battery-powered portability and ease of use in mind, its preset grooves are described as tasteful and versatile. Also, it's brown.

Groove and pre-set layering is deliberately simple too, with one-touch instrument addition or removal. Any combined beats that you're particularly happy with can then be saved in up to 50 recall slots.

The onboard sounds themselves are obviously heavy on the shakers, maracas, tambourines, congas, bongos, bells, cajon, et al, but there is in fact a full drum kit hidden within the DR-01S, including - whisper it - electronic sounds. 

We're awaiting confirmation of a price and will update you as soon as we get that info. In the meantime, for full specifications, check out the DR-01S site.

Kicking off the first of several releases over the next few weeks, Roland has unveiled the SPD::ONE series of electronic percussion pads.

Designed for use by guitarists, singers, DJs and producers as well as drummers, the SPD::ONE pads come in four flavours: Electro, Kick, Percussion and WAV Pad.

All models use USB-MIDI for recording rhythms and triggering sounds, can be run from power supplies or batteries, and operate on tabletops or floors - they can be clamped to drum or mic stands using included mounting hardware, too.

There's no word on availability yet, but head on through the gallery for a closer look at each pad (with RRPs), and visit Roland for more info.

PRESS RELEASE: The Roland SPD::ONE ELECTRO is a new type of digital percussion pad, one that allows any musician to add electronic sounds to their performances.

It contains 22 iconic sounds, including fat snares, crisp hand claps, electronic cowbells, and more, and you can even import your own original audio data into one of the 12 internal sound banks.

Once you’re ready to go, the SPD::ONE ELECTRO’s robust-yet-sensitive pad can be played with sticks, hands, or feet, and the trigger threshold settings are easily adjusted with intuitive controls.

Powered by batteries or AC, the portable SPD::ONE ELECTRO can be used on the floor or a tabletop, or mounted to any rig or drum setup with the included adapter.

Operation is simple, even for those musicians who are not technical; just by using four knobs on the control panel, you can change the sound, volume, balance, and more.

Whether you’re a drummer, percussion player, guitarist, DJ, or vocalist, the SPD::ONE ELECTRO is a simple and flexible way to expand your sound palette and invigorate your performances.

PRESS RELEASE: The Roland SPD::ONE KICK is a new type of digital percussion pad, one that allows any musician to add genuine kick drum and percussion sounds to their performances.

It contains 22 realistic percussion sounds, including kick drums, stomp box, shakers, cowbells, and more, and you can even import your own original audio data into one of the 12 internal sound banks.

Once you’re ready to go, the SPD::ONE KICK’s robust-yet-sensitive pad can be played with sticks, hands, or feet, and trigger threshold settings are easily adjusted with intuitive controls.

Powered by batteries or AC, the portable SPD::ONE KICK can be used on the floor or a tabletop, or mounted to any rig or drum setup with the included adapter.

Operation is simple, even for those musicians who are not technical; just by using four knobs on the control panel, you can change the sound, volume, balance, and more.

Whether you’re a drummer, percussion player, guitarist, DJ, or vocalist, the SPD::ONE KICK is a simple and flexible way to expand your sound palette and invigorate your performances.

PRESS RELEASE: The Roland SPD::ONE KICK is a new type of digital percussion pad, one that allows any musician to add genuine kick drum and percussion sounds to their performances.

It contains 22 realistic percussion sounds, including kick drums, stomp box, shakers, cowbells, and more, and you can even import your own original audio data into one of the 12 internal sound banks.

Once you’re ready to go, the SPD::ONE KICK’s robust-yet-sensitive pad can be played with sticks, hands, or feet, and trigger threshold settings are easily adjusted with intuitive controls.

Powered by batteries or AC, the portable SPD::ONE KICK can be used on the floor or a tabletop, or mounted to any rig or drum setup with the included adapter.

Operation is simple, even for those musicians who are not technical; just by using four knobs on the control panel, you can change the sound, volume, balance, and more.

Whether you’re a drummer, percussion player, guitarist, DJ, or vocalist, the SPD::ONE KICK is a simple and flexible way to expand your sound palette and invigorate your performances.

PRESS RELEASE: The Roland SPD::ONE WAV PAD is a new type of digital percussion pad, one that allows any musician to perform with their own sounds and samples.

Importing audio files is as simple as connecting the SPD::ONE WAV PAD to a PC or Mac and dragging your WAV files into the drive that appears. Whether you need full-length backing tracks or one-shot samples, your sounds can be loaded and played in seconds.

Once you’re ready to go, the unit’s robust-yet-sensitive pad can be played with sticks, hands, or feet, and trigger threshold settings are easily adjusted with intuitive controls.

Powered by batteries or AC, the portable SPD::ONE WAV PAD can be used on the floor or a tabletop, or mounted to any rig or drum setup with the included adapter.

Operation is simple, even for those musicians who are not technical; just by using four knobs on the control panel, you can change the sound, volume, balance, and more.

Whether you’re a drummer, percussion player, guitarist, DJ, or vocalist, the SPD::ONE WAV PAD is a simple and flexible way to expand your sound palette and invigorate your performances.

Ever-committed to increasing the popularity of the cajon as a mainstream instrument, Italian-born Paolo De Gregorio has continued to hone and develop these traditionally Peruvian instruments in his Spanish workshop for over a decade and a half. 

We have been sent three new and contrasting professional models to sink our teeth into. 

Build

The smallest model overall, the Tokayo, is also marginally the tallest. The 9mm 7-ply birch shell weighs in at 4.2kg and measures 30cm x 30.5cm horizontally, and 49cm vertically. The frontplate (tapa) is a naturally finished 3.5mm 3-ply birch. This compact specimen is the most affordable of the three at £190. 

The Chanela De Luxe and Centaur models both measure in at a slightly plumper 32.5cm x 29.5cm x 48cm. In addition, the former weighs 6kg while the latter is a touch lighter at 5.8kg. The similarities stop here though as The Centaur features a 7-ply birch body with a 3mm 5-ply tapa (also birch), while the Chanela De Luxe sports a more unique construction, using 9mm solid sipo mahogany panels and a 5-ply birch frontplate which is even thinner again at 2.5mm.

If you haven’t spotted it already, the major stand-out quality of the Centaur, despite the striking red veneer frontplate, is its electro-acoustic capabilities. Three circular trigger pads can be found on the right side of the cajon body. These are used to play sounds from an in-built sound module, located at the top of the rear panel. 

The module is limited to 10 banks (0-9) which run sounds directly from an interchangeable SD card. This enables users to add their own samples to the cajon - a very exciting prospect which should really open up the usability of the instrument. 

As standard, the supplied card comes with a selection of acoustic and electronic drum sounds as well as some hand percussion, which includes congas, bongos, pandeiro and tabla. It should come as little surprise that the hybrid Centaur model takes the top spot for price out of the three, coming in at £415, while the Chanela De Luxe will set you back £340. 

There are two features which are common across all DG Cajons. The most obvious can be spotted with a glance through the sound hole to the internal snare system which uses guitar strings tensioned across the back of the tapa. 

DG’s system allows a single steel string to stretch from top-to-bottom and then loop back up to the top for twice the contact. The top part stays fixed in place while the bottom bolts can be adjusted from underneath the cajon using the supplied hex key. This Removable Snare System (RSS) allows quick string changes using the spare provided. 

The other unifiying feature is the Reduced Sized Tapa (RST), which is not only supposed to improve the performance and resonance of the tapa but also make it possible to replace it when it becomes worn. The precision drilled holes are in uniform positions for each model to allow a direct swap. 

Hands on

When spending some time playing these cajons side-by-side, it doesn’t take long to familiarise yourself with the personality of each one. From the first few taps, the Chanela De Luxe is noticeably crisper and more responsive than the others. 

This is initially attributed to the fact it has twice as many strings as the other review models, but it becomes obvious that this cajon really possesses something that the others do not. The solid mahogany shell allows deep and booming bass notes alongside tight, snappy high notes, all presented in an incredibly articulate and dynamic package. 

In our eyes, tonally the Tokayo was overshadowed a little by its siblings. Despite still possessing a satisfying thump, it couldn’t quite stand up to the Chanela De Luxe in terms of bass response or general playability. Then again, keeping in mind the price difference, you wouldn’t necessarily expect it to. What’s more, considering its smaller size and weight, the Tokayo would likely make a more portable companion on the road. Personally we wouldn’t fancy chucking a £400-plus cajon in the back of a van! 

Much to our surprise, the acoustic element of the Centaur is of a pleasingly high quality, which was my initial concern. The electronic elements work well to augment the acoustic sound due to their broad dynamic range. 

Some of the in-built samples are hit and miss (we enjoyed the conga and the bongo patches), but that matters little considering they can be quickly replaced with any sound you can think of. We tested the cajon with some 808 samples which made for hours of fun and opened me up to more creative playing. The rear module features mono and stereo jack outputs, mini-jack headphone socket and pedal input for easier cycling through patches. As well as mains power, the Centaur can run off battery power (with included 9v adaptor) for around two hours, making it a great live tool too. 

The DW 5000 bass drum pedal should need little introduction. 

What some might not realise though, is in addition to the common single and double models, the 5000 can also be found as a side-kick version, heel-less, remote, solid footboard, and now, a cajon model.

Build

The pedalboard and baseplate do not appear to differ at all from the regular 5000 kick pedal except for the obvious lack of cam, beater and spring at the top. These usual components have been replaced by a simple bearing shaft with a square connector at one end (used to attach the cable) and a right-angled swing arm at the other (on which the top of the pedalboard rests). DW has dubbed this the Pivot Drive System. 

The other section of the contraption features a large metal plate with a front lip that accommodates the front of the cajon. Attached to this is the highly adjustable Remote Beater Hub, which enables the cajon frontplate to be played by the cajon-specific Gel-Soft Beater Ball. 

A steel cable runs from the front of the hub to the pedal which bolts first to a bracket on the baseplate, and then onto the square end of the bearing shaft. A metal plate with a large DW logo covers most of the mechanical elements of the hub, giving a smart finish to the pedal’s overall appearance. 

Hands on

After spending an initial few minutes working out how the two parts were supposed to link together (we’re afraid to say, the instructions were studied in great detail!), the pedal was up and running with no problems. With a bit more tinkering, it was possible to adjust the pedal-board angle, beater position (which can not only be moved forward or back but also left to right) and of course, the spring tension. 

As you may expect from DW, the pedal does perform to the expected high standard although it doesn’t hugely outperform similar products from alternative brands, and it seems that some of the £249 pricetag could be for the DW name alone. But that’s not forgetting the included drum key and carry case! 

Stagg has an enviable reputation for punching above its weight in terms of good value percussion products. Some of its Chinese-made cymbals are real bargains, while even at this low price the CAJ-60M is Stagg's ritziest cajon.

Build

Stagg's forerunning 40M and 50M series cajons are made from MDF and basswood. The 60M is birch ply with a facing veneer 'tapa' of makore (African cherry) wood, which gives it an altogether more up-market image.

The 'M' stands for medium-sized and at 500mm high it's a good compromise, a comfortable height for most. Depth and width are both 200mm, again not-too-small and not-too-big. And the 12mm birch ply body, with strengthened internal joins and support post, seems plenty sturdy enough for plonking your butt down on.

Finish is a matt natural, almost satin lacquer, sanded perfunctorily smooth. Steadying the ship are four good-sized (45mm diameter) round rubber feet, while inside and above the sound hole is glued a rounded reinforcing baton that also provides a handy grip for picking up the instrument.

All Stagg cajons come with a padded nylon carrying bag with shoulder straps. Inevitably it's not the most rugged, but is not to be sniffed at for the price.

Hands On

The fat rubber feet give the 60M a stable base and increased resonance isolation, while the box feels solid even though it is still light and easy to lift.

Even the most 'sophisticated' of cajon snare mechanisms are crude, but this is one of the better designs. Positioned halfway down the right side of the box is a chrome knob in a short curved slot. This controls a steel rod which is connected to the two cut halves of a 20-coil steel snare.

When loosened the knob can slide along the slot, pushing the snares against the inside of the tapa or pulling them away. The knob is then tightened in the preferred position. This is easy to adjust during performance, giving roughly varying degrees of snarey or open sound.

With the snares full on and loosening off the top outer tapa screws just enough to get a crack, we gave the 60M a good pummelling, soon finding the sweet spots for bass and top end: ticky-tacky at the very bottom, reasonably bombastic centrally, clattery at the top. It's not the most resonant or tone-rich of cajons, but it has character.

Releasing the snares makes as great a sound change as on your standard snare drum. Impressively, the sound opens right out, the bass much more hollow and clean, rounded with a woody and medium-deep note. With the snare back on, the bass is more rattly, but fatter and swampier.

It's not too crisp, but rather crunchy and funkily loose. Both sounds have their place and contribute to the 60M's versatility.

Love or loathe them, the meteoric rise of the percussion sensation that is the cajon is not to be sniffed at.

With the buzzword 'hybrid' on the lips of many, Roland has taken the lead and created an electro-acoustic 'hybrid' cajon - a unique concept which, until now, would have seemed as likely as an electronic conversion of a penny whistle.

Build

Cast your eyes over the black finish shell for a moment - it may appear like any we see in the myriad of bars and acoustic cafés. This is no ordinary cajon but is mightily pimped-up. Though playable like any acoustic model, the box comes fully-loaded with electronic sounds including diverse percussion, sound effects and even cajon samples too!

Construction is fairly conventional; a basic rectangular box made from MDF and a contrasting tapa in light Sapele veneer. However, behind the grained façade are hidden sensors of the type found in Roland's electronic drums. One is located just below the front edge, triggering sounds set as 'edge', the other approximately a third of the way down and designated 'head'.

Considering its Spanish/Peruvian origins, in a tongue-in-cheek way Roland has named its latest piece of e-wizardry the EC-10EL Cajon. 'El' means 'the one' in Spanish, however the prefix in this case stands for Electronic Layering. This is where the electronically produced sounds are mixed or 'layered' with the natural voice of the cajon.

The EC-10 may be either mains powered (via the supplied PSU), or run under batteries, making it ideal for buskers. The 60 velocity-sensitive sounds are divided up into three groups, Cajon, Percussion and SFX, each one easily selectable during performance via the top panel of the cajon shell.

Located at the upper/rear portion of the cajon is a cunningly adapted handle from a Roland amplifier. This has a dual purpose of handle and sound hole. It features a recess at one end for your hand, and to the other (on the inside of the cajon), there is a cut-out to allow the acoustic sound to emanate. Also around the back but a little lower down, we find the mains input, battery casing, mix-in (for user MP3 or CD player), electronic sound output jack, volume and trigger balance between 'head' and 'edge'.

Hands on

Before touching the power button, we can't resist a play in a natural acoustic state - with just a few taps in and around the usual sweet spots, this cajon shows immediate promise. Towards the top we have a nice crisp slap and only a few centimetres down, a sound which is full and meaty. Also, there is an unusually effective underlying snare rattle which really does enhance the cajon.

Now, switching on a cajon - how weird does that seem? Well, it certainly takes a little getting used to, but on it goes and the LED segment illuminates to show a single-character numeric display. Sat in the driving seat the display/control panel is plenty large enough to give a clear view of the display and is easily accessible.

Firstly, we try a few of the electronic cajon sounds, blending nicely with the acoustic side of the instrument. The fat-sounding bass cajon reverb on the 'head' gives a surprisingly effective sound reinforcement. When playing lower frequency samples such as Vintage, Cajon Foot, Dubstep and a range of other useful sounds it literally transforms the way you play.

The blending or layering is really superb - perfectly in sync and with zero latency. Also, not forgetting, those electronic sounds can be output directly into an amp/PA and the box can be miked up just like any acoustic model - the potential is enormous.

The selection of complimentary sounds is highly playable. Perhaps the only one that could be deemed a touch gimmicky is the 'Voice Yeah' which could quickly grind you down. However, there is a mix of electronic and acoustic samples such as the Afro Stomp and Ambient snare that transform the instrument.

We expect most users will take advantage of the actual cajon samples. This may appear to be a daft thing to suggest, but think of it as a way of reinforcing the natural acoustic instrument.

One of our initial concerns was, would the internal electronics effect the natural acoustic properties? Would it be able to resonate with the reduction in the volume of the enclosure? Fortunately, this doesn't appear to be the case. Overall we are treated to a powerful cajon sound which is also enhanced by the electronics - awesome.

American percussion giant LP has been a world leader in its field for decades.

Producing only bongos and cowbells in the early years, the company has since developed to provide an enormous range of hand percussion and kit add-ons, including its popular Jam Blocks and Ridge Rider cowbells. With the release of the Raw Series, LP attempts to tap into the street drumming market in a Stomp-esque, industrial percussion kind of a way.

Build

Designed as a stand-alone percussion set-up or as a selection of add-ons for the experimental kit player, the Raw Series line-up consists of three main components.

Firstly, we'll look at the Street Cans, which form the bulk of the collection. These 1mm ribbed steel shells are available in 14", 16" and 18" diameters, all with a 16" depth. Closely resembling large metal beer barrels, their resonant head-free design is intended to deliver "thunderous punch and explosive power".

The floor-tom style drums feature extra long, height adjustable legs designed to allow playing from a standing or seated position (up to 36" height).

Next up, 'Potz' are a cheeky play on a street performer's favourite. Simple in concept, imagine a saucepan with the handle replaced by a mounting bracket and you've got yourself a pot.

The melodically pitched Potz are available in 4", 6" and 8" diameters and are finished with a brushed steel appearance, much like the Street Cans. They have a heavy gauge steel construction with a spun steel top and are left with a rustic, welded aesthetic.

They use LP's spring-loaded, self-aligning mounting system which will fit standard mounting rods or stands up to 1⁄2" diameter.

The prize for the most unusual component has to go to the 'Trash Snare'. This is an actual galvanised steel dustbin lid that has been transformed into some kind of bizarre timbale-type instrument using a 14" flanged hoop and a tuneable Remo head, then filled with synthetic beads.

The snare is designed to be played on both sides or used as an enormous shaker, offering a plethora of tonalities and effects. Other elements of the Raw Series include the Jangle Bell (a classic Ridge Rider cowbell with internally mounted nickel-plated steel tambourine jingles) and LP's new Sound Enhancers. The Sound Enhancers are small percussion instruments modelled to clip onto any flanged hoop magnetically. They are available in three options: Jingle, Shaker and Snare Wire.

Hands On

Let's begin with the Potz. You may or may not be surprised to discover that they sound uncannily similar to the type of ordinary pots and pans that you might find in your kitchen cupboard.

Admittedly, it's unlikely that your Tefal saucepans have been pitch-matched to quite such a degree but we'd wager it would be tricky to tell much difference.

The smallest 4" pot sounds decidedly choked in comparison to the 6" and 8" versions which each have a more lengthy decay. The larger pot has a welded metal tab for use with the magnetic Sound Enhancers, which is a useful touch.

The Sound Enhancers are a lot of fun to experiment with, not only with the Raw set-up but also a regular drum kit. With each type bringing its own sonic characteristic to the table, they also all have something in common: they apply a lot of pressure to the drum head which dampens the sound quite considerably.

This can have its advantages of course and work particularly well with the jingle add-on for producing drum'n'bass or funk-style sounds on the snare. Using them on the toms though we find to be fairly unsuccessful.

The Street Cans come tuned extremely low and sound absolutely enormous. They provide an instant attack and create a gut-rumblingly deep note, particularly the larger 18" model.

These could be most useful as a Surdo-style drum within a street ensemble or as a replacement/additional floor tom for a regular kit.

Tuning the cans up a little gives them a more rounded tone and reduces the prominent slap from the batter heads. But priced between £210 and £248 it seems incredibly difficult to justify the money.

Wanting so desperately to enjoy the Trash Snare for its sheer novelty value, unfortunately, we just can't get on with it. The drum offers surprisingly little resonance and sounds fairly dead to the touch.

This is likely caused by the lack of resonant head, replaced here of course by a rather thick dustbin lid. The most agreeable sound we are able to find is to absolutely crank the head and play rim-shots, timbale style. Even then, the ball bearings inside seem to clutter the sound instead of enhancing it. Turning the snare over to try the underside is even less inspiring.

Over the last decade, the cajon has moved from a musical curio to a mainstream percussion instrument.

Believed to originate from slaves using packing crates, and carried over from Latin America to Europe in the 1970s, the cajon became adopted in modern flamenco music and thereafter its relative ease of construction and portability meant the cajon rapidly spread from its more traditional heartland into more conventional musical milieus.

Its versatility and ability to mimic conventional drumset sounds in box form have meant it has become a staple for the modern drummer, and its portability and low volume has meant it works well in less structured musical situations such as jams and acoustic sessions.

La Rosa is a company established in Spain that specialises in producing 'artisanal' modern cajons, and we've been sent one each of its Petros Kourtis Signature models to test.

Build

La Rosa's Signature model is finished in a more striking matte black, and is again made of birch ply, and has the edge of the front and rear panels picked out in a natural bead. The front panel is made of 3.6mm phenolic veneer.

The Signature model has an angled top edge, with the corners chamfered down to provide a more ergonomic feel.

Hands On

Unpacked, the eye is immediately drawn to the deep black Signature, designed for Greek drummer/percussionist Petros Kourtis.

The snares are quite tight out of the box, and give a controlled and crisp note when struck at the top of the tapa. The bass tone is full and rounded but well controlled - its fundamental note is lower that you would expect and apes a kick drum well, though a full palm strike brings the snares into play as well.

A few turns with a screwdriver at the top loosens the tapa further to give a crisper tone and more definitive backbeat, which heightens the distinction between the bass tone and snare tones further.

Moving to the sides of the Signature gives clear open mid-tones without the snares - useful for adding rhythmic or tonal colour, or for keeping time when a backbeat is not necessary. Fingertip strokes on the top give a high-pitched, almost clave-like sound, and reaching around to the back gives a full, warm tone uncoloured for the most part by the snares.

Over the last decade, the cajon has moved from a musical curio to a mainstream percussion instrument.

Believed to originate from slaves using packing crates, and carried over from Latin America to Europe in the 1970s, the cajon became adopted in modern flamenco music and thereafter its relative ease of construction and portability meant the cajon rapidly spread from its more traditional heartland into more conventional musical milieus.

Its versatility and ability to mimic conventional drumset sounds in box form have meant it has become a staple for the modern drummer, and its portability and low volume has meant it works well in less structured musical situations such as jams and acoustic sessions.

La Rosa is a company established in Spain that specialises in producing 'artisanal' modern cajons, and we've been sent its Studio model to test.

Build

The Studio model is made of birch ply - 9mm for the body, 6mm for the back and 3.2mm veneered elm for the front striking panel. The body of the studio is finished in a satin natural varnish, with the front panel finished in a phenolic translucent red stain.

The corners of the top and sides are immaculately rounded-off to produce a smooth corner which makes it more pleasant to sit on. The back panel has a 5" sound hole about a third of the way from the top edge, and even the sound-hole edges have been rounded and sanded smooth.

Inside are two doubled strings taped to the back of the front panel to give the 'snare' sound - these are adjustable for tension using knobs on the underside of the bottom panel. Each cajon sits on rubber feet, isolating them from the floor.

Hands On

The bass tone is full and rounded, seeming almost muted - as if the cajon equivalent of Moongel had been applied.. Strokes at the top of the tapa are short, sharp and tight - again, sounding muted, as if played with a finger on the frontplate whilst striking it.

Loosening the snares also broadens the range of available tones, the tapa feels tighter and offers little variety across its face. Lighter strokes are not entirely distinguishable - perhaps as a result of the thin front panel.

The rise of kit players adding a cajon to their rig means we're now seeing companies put out bass pedals, offering drummers the opportunity to play traditional rhythms between their hands and foot.

Today we have just such a pedal from Schlagwerk. The German company has been a recognised big daddy of the percussion world for several decades, and now thanks to a deal with Headstock Distribution we're seeing its wares all over the UK.

Build

The CAP 100 pedal arrived with us packed away in its surprisingly heavy-duty carry case. Once out of the case we can see that the pedal is operated via a cable, allowing drummers to position the beater against the cajon tapa with the pedal off to their right or left. A baseplate fitting cajons of up to 30cm x 30cm is also provided.

Hands On

Setting the pedal up takes a matter of seconds. Adjustments are also a doddle - non cajon players won't be bamboozled here, if you've ever used a bass pedal then you'll have no worries whatsoever.

The cable system immediately feels reassuringly sturdy. We recently reviewed the Ruach Music Live range and found its internal bass pedal to be a tad underpowered, but this is anything but. The soft beater is just hard enough to deliver a solid sound but soft enough to ensure that you're not blasting a hole through your cajon.

Speaking of that beater, it delivers a delicious thwack to the tapa, rather than the tinny tap that you might be expecting from a pedal like this. It offers up decent response, whether buried from a real thud or feathered for a quick-fire response. Frankly, in its performance the CAP 100 blows the competition right out of the water.

We tested the pedal on Schlagwerk's X-One Fingerprint cajon, but with fairness in mind we also team it up with a competitor's cajon and find the performance to be every bit as impressive. No doubt this is a cracking product that once again shows the huge demand that is out there for cajons.

Okay, so where's the catch? Well, how about the price tag. At £149.99 it is incredibly expensive and possibly out of reach of many of the curious kit drummers that have picked up a cajon to see what all the fuss is about.

NAMM 2016: Rivaling the ukelele in its meteoric commercial rise and deceptive accessibility, the cajon has risen to market prominence in the last few years. Now Roland are applying their battle-tested electronic percussion tech to the instrument and the results are intriguing, to say the least.

Built on a fully usable acoustic cajon, the EC-10's battery-powered electronics are designed to complement its natural acoustics, triggering a 30 kits ranging from traditonal sounds like tambourine to more adventurous electronic banks.

The EC-10 is available now at a GB RRP of £309, and we'll be bringing you a full review in the very near future.

PRESS RELEASE: Roland is proud to announce the EC-10 EL Cajon, a unique and versatile hybrid percussion instrument. Combining an authentic acoustic cajon with Roland's famous electronic percussion technology, the EC-10 allows cajon players to easily enhance their music with layered electronic sounds. Completely self-contained with battery power and onboard amplification, the EC-10 puts the dynamic world of hybrid percussion in the hands of every cajon enthusiast.

The cajon has become an extremely popular instrument for on-the-go percussion, from local jams and street busking to nightclub performances and beyond. With its built-in Roland sound module, the EC-10 seamlessly extends the cajon's organic capabilities, letting performers create a wide variety of dynamic percussion sounds from one portable instrument.

At its core, the EC-10 is a real acoustic cajon that sounds great even with its onboard electronics turned off. The integrated Roland sound module features 30 kits loaded with sounds specially developed to complement the EC-10's natural cajon voice. Included is everything from traditional percussion like tambourine, djembe, and shaker to acoustic snare, electronic drums, and sound effects. Studio-optimized cajon sounds are also on hand to enhance the acoustic sound for more depth and punch. Thanks to the EC-10's dual sensors, each kit allows users to trigger independent sounds from the head and edge of the playing surface.

The top-mounted sound controls on the EC-10 are designed for quick access while performing, with dedicated buttons for scrolling through sound categories and variations.

Rear-panel controls include a Volume knob for mixing in the layered sound and a Trigger Balance knob to adjust the blend of the head and edge sounds. The user can also adjust the overall trigger sensitivity for their personal playing touch.

While the EC-10 contains high-tech electronics, it fully retains the self-contained simplicity that's made the cajon so popular. The integrated amp and coaxial speaker provide high-quality sound for keeping up with acoustic guitar amps and other instruments, and six AA batteries deliver up to 12 hours of power for long jams in any location. There's also a handy Mix In jack for playing music from a smartphone or song player at home or on the gig. The EC-10 even functions as an extra seat in a music room or family space when not being played.

GB RRP: £309

Latin Percussion is renowned for its percussive prowess, and today the trusted LP brand is synonymous with hand percussion.

The new Black Box cajon is the latest addition to the company's extensive catalogue which now boasts a variety of over 30 models of the Peruvian instrument in all shapes, sizes and finishes.

Build

Hailing from LP's City Series, this new model has a 6mm-thick MDF body and a tapa made from Baltic Birch - a material which LP says is found on some of the more upmarket models they have to offer.

The exterior is plain and understated but is smoothly finished in matte black spray paintwork. To the front is a small sticker displaying 'LP' and USA as the country, together with a series of Phillips-type screws holding the tapa in place.

Smack in the centre of the rear panel is a 10cm diameter sound hole where we can view a clutter-free interior. Here LP has opted for two end sections of a snare strainer to produce the 'snare' effect.

These are fixed in position (remaining non-adjustable), on a chunky piece of plywood that spans from one side of the cajon to the other. The bare wire ends are tilted up against the tapa towards the uppermost portion of the box.

Hands On

The whole cajon feels wonderfully smooth to the touch, allowing the hands to glide rapidly over the entire playable surface with ease. At the upper end of the scale, finger taps are clear, sharp and well-defined which leads us to produce some satisfyingly brisk rhythmic patterns.

The edges are beautifully rounded which proves advantageous when playing with force and without causing damage to our precious digits. This proves a useful attribute as, unless the cajon is subject to a really hefty belt aimed at the top of the box, the snare effect is barely audible.

Oddly, the upside of this quietness is the clear distinction between the tonal areas, which we find quick to pinpoint.

However, having played the box on a variety of floor surfaces and room settings, those really low-end tones don't make an appearance until seated in the corner of a room. Here the cajon provides a more acceptable, enhanced lower tone.

The instruments of Spanish percussion manufacturers J.Leiva, are no strangers to MusicRadar - recent reviewed models include the excellent portable Travel Series and the adjustable bass port model of the Pro Omeya Bass Studio - each model featuring patented designs, reinforcing J.Leiva's reputation.

Build

This Medina Pro review model has a natural birch ply body with a dusky brown tapa. It sports rubber feet, a bounty of familiar J Leiva graphics and is typically well- constructed. It is also superbly finished and feels smooth to the touch, but a poorly-sanded reinforcement block behind the sound hole is quite uncharacteristic.

As with other Leiva family members, this rectangular box also sports the innovative DTS 'direct tuning system'.

Its job title could be slightly misleading as it doesn't actually 'tune' the cajon, instead it allows a degree of adjustment of the snare effect by altering the tension of the four guitar string-type wires against the rear of the tapa. Adjustment is made via winged bolts located towards the lower part of the rear panel, negating the use for an Allen key.

As on the Travel Series, the Medina also has a 6" circular cut-out for the sound hole located way down the rear panel of the instrument. The Medina doesn't have an internal support or 'sound post' built-in, instead it relies on the substantial birch plies of the cajon body for strength and rigidity.

Hands On

With the lines of a smoothly rounded edged body, the Medina feels amazing to play. It seems quite natural becoming tactile with each and every slap as the palms glide effortlessly across the tapa's surface. Unless you were named John Bonham or Joe Morello, this experience is not available on a standard drum kit!

The sound produced around the topmost portion of the tapa is satisfyingly percussion-like - as delicate finger taps provide us with some of the smaller, tightly-tensioned percussion tones. Working those fingers and palms just a touch lower introduces congas, then, a little more, some snares.

Mid-point of the tapa, we would have expected to be greeted with some deepish tones, but, compared to a couple of cajons we have, this particular model lacks substance - in fact it is quite middly.

The DTS system is subtle and unless you are in a studio environment (where the cajon is isolated), in a live situation would be hardly noticeable. As you have to virtually dismount the cajon, it would help to have the controls at the top of the instrument - but we guess there could be some strange looks from members of the audience with all the fiddling around the rear end!

Ruach Cajons has come a hell of a long way in a very short space of time.

Founded in Northern Ireland by a then-16-year-old Phil Henderson just four years ago, the company started out as purely a way for the teenager to get his hands on a cajon without breaking the bank. He couldn't afford one, so he knocked up his own.

Word of young Phil's handiwork quickly spread and today Ruach makes five different cajons. Today, we have Ruach's MK series to review.

Build

Priced at £110, the MK1 is the company's entry-level offering. This is also the original Ruach design, a 50cm x 30cm x 30cm birch instrument with fixed snares and a natural finish. Moving up the range, the MK2 offers all that plus a two-way lockable snare. It's also a touch bigger, coming in at 50cm x 32cm x 30cm. The MK3 ups the stakes, adding what is a major selling point for Ruach, an integral bass pedal. Again it is also slightly larger in size at 50cm x 34cm x 32cm.

Hands On

The MK1 is straight-up vanilla - the original Ruach Cajon and sans frills. But, what it is is a solid budget cajon. At just £110 we didn't hold out great hopes for this one, but the birch instrument kicks out a consistent tone no matter where you hit.

The MK2 ramps things up ever-so- slightly by adding an on-off mechanism for the snare. It's a nice addition in theory, and it does add some tones to your arsenal, but we found the mechanism to be a little flimsy. We wouldn't fancy gigging this one, and would actually opt for the MK1 if given the choice.

The MK3 sits atop the MK line and, as previously discussed, adds a bass pedal. Again, we ran into some issues with the snare mechanism and found that we encountered some unwanted rattle when the snare was turned off.

At £210, the MK3 looks feature-packed, but the snare problem is something of a deal-breaker. We did put plenty of time into adjusting the snare settings with some degree of joy, but the MK3 just didn't wow us in the way that the MK1 did.

At first the MK3's pedal feels a little fiddly, it's a pretty small surface area that you need to get your foot onto, and Ruach has possibly sacrificed ergonomics for style by making the pedal in the shape of the company's logo.

Playing heel up, as recommended by Ruach, is tricky and wears on the muscles pretty quickly. After a little experimenting, however, we hit paydirt. For our money your best bet is to whip your shoes off and play heel up. All of a sudden knocking out some multi-faceted grooves is an absolute doddle.

Sonically, the internal beater gives a decent response, but can occasionally be a little underpowered unless you give it some welly each and every time.

Hands up who saw the huge cajon boom that we have seen in recent years coming.

The growth of the cajon has been as rapid as it has been surprising. Not a single month goes by without several new models of these ingenious wood boxes being sent to Rhythm HQ.

If you want to get in on the act but don't know where to start, you're in luck as we're here to help.

For starters, if you believe that these unique instruments are a fad, think again. They've been around for a very long time and they can sound sublime whether you're replacing the sound of a full drum kit for unplugged situations or using them in more traditional Afro-Cuban or Flamenco settings.

There are a great many sizes available and a huge variety of woods are used in their construction. When miked up properly from the rear of the cajon near the sound-hole - and even with a second mic close to the tapa (or sound board) - you can achieve incredible results through a decent PA system. Some companies even produces models with built-in transducers so you can just plug in and play without having to place any mics at all - very minimalist!

If you're serious about buying a cajon you should look for a model that's sturdy, able to take your weight easily and doesn't slip around as you play. Try to find one that has an easily adjustable and quiet snare mechanism for a variety of possibilities.

There is a bewildering choice of models on the market, so some careful selection decisions must be made. Think about musical applications. Do you intend to play unmiked? Maybe you will always be miked-up and can plump for a subtler 'Cuban-style' model. Then there are heavier- duty models that project more and even fiberglass frontplated cajons that will be loud enough in unplugged sessions or super-beefy when played through a PA.

Ready to join the growing hoards of cajon players? Don't spend a bean until you've taken a look at our round-up of the best cajons in the world right now.

Since producing its first Cajon nearly 30 years ago in 1986, these German percussion makers have been at the forefront of the development and increased popularity of the instrument over the years.

Here, we take a look at the brand new, entry-level X-One.

Build

The cajon measures in at 30cm x 30cm x 50cm, features an eight-ply birch construction and is finished in a smooth, natural satin with rounded top edges. It sports a 12cm port hole on the rear, a non-slip sitting surface and engraved Schlagwerk logos on each side.

To increase snare sensitivity, the top third of both playing surfaces have been secured with small screws while the bottom is glued in place. This also makes it possible to further adjust the tonal response by experimenting with the screw tension, although Schlagwerk recommends they stay in factory position.

The X-One is available in three printed designs - these are named Fingerprint (as review), Styles and Illusion. The X-One uses beech for its playing surface.

The X-One employs a rudimentary snare system, using two short (11cm) 20-strand vertical snare wires secured at the top of the resonance box at a 45° angle, ensuring a tight contact against the back of the playing surface.

Hands On

With a small thump to the centre of the playing surface, a rich bass note is produced with a satisfying length of decay. A firm slap to the edge coaxes the snare wires into action, delivering a well-balanced woody note, accompanied by a tight snare response.

As a predominant kit player, the instant appeal with this cajon for us is the convincing kick and snare-type sounds that emanate from it.

Helped on the most part by the unexpectedly thunderous low-end response which is barely (if at all) affected by the tiny snare wires.

They appear to know just when to jump in and assist a top-end slap but stay dormant whilst playing further own. There is though, some middle ground available when playing around a quarter to a third of the way down the playing surface.

In regard to the finish, it's probably fair to say that the Fingerprint design is fairly cool but nothing to write home about. To be frank, we assumed it was some kind of animal print before realising that it was supposed to be a fingerprint.

Since producing its first Cajon nearly 30 years ago in 1986, these German percussion makers have been at the forefront of the development and increased popularity of the instrument over the years.

Here, we take a look at the brand new pro-level Agile cajon.

Build

The cajon measures in at 30cm x 30cm x 50cm, features an eight-ply birch construction and is finished in a smooth, natural satin with rounded top edges. It sports a 12cm port hole on the rear, a non-slip sitting surface and engraved Schlagwerk logos on each side.

To increase snare sensitivity, the top third of the playing surface has been secured with small screws while the bottom is glued in place. This also makes it possible to further adjust the tonal response by experimenting with the screw tension, although Schlagwerk recommends they stay in factory position.

The aptly named 'Agile String Technology' features horizontal strings which can be tightened toward or loosened away from the tapa using a control at either end. A central knob is then used to adjust the tension of the strings and thusly, manage snare dampening.

Hands On

We would be as happy with this as a piece of furniture at home as we would be rocking it on stage.

The less boomy nature of the Agile Pro offers a more percussive quality than lower-end cajons, complemented by the ability to completely dampen the snare wires for a traditional cajon sound. Further experimentation with the strings provides a more sensitive snare response that allows a more subtle approach to the instrument.

Ruach Cajons has come a hell of a long way in a very short space of time.

Founded in Northern Ireland by a then-16-year-old Phil Henderson just four years ago, the company started out as purely a way for the teenager to get his hands on a cajon without breaking the bank. He couldn't afford one, so he knocked up his own.

Word of young Phil's handiwork quickly spread and today Ruach makes five different cajons. Today, we have Ruach's Live series to review.

Build

Sized 50cm x 30cm x 30cm, the Live A is made from cherry and features Ruach's internal bass drum pedal. It also features a five-way snare mechanism and detachable handles. The Live B is another cherry cajon, similar to the A but without the bass pedal. All cajons feature a sound hole in the shape of Ruach's logo.

Hands On

There's only one place to start, we're right in there with the flagship model, the Live A. Priced at £445 this is one costly bit of kit, but is it worth the dough? The cajon itself is without doubt a quality instrument, the cherry wood surface allows for some rich tones no matter where you play along the tapa.

The five-way snare mechanism is a nice idea, but there's not a whole lot of difference to our ears between several of the settings. It's impossible to argue against the fact, though, that at top tension this is one sweet-sounding cajon.

At first the pedal feels a little fiddly, it's a pretty small surface area that you need to get your foot onto, and Ruach has possibly sacrificed ergonomics for style by making the pedal in the shape of the company's logo.

Playing heel up, as recommended by Ruach, is tricky and wears on the muscles pretty quickly. After a little experimenting, however, we hit paydirt. For our money your best bet is to whip your shoes off and play heel up. All of a sudden knocking out some multi-faceted grooves is an absolute doddle.

Sonically, the internal beater gives a decent response, but can occasionally be a little underpowered unless you give it some welly each and every time.

The Live B is the same instrument as the A, but without the bass pedal. We found very little difference in sound between the A and B but for us, it is worth shelling out the extra £56 for the A's pedal.

Upon the percussive podium this month is the brand new Crate Cajon from Thai eco-warriors Tycoon Percussion.

Tycoon's original Crate was created as a "tribute to the roots of this instrument, which originated from African slaves in Peru using old wooden crates to play musical rhythms on as a means of expressing themselves musically".

Build

In keeping with the design concept, Tycoon has created this new model to complement the original and successfully maintain the appearance of an old and well-used packing case.

The original Crate had a much darker appearance but, with just a cursory glance, the second generation model appears to be of a similar construction with only cosmetic differences. Indeed the material of choice for the body (as with many of Tycoon's typically ecologically-sourced woods), is Siam Oak with an undefined Asian hardwood for the tapa.

Taking a peek into the rear sound hole shows construction is similar to the many other cajons that we see in the pages of Rhythm - basically this is made using a simple rectangular box construction with reinforced sides, a central sound pole, adjustable 'snare' effect and a tapa or front panel made from a different wood to that of the body.

Externally, however, this looks quite a bit different from the norm. It has a cool finish created with some fat and random brown lines over a cream wash. Each visible panel (with the exception of the front plate), has routed furrows giving the appearance of individual panels. This, together with packing-case type graphics of 'FRAGILE' and 'THIS SIDE UP' and the addition of decorative wood 'struts', gives an authentic but tongue-in-cheek vibe to the cajon.

The snare effect is provided by four copper guitar-type strings stretched tightly against the front plate. They are held mid-point by a single stripe of Velcro and formed into two pairs in a 'V' shape with adjustment via two Allen bolts located to the underside. Additional effects are provided by a set of small jingle bells which are attached to the sound post.

Hands On

We must admit to being initially sceptical of how all the routing troughs could affect the sound and whether this box is simply a novelty item.

However, it doesn't take long before we find these fears were unfounded - just a couple of tentative finger taps gets my interest and a mid-point slap shows this cajon is capable of producing an impressive thump which we find myself acknowledging with a meaningful nod!

While the all-essential snare effect is reasonable, it is difficult, if not impossible, to coax those bells to produce even the faintest 'chime' without an extraordinarily hard wallop. However, there is a mass of kit-like and percussion-ish sounds produced with ease - just move the hand-strike position slightly and it's surprising the differences in tones. These can be deep and warm with a surprisingly high degree of resonance which makes us keep going back to have a play.

On 12 November, members of the UK's Music Industries Association and other assorted luminaries will convene at the Hilton London Metropole hotel for the annual MIA Awards ceremony, at which the very finest new gear releases of the past year will be celebrated.

For the past month, we've been asking you to vote for winners in a series of categories, and now, based on your votes, we can present the final percussion product shortlist.

Browse through the gallery for an alphabetically ordered rundown of the products that have made the top 10. We'll reveal the winner on Friday 13 November.

First up, Drum Workshop's mighty Collector's Series Cherry Wood kit

Our verdict

"This is the cherry on the cake of drum craftsmanship with extraordinary attention to detail. At a price..."

5 out of 5

FULL REVIEW: Drum Workshop Collector's Series Cherry Wood Kit

(Reviewed in Rhythm)

Our verdict

"We're not convinced the Reso 7 is revolutionary, but it is still an excellent head achieving largely what is claimed."

4 out of 5

FULL REVIEW: Evans Reso 7 heads

(Reviewed in Rhythm)

Our verdict

"This is a fantastic all-rounder kit which is equally happy on stage or in the studio - on a jazz gig or playing rock."

5 out of 5

FULL REVIEW: Mapex Saturn V kit

(Reviewed in Rhythm)

Our verdict

"By offering a restricted choice of shell-packs and finishes Pearl is able to bring to market the professional quality Masters BCX for the price of a top budget kit."

4 out of 5

FULL REVIEW: Pearl BCX Masters Birch Kit

(Reviewed in Rhythm)

Our verdict

"The TD-25 represents the highest quality, and quickest self-contained option in its class."

4 out of 5

FULL REVIEW: Roland TD-25KV

(Reviewed in Rhythm)

Our verdict

"Don't be misled by the jokey name and bizarre finishes. Sabian has produced a stunning and intriguing set of high-end, provocative, challenging, complex, dark and great-to-play cymbals."

4 out of 5

FULL REVIEW: Sabian Big And Ugly Ride cymbals

(Reviewed in Rhythm)

Our verdict

"Uncompromising in design, build, looks and sound, Sakae's Almighty Maple is appropriately named. It's an unambiguously pro spec kit and the level of quality it offers justifies the asking price."

4 out of 5

FULL REVIEW: Sakae Almighty Maple Kit

(Reviewed in Rhythm)

Our verdict

" This kit has it all - great sound, excellent build quality and an incredible price; even at its full RRP this kit contradicts its comparatively meagre price tag."

5 out of 5

FULL REVIEW: Tama Custom Superstar Hyperdrive Kit

(Reviewed in Rhythm)

Our verdict

"Yamaha's credentials run through this kit like the words in a stick of rock. It's beautifully made; solidly engineered to take the knocks of real life and produces a quality of sound that defies its price tag."

4 out of 5

FULL REVIEW: Yamaha Stage Custom Birch kit

(Reviewed in Rhythm)

Our verdict

"These small FX cymbals are a fun bag of Marmite items which may or may not suit your taste and purpose. Between them they produce a wide range of trashy, ringy add-on sounds."

4 out of 5

FULL REVIEW: Zildjian FX Series Cymbals

(Reviewed in Rhythm)

(Above)Premier Modern Classic kits came out on top in 2014. What will get your vote this year?

There have been a lot of great new percussion products released over the past 12 months, but now Rhythm magazine wants you to choose your favourite by placing your vote for the Percussion Product of the Year Award 2015.

Run in conjunction with the UK's Music Industries Associaton (MIA), this award is designed to celebrate the very best in performance, quality, value for money and retail success. Our shortlist of percussion products was compiled by the Rhythm team and the MIA's members, and recognises the finest new products to have come to market since autumn 2014.

Tell us who you think should win the Rhythm Percussion Product of the Year Award 2015 by voting in the poll below.

The resurgence of the cajon over the last few years has been as staggering as it has rapid. These unassuming wooden boxes are in actual fact crafted by master artisans and open up a world of opportunity for drummers.

Whether it be part of a dedicated percussion rig or as a handy tool for acoustic gigs, cajons are bigger than ever. That's why this month our team of expert reviewers turn their attention to the top best cajons in the world right now.

This hybrid acrylic/black makah cajon from Bangkok-based Tycoon ticks the style and substance boxes. Beautifully designed and packed with power, it also sounds great when played with brushes. But it carries a price tag to match.

3 out of 5

Full review:Tycoon Red Cherry Acyclic

Meinl's Artisan range continues to grow, with each addition to the line showing the excellent craftsmanship you would expect from this iconic brand. The birch-made Solea, Catinia and Seguiriya models are particularly tasty from this Spanish-made series thanks to their subtle tones.

3 out of 5

Full review: Meinl Artisan cajons

The Widebody is crafted by Latin Percussion's skilled luthiers in Spain and delivers top quality, professional tones. At 46cm x 35cm x 30cm it is shorter but wider than your average cajon, hence the name.

4 out of 5

Full review: LP Widebody

Proudly flying the flag for Britain, Plymouth-based Lion Cajons have been doing some superb work under-the-radar in recent years. This plywood Pro-Active Bass cajon is a bit of a beast, coming in at 48cm tall, 30cm deep and 34cm and offers superb value for money.

4 out of 5

Full review: Lion Pro Active

An iconic name with a long, illustrious history in percussion, Natal knows what it's doing when it comes to cajons. Their Large cajon measures 36cm x 30cm x 48cm and delivers delicious deep tones for not a whole lotta cash. You can upgrade to the XL model for an extra tenner.

4 out of 5

Full review: Natal Large

Not only do Pearl's Jungle and Cube cajons sound great and look funky but with price tags like these they have done our wallets a favour too. Both feature fibreglass surrounds and hardwood playing surfaces.

4 out of 5

Full review: Pearl Jingle and Cube cajons

If you're looking to get into the cajon boom but you're on a budget, the PP142 would be a cracking choice. You will get a well-finished, sturdy instrument and a handy padded carry case. All with change from £90, not bad at all.

4 out of 5

Full review: PP142 cajon

The 48cm x 30cm x 31cm Duende Elite is a birch cajon that delivers in spades when it comes to volume and power. It's also a doddle to adjust its snare by hand thanks to its clever three-string mechanism. A great value instrument that usefully fills a gap in the market.

4 out of 5

Full review: Duende Elite

Made from phenolic plywood and Russian birch, the Omeya Bass Studio is a sophisticated, expensive cajon, thoughtfully designed and carefully assembled in quality materials. The higher tone adjustments are subtle, while the bass capabilities are undeniably impressive.

4 out of 5

Full review:Leiva Pro Omeya Bass

The Siroco is the result of a collaboration on equal terms between Paulo De Gregorio's Barcelona-based company and J Leiva Percussion, and the results are stunning. Made from sonically sympathetic woods, the birch plywod/pine Siroco is incredibly portable and right at the top of the high-end bracket.

5 out of 5

Full review: De Gregorio Siroco

This Omeya Travel Series cajon hails from the same family of Spanish-made instruments as other Omeya models including the Evo, Junior, Bass Pro and the Studio Bass, reviewed last year.

Today's review model shares similar features to the Studio Bass (including removable/closable sound ports and the materials used for construction), except this cajon has been cunningly designed to quickly fold up and pack neatly away into its own supplied carry case.

Once folded, it's slimmed down to roughly a quarter of the depth of a standard model, making it incredibly portable.

Build

The front plate/tapa and two sides are fixed to a basic rectangular-frame chassis. The hinged sides are machined in specific areas, removing three of the seven ply layers. In principal, this should help the instrument to resonate while the areas left untouched by the router maintain stability and integrity.

In typical cajon fashion, wires (guitar strings), are pressed loosely against the front plate by Velcro strips. The Direct Tuning System is a rather fancy name referring the ability to alter the snare effect wire tension without special tools. This is performed via winged bolts (recessed into the top of the cajon), using the fingers instead of faffing about with Allen keys, drum key etc.

No tools are necessary for putting together the cajon - long bolts stretching from the back to the front of the cajon pull each of the closely machine parts together creating virtually seamless edges.

Like the Bass Studio, it has additional sound holes - one at the rear, as on any standard model, and another in the base. This system is designed to provide a little extra bottom end - either one of the ports can be opened, by undoing two winged bolts, or closed to suit the performance and performer.

Hands On

Identifying each piece and transforming them into a recognisable cajon doesn't take more than a few minutes - like making up a toddler's wooden toy, this is literally child's play.

With the hinged sections opened up, the top and bottom pieces are fully inserted until they butt snugly against the front frame. The back slots into position over the precisely machined sides and are held in place by the five bolts which are each finger-tightened.

With the cover of the rear sound port removed, the cajon is capable, producing a range of drum-like and percussion-ish sounds but slightly lacking in the bottom-end department.

With the cajon sat elevated by the four supplied bolts and the lower sound port removed, there is a noticeable difference in the lower frequencies. We've found that the tapa is not the only playable surface - there are some interesting percussive sounds available down either side too.

While the effect of DTS adjustment of snare wires is nominal, the sound overall is good, especially considering most of the parts are simply bolted and slotted together.

A few months back we reviewed the superb innovative DrumBox Travel Set and the Cajon DrumBox cajons made by Spanish luthiers DG DeGregorio Percussion.

Today it's the turn of the brand new top-of-the-shop DeGregorio Kanyero cajon to be perched upon and put through its sound and rhythmic paces.

This Peruvian box of tricks is entirely hand-made by the same craftsmen who create the highly-regarded and renowned DeGregorio guitars. The shell is made from sheets of mahogany and features a removable/tuneable carbon fibre frontplate or tapa.

The mahogany has a deep, rich red hue while the carbon fibre has a typically hi-tech appearance with its dimpled black finish. This may seem quirky, but the combination is visually enticing.

As expected with a cajon of this quality, the finish is faultless - where each section meets with another and around the sound hole to the rear, the jointing and workmanship is outstanding.

To the inside, strung directly up against the tapa (with the aid of Velcro), we see the familiar steel wires attached by Allen bolts.

These snare effect wires are adjustable via the Allen bolts located top and bottom of the instrument - this makes a refreshing change from the usual placement of concealing adjusters to the underside.

Hands On

With just the lightest touch midway down the frontplate, the tone is deep and immediately striking. The cajon shell resonates, giving an extra bottom-end lift - acting a bit like a sub woofer, perhaps.

Striking with fully-extended fingers and top of the palms produces a healthy slapping, snare-like sound.

When playing with the tips of the fingers (using a similar technique to that which drove my parents mad at the dinner table), the sound here is both snappy (with the aid of the snare effect wires), and full - inspiring you to produce some surprisingly intricate rhythms.

Having a smooth, resilient surface, pitch bends are easily produced as either foot slides smoothly up and down the carbon fibre surface, while giving complete freedom to play with our hands.

With this Kanyero cajon it's so easy to get touchy feely - the whole shell feels so smooth - ultimately, this means playing it won't shred your digits as on some of the cheaper, less well-made models.

MUSIKMESSE 2015: The most eye-catching gear on the Latin Percussion stand was the new Raw range, a series of rugged-looking products designed for the edgier percussionist but also with inclusion in acoustic drum kits in mind.

First up we have the Street Cans. These are floor toms designed to offer deep tone with plenty of projection. They feature 1mm ribbed steel shells with flanged hoops and tuneable double-ply heads. Available sizes are 16”x14”, 16”x16” and 16”x18”.

They sit on height adjustable legs that range between 24 and 36 inch heights so they can work in multiple musical scenarios. As well as regular percussionist set-ups and drum kits, LP suggests they would work well for front-of-stage performers or DJs looking to enhance their live show. Having seen and heard them in the flesh we’d be inclined to agree.

Also in the Raw range are Potz. These one-piece steel mini drums offer a unique, metallic, high-pitched tone. Visually they fit with the rough, industrial look of other products in the range.

The Trash Snare was particularly eye-catching. Built around a galvanised steel dustbin lid, filled with synthetic beads and with a tuneable drum head on top, the drum creates a trashy, sizzling snare-like sound. LP suggest flipping the drum and playing bin lid side too. A very versatile instrument.

LP are known for their accessories too, and this or any other drum can be combined with LP’s Sound Enhancers (pictured) to create an enhanced snare sound, or spice things up with a set of jingles.

We like these LP cowbells too. Modelled on the ‘most recorded cowbell ever', LP’s Black Beauty, these versions feature a classy, scratch-proof designs printed on them.

For the cajon players there are two key new products. First is the pictured hi-hat attachment. Fix this to the side of your cajon, pair it with a remote cajon bass pedal and you can play a backbeat on your cajon just like an acoustic drum kit. Are there no boundaries to what these versatile instruments can do?

Finally, we liked the LP cajon accessory pack that included some cool cajon attachments including castanets and foot jingles, plus a handy LP-branded cajon cushion for those extended sessions.

While Dixon enjoys the success of its top of the range acoustic drums, its roots actually lie deep in the manufacture of competitively priced hardware. Dixon's Cajon Pedal Plus is a multi-functional, multi-purpose pedal aimed at the cajon player, percussionist or drummer.

Build

This cost-effective, competitively priced pedal package includes the beater post assembly (with integral clamp), cajon bracket, self-adhesive pads (used for packing under varying heights of cajon feet), and a remote foot pedal.

The remote linkage is provided by approximately a metre of top quality cable of the sort found on sports cycles.

The beater post clamp (located at the base of the assembly), is similar to those found on many multi-clamps. This features a single winged bolt and a wide opening jaw, allowing it to be attached to virtually any stand, piece of hardware or onto a cajon, via the specially designed cajon bracket.

This sports a pair of hefty spiked bolts to stop any creeping on a drum mat or carpeted surface and is flexible enough to allow the beater to be positioned laterally for optimum 'throw'.

Hands On

With the beater post attached to the cajon bracket, it is positioned at the tapa side of the cajon. The aforementioned spikes maintain a firm beater position and help us to give a confident performance without worrying about things wandering across the stage.

Playing with this is not only enjoyable but it quickly becomes apparent the extended rhythmic possibilities now readily available when playing our cajon.

It is also great fun experimenting with the pedal around our kit - attaching the beater post onto just about anything that is within reach of the cable! This includes virtually all of our stands, under/over crash cymbals, tom, cowbell etc, opening-up whole new territories for our playing.

With the pedal beater targeted at other percussion instruments, such as a shaker or tambourine, such is the flexibility of the pedal, the possibilities are endless.

While the soft beater head is absolutely ideal for striking a cymbal, gong etc, without causing them any harm, it isn't quite loud enough when going full-blast on the kit. Swapping it over for a hard plastic beater, the sound is louder and altogether more impressive.

Musikhaus Thomann, Europe's largest music store, is now offering a new product line of percussion instruments for children aged one year and above.

Each individual instrument in the Thomann Kid's Percussion range has been designed to aid the motor and cognitive development of children from an early age. Now the 'big kids' and the small kids can play music together in ecological harmony.

Range, safety and quality

The Thomann Kid's Percussion line covers a huge range of instruments; everything from cleaves, to shakers to wrist and ankle bells.

It's not only the child's personal development which has been taken into consideration whilst designing this new range of equipment, but also their safety. The instruments are extremely durable and don't include any small parts which could be dangerous to young children.

Thomann also guarantees the use of 100% natural, raw materials, such as beech wood and grain used in the fillings of instruments. Furthermore, all paints and varnishes are water-based and we are proud to announce that these products are Made in Germany.

Useful age guide

A useful age guide is given to parents and teachers prior to purchasing, though of course, all instruments are also suitable for adults as well.

"The instruments are ideal for young children and toddlers, especially considering the robust material which has been used and their tactile, visual and tonal values,"confirms Prof. Marianne Steffen-Wittek, lecturer and international award winner of musical education.

"To help a child's perception of the different types of instruments, it's indeed advantageous to have varying masses and different types of materials in the shakers. Children will notice how the weight and sound of each instrument varies."

The Thomann Kid's Percussion instruments are available online and in the massive Thomann shop in Treppendorf, Germany.

Spanish manufacturer DG De Gregorio Percussion has rapidly built a reputation for making cajons to a high standard. The company was formed by top Spanish/Italian percussionist Paolo DeGregorio who has used his passion to become the foremost producer of this highly-portable Peruvian box.

Acquiring this status has attracted many of the world's top flamenco players, drummers and percussionists, including Tom Chapman, Paquito Gonzalez, Dave Weckl, Sheila E, Stewart Copeland and Evelyn Glennie.

Build

We have two DG cajons for review - the DrumBox and the DrumBox Travel Set. Apart from a set of intriguing winged bolts protruding from the rear of the Travel Set, there's very little to differentiate them. They each have similar dimensions and shape, and sport the familiar sound hole cut into the rear panel.

The shells of both instruments are constructed from five plies of premium, ecologically sourced birch and finished in a natural, water-based varnish. To the front, the tapas are made from plies of Baltic birch, topped with a vertical veneer of dark-grained Alpilignum and imprinted with the DG logo.

Bolted to one side of the cajons is a secondary tapa, also made from thin plies of birch. This is designed to be struck with the beater from DG's patented Direct-Drive Cajon Pedal, included with both cajons.

This has a soft beater that strikes the side tapa, offering an extra rhythmic lilt. 'Direct-Drive' refers to the linkage (similar to those found on double pedals) connecting the foot pedal to a remote beater, and not to the chain of the beater pedal.

The beater section attaches to the cajon via a specially designed clamp that slots in between two of the rubber feet under the base. For the 'snare', this comprises two pairs of vertically strung steel wires with adjustable Velcro strips. The strips apply varying degrees of pressure against the tapa, and two Allen bolts provide the adjustable tension to the wires.

DG has also provided a non-slip mat for the pedals and cajon to sit on, a large keyhole- shaped piece of material similar to the backing on carpets.

When describing a cajon, words like 'innovative' and 'ingenious' rarely occupy the same sentence. However, the DrumBox Travel Set is of both those things. Based on DG's flagship Maestral, the Travel Set features a replaceable, tuneable tapa and a fully removable rear panel.

With this panel removed, the cajon is transformed into storage box for the whole of the pedal assembly and anti-slip mat which is useful for storage during inter-gig transit.

Hands On

The pedal clamp bracket is swiftly attached to the underside of the cajon together with the beater assembly. This padded beater is aligned so it sits approximately two-thirds of the way up the side tapa and centred between the two sides.

The drive shaft allows optimal positioning of the pedal and sitting there seems wholly natural. As we play we begin to develop some interesting rhythmic patterns that are not feasible or remotely possible with just a pair of hands. Samba, beguine, mambo, rumba... all we need now is a foot-operated clave for some five-stroke clave patterns and we're well away!

The cajon produces a deep, low resonating tone when struck just a few inches down the tapa. This helps avoid leaning or bending into an agonising angle in order to achieve that bass drum-like sound.

Knowing the location of the snare wires proves an advantage as we get used to all the sounds available around the cajons. There is a more pronounced rattle effect a third of the way in from either side, and then by placing our hands a few millimetres away from the 'snares' we hear bongos and down a tad into conga territory.

Striking in the centre two-thirds of the way up, we are treated to a rich deep tone and in contrast some strikingly good kit and percussive emulation takes place.

It is surprising the amount of low-end resonance lost when we experiment by removing the back of the Travel Set cajon, and such is the precise routing of that rear plate that, when back in position, there seems no discernible difference between either model.

As cajons go it has to be said that these are very expensive, but oddly there has to be much more work involved in producing the Travel Set, so paying just an additional £26 to get the extra storage convenience makes this model far better value.

Come 18 November, the key players in the music instrument industry will be heading to London's Park Plaza hotel for the annual MIA Awards ceremony.

We asked for your help in narrowing down our longlist of great drum gear to a final 10 products, and we can now unveil the shortlist - in alphabetical order - for the Rhythm Percussion Product of the Year Award.

The winner will be announced during the ceremony, but here you can browse the 10 products still in the running after your vote, starting with the DW Design Series Kit...

Our verdict

"The standard of build is nothing short of superb, faultless in fact. The sound is impressive and all the features equally so."

5 out of 5

FULL REVIEW: Drum Workshop Design Series kit review

(Reviewed in Rhythm)

Our verdict

"Leiva's Zoco is a high-quality, versatile addition to the cajon market, sounding impressive in all musical styles and represents unprecedented value for money."

4 out of 5

FULL REVIEW: J. Leiva Zoco 2.0 cajon review

(Reviewed in Rhythm)

Our verdict

"Armory presents yet another significant step in the impressive onward march of Mapex. With hybrid shells, rounded bearing edges and superb finishes it will surely storm the middle market."

4 out of 5

FULL REVIEW: Mapex Armory kit review

(Reviewed in Rhythm)

Our verdict

"A little off the beaten track but no less superb for it, these rides are as rich in tone and colour as their appearances. They're not cheap, but instruments with this much character justify the outlay."

4 out of 5

FULL REVIEW: Meinl Byzance Vintage Pure rides review

(Reviewed in Rhythm)

Our verdict

"The first collaboration of Steve White and Keith Keough comes up trumps, with shells that should win awards and a correspondingly wicked sound."

5 out of 5

FULL REVIEW: Premier Modern Classic Bebop 20 review

(Reviewed in Rhythm)

Our verdict

"The TM-2 is an affordable addition to your kit, and could well divert the sample-hungry hybrid drummer's attention from shelling out on an SPD-SX. Nice one, Roland!"

4 out of 5

FULL REVIEW: Roland TM-2 Trigger Module review

(Reviewed in Rhythm)

Our verdict

"Another top collection as voted for by everyday drummers worldwide. Iso and Raw Bell crashes are bright and colourful, the X-Plosion ride and Freq Hats multi-purpose, warm and musical. Winners all."

4 out of 5

FULL REVIEW: Sabian Cymbal Vote winners review

(Reviewed in Rhythm)

Our verdict

"Sakae's Trilogy, with its thin three-ply shells and reinforcing rings, is markedly different from anything the company previously produced. Excellent drums, hand-made with real flair."

4 out of 5

FULL REVIEW: Sakae Drums Trilogy kit review

(Reviewed in Rhythm)

Our verdict

"Calling on expertise in various areas of instrument manufacture, the Absolute Hybrid Maple exemplifies Yamaha's pursuit of excellence."

5 out of 5

FULL REVIEW: Yamaha Absolute Hybrid Maple kit review

(Reviewed in Rhythm)

Our verdict

"Dark and mysterious, malleable and full of complex, bittersweet character, the Kerope set achieves Zildjian's own vintage brief beautifully, recalling a classic era increasingly desired by the modern player."

4 out of 5

FULL REVIEW: Zildjian K Kerope Cymbals review

(Reviewed in Rhythm)

Leiva, based near Cordova in Moorish Spain, makes a range of cajons and this Omeya Bass Studio Design is one of its most sophisticated.

Build

The chassis is made from seven plies of phenolic plywood, 12mm thick, while the front sound plate (tapa) is Russian birch ply, 3.2mm thick. Proportions are 52cm (201⁄2") high x 29.5cm (111⁄2") wide x 30cm (12") deep, with four rubberised feet for steadying. The finish in a dark stain is satin smooth. The rear sound hole is a 15cm (6") reinforced circle with a cover removable via two wing nuts.

Supplementary to this there is a second, rectangular vent, 23cm (9") x 6cm (21⁄4"), in the bottom of the enclosed box which is raised a couple of inches (5cm) off the ground.

Six guitar strings in a 'V' formation of three pairs from top to bottom behind the front plate constitute what Leiva calls its Direct Tuning System. Each pair has a lower wing nut for tension adjustment.

Hands On

The differences obtained from adjusting the wires is, as ever, minimal. But you can differentiate the tone slightly between left hand through centre slap to right hand. The variations obtained via the two vent holes however (back and bottom) are vastly more pronounced, justifying the Bass Studio moniker.

The rear circular porthole you either remove or keep fixed. But the lower slot can be adjusted from fully open to fully closed via a simple slider, so you can create a vent hole exactly the size you prefer. Thus there are four basic options.

For tight, delicate playing with little bottom end, keep both vents fully closed. With both vents fully open, if you sit on the box and maybe lean back a little the whole cajón reverberates - almost like you're sitting on a ButtKicker.

For maximum bass, striking just off centre to either side of the tapa elicits a boomier, warmer, fatter note. This is impressive, the most bass we have heard from any cajon. The other two settings, with one or other of the bottom or back vents open and the other closed, allows a range of effects between these two extremes. A lot depends on whether you intend to close mic. But whatever you go for this cajon certainly offers variety.

Now in the third generation, this family-owned business has been hand-crafting guitars in Toledo near Madrid since 1905. Manuel Rodriguez's reputation is richly deserved, with superb build quality and sound produced from the classically proportioned European acoustic guitars - Eric Clapton, Paco de Lucia, Andre Segovia and Sting are amongst its list of high-profile clients.

Build

Manuel Rodriguez and Sons adheres to a strict eco ethos, with all the power for the factory machinery and lighting provided by solar panels covering their factory roofs. Not a scrap of material goes to waste with all its heating, courtesy of shavings, sawdust and other small pieces - burnt in special eco boilers.

Many of the larger off-cuts from guitar production become component parts for its cajons - parts such as the extensive internal bracing, sound hole reinforcement, snare adjusters etc. This cajon is standard sized and with a rectangular box construction.

The Soleá II is one the more expensive models in the range, and it also shares its name with the most basic of the 12-beat Flamenco rhythmic patterns. It's made entirely from birch ply. To the front there is a small 'MR' signature logo but the main feature of the frontplate is from the two decorative strips of marquetry. This follows down the far left-hand side, occupying the entire length of the tapa or frontplate.

There's a sound hole to the rear, Phillips screw fixings for the tapa, small rubber feet found on the base, snare-effect wires and a large guitar graphic on the tapa..

Inside is a label of authenticity - similar to those found when peering in through the sound hole of any Manuel Rodriguez guitar. The printed label has 'Manuel Rodriguez e Hijos' together with handwritten model designation, serial number and date of manufacture - awarding the cajon with an extra touch of class and credence.

Hands On

With a full-on slap to the middle of the tapa, the Soleá II responds impressively with a deep, resonating bass tone. You can hear a significant difference between this and less expensive models in the range, which don't quite match the low end of the Soleá II.

The rattled snare effect and other higher percussive voices are easily attained with almost any loosely placed slap. When accuracy is required, this model shows a clear distinction between the various striking areas to produce a range of musical percussion sounds.

Though this cajon originates from a country steeped in the tradition and passion of the Flamenco, creating rhythms from almost any part of the world is feasible.

Spanish brand Manuel Rodriguez may be best known for its stunning classic guitars, but the company also produces a line of cajons.

Now in their third generation, this family-owned business has been hand-crafting guitars in Toledo near Madrid since 1905. Its reputation is richly deserved, with superb build quality and sound produced from the classically proportioned European acoustic guitars - Eric Clapton, Paco de Lucia, Andre Segovia and Sting are amongst its list of high-profile clients.

Build

Manuel Rodriguez and Sons adheres to a strict eco ethos, with all the power for the factory machinery and lighting provided by solar panels covering their factory roofs. Not a scrap of material goes to waste with all its heating, courtesy of shavings, sawdust and other small pieces - burnt in special eco boilers.

Many of the larger off-cuts from guitar production become component parts for its cajons - parts such as the extensive internal bracing, snare adjusters etc. This cajon is standard sized and with a rectangular box construction.

The Farruca has a natural finish shell of gabon wood and comes with a birch tapa, stained in black. As with all the models here, this is smoothly finished, with no evidence of any unwanted sharp edges to shred your digits.

There are many generic features and similar components between each model, including a sound hole to the rear, Phillips screw fixings for the tapa, small rubber feet found on the base, snare-effect wires and the large guitar graphics on the tapas of the Farruca and Alegria.

Inside each model is a label of authenticity - similar to those found when peering in through the sound hole of any Manuel Rodriguez guitar. The printed label has 'Manuel Rodriguez e Hijos' together with handwritten model designation, serial number and date of manufacture - awarding each cajon with an extra touch of class and credence.

Hands On

The Farruca has only two sections of Velcro for the snares which gives it a slightly loose feel and snare sound - this also helps coax just as much tone and resonance.

Though this cajon originates from a country steeped in the tradition and passion of the Flamenco, creating rhythms from almost any part of the world is feasible. The sounds produced though are quite snappy - just like the Flamenco - where the cajon responds well from some delicate finger taps to some nicely aimed wallops - sometimes like striking the body of a guitar.

This box is capable of producing a surprising range of drum and percussion-like sounds for almost any genre with little effort.

There will be many guitarists (especially those into Classical and Flamenco styles), who are familiar with the range of beautiful guitars from Manuel Rodriguez.

Now in the third generation, this family-owned business has been hand-crafting guitars in Toledo near Madrid since 1905. Its reputation is richly deserved, with superb build quality and sound produced from the classically proportioned European acoustic guitars - Eric Clapton, Paco de Lucia, Andre Segovia and Sting are amongst its list of high-profile clients.

Build

Manuel Rodriguez and Sons adheres to a strict eco ethos, with all the power for the factory machinery and lighting provided by solar panels covering their factory roofs. Not a scrap of material goes to waste with all its heating, courtesy of shavings, sawdust and other small pieces - burnt in special eco boilers.

Many of the larger off-cuts from guitar production become component parts for its cajons - parts such as the extensive internal bracing, snare adjusters etc. This cajon is standard sized and with a rectangular box construction.

Pictured top, the Alegria (a Flamenco rhythm term meaning joy and happiness), is also a name commonly given to senoritas and one of the most affordable in the range. With a shell made entirely from 10mm thick Medium-Density Fibreboard (better known as MDF), it's finished in a matte black with a light, natural finish tapa, made from plies of birch.

There's a sound hole to the rear, Phillips screw fixings for the tapa, small rubber feet found on the base, snare-effect wires and a large guitar graphic on the tapa..

Inside is a label of authenticity - similar to those found when peering in through the sound hole of any Manuel Rodriguez guitar. The printed label has 'Manuel Rodriguez e Hijos' together with handwritten model designation, serial number and date of manufacture - awarding the cajon with an extra touch of class and credence.

Hands On

Unfortunately, resonance isn't quite the Alegria's strongest point - in fact it does seem a bit dull. This may not bode well in a dry acoustic environment (lacking in the projection department perhaps), but, when put through a PA set-up or when used for recording, this shouldn't present a problem.

Though this cajon originates from a country steeped in the tradition and passion of the Flamenco, creating rhythms from almost any part of the world is feasible. The sounds produced though are quite snappy - just like the Flamenco - where the cajon responds well from some delicate finger taps to some nicely aimed wallops - sometimes like striking the body of a guitar.

American firm Latin Percussion - one of the industry leaders in producing iconic, trustworthy and particularly innovative percussive instruments - returns with this bubinga cajon.

The firm arguably produces the most widely played and recorded hand percussion instruments in studios and stages worldwide, and certainly shows no signs of letting up soon. This cajon is actually hand-crafted by skilled luthiers in Spain (unlike the majority of mass-produced models), so you can rest assured that it is most certainly the real deal.

Build

This model features a 9mm-thick quality Finnish birch body formed from eight individual plies, and have beautifully sculpted and consequently much more comfortable top front corners.

The cajon measures 48cm tall by 30cm by 30cm and is resplendent in a bubinga finish. LP uses a 'Lateral Curve System' that allows the four internal, vertically mounted guitar strings to vibrate evenly to produce the optimum 'snare' response.

There are two sets of two strings that lie against the rear of the tapa in a V-shape, adjustable via two hex screws in the base. It also comes with a small cluster of metal jingles that further spice up the drums' 'snare' sound.

Hands on

The Bubinga cajon delivers top quality and professional tones due to the quality woods and serious attention to detail by the Spanish artisans who make the instrument. We found that the bubinga cajon had a wide, warm overall sound with its bass tones accented slightly but still possessing enviable mids and a cracking array of slap and finger tones. It's also really comfortable to play for extended periods

That said, you can't expect to attain every sound possibility in any single cajon, so it's vital that you try as many as you can before you part with your dosh.

The humble box drum has so many different 'personalities', and we as players often have quite a nebulous idea of what sound and feel we are looking for, so do your homework and try different models before you decide which is right for you.

US firm Latin Percussion arguably produces the most widely played and recorded hand percussion instruments in studios and stages worldwide, and certainly shows no signs of letting up soon.

This cajon is actually hand-crafted by skilled luthiers in Spain (unlike the majority of mass-produced models), so you can rest assured that it is most certainly the real deal.

Build

This walnut model features a 9mm-thick quality Finnish birch body formed from eight individual plies, and has beautifully sculpted and consequently much more comfortable top front corners.

The cajon measures 48cm tall by 30cm by 30cm, sporting a rich walnut finish on the tapa. LP uses a 'Lateral Curve System' that allows the four internal, vertically mounted guitar strings to vibrate evenly to produce the optimum 'snare' response.

There are two sets of two strings that lie against the rear of the tapa in a V-shape, adjustable via two hex screws in the base. It also come with a small cluster of metal jingles that further spice up the drums' 'snare' sound.

Hands on

The Walnut delivers top quality and professional tones due to the quality woods and serious attention to detail by the Spanish artisans who make this cajon. It's also hugely versatile and able to deliver a full spectrum of tone options, as well as providing a really sharp and focused overall sound.

That said, you can't expect to attain every sound possibility in any single cajon, so it's vital that you try as many as you can before you part with your dosh.

We especially loved this model when we gigged with it with one mic near the rear sound hole and one near the top - lots of folks gushed about its high-quality tonal palette. What's more, it's really comfortable to play for extended periods.

American giant Latin Percussion has long been one of the industry leaders in producing iconic, trustworthy and particularly innovative percussive instruments.

It arguably produces the most widely played and recorded hand percussion instruments in studios and stages worldwide, and certainly shows no signs of letting up soon. This cajon is actually hand-crafted by skilled luthiers in Spain (unlike the majority of mass-produced models), so you can rest assured that it is most certainly the real deal.

Build

The LP Widebody cajon is quite a revelation for a variety of reasons, the most obvious being its dimensions - it comes in at 46cm by 35cm by 30cm, which means that when compared with 'standard' sized cajons you have a slightly less tall but significantly wider cajon to explore. It features a 9mm-thick quality Finnish birch body formed from eight individual plies, and has beautifully sculpted and consequently much more comfortable top front corners.

The Widebody has a wonderfully comfortable 2.5mm five-ply Finnish birch tapa and is finished in an attractive ebony stain. LP uses a 'Lateral Curve System' that allows the four internal, vertically mounted guitar strings to vibrate evenly to produce the optimum 'snare' response. There are two sets of two strings that lie against the rear of the tapa in a V-shape, adjustable via two hex screws in the base.

Hands on

The Widebody delivers top quality and professional tones due to the quality woods and serious attention to detail by the Spanish artisans who make this cajon.

It's very comfortable (not to mention fun!) to play for extended periods and has a yielding quality with much more 'give' to the tapa than you'd expect, inspiring possibilities for extended playing. As you might expect, the Widebody's bass tone is 'turned up to 11', and even un-miked in acoustic settings is a powerful instrument to play, and its mid and high register is accentuated as well.

Marshall's purchase of Natal back in 2010 has resulted in more than a revamped central drum line, the firm's percussion range is also increasingly worthy of your attention. Here we take a look at one of the firm's Large cajons.

Build

Natal's cajons come in Large and Extra Large. Our review model is Large, 14" (36cm) wide, 113⁄4" (30cm) deep and 183⁄4" (48cm) tall.

Budget-conscious construction is of pretty thin ash ply with a more solid top seat and bottom, while a 12.5cm (5") sound hole is slap in the centre of the back panel.

Four chunky rubber feet provide extra stability. There's a strongly-figured wavy grain pattern on the frontplate and the whole box is well finished, satin smooth except for the seat which has a roughened surface for grip.

Hands On

The Large Cajon is a good size, though the thin construction makes you wonder how long it will hold up. The thin ash walls give a loose and reverberant tone. The top slap is quite dark and even after partially loosening off the two top outer screws you get only a moderately sharp crack.

On the other hand the overall vibe is quite bassy and warm, lending a touch of sophistication to what is, after all, just slapping a wooden box.

Two short vertical lengths of 20-strand snares are fixed inside to a wooden former and loosely slipped under a nylon band at the top. They can be crudely moved closer or further away via a drum key-operated bolt on the side.

We got the most snare response somewhere in the middle region, not too tight or loose, same as with a conventional snare. Although this certainly is not a sophisticated strainer like you would find on a snare drum.

We asked for your help in nominating the best percussion products of 2013 in the run-up to the forthcoming MIA Awards. Now we can unveil - in alphabetical order - the 10 products you chose to feature in the shortlist for the Rhythm Percussion Product of the Year Award.

The winning percussion product will be announced in London on 4 December at the MIA Awards ceremony.

Run in conjunction with the UK's Music Industries Associaton (MIA), the awards are designed to celebrate the very best in performance, quality, value for money and retail success.

The shortlist recognises the finest products to have come to market since November 2012, but is in alphabetical rather than ranked order. Browse the gallery to see the hardware that made the final list!

Our verdict

"Having experimented with the various settings during the review, the pedals remain set pretty much as they arrived - they feel amazingly natural underfoot and perform beautifully with little compromise on the dilemma of power versus speed."

FULL REVIEW: Bullet & Kitch/Natal hybrid double kick pedal

(Reviewed in Rhythm)

Our verdict

"Crush has gone all-out to ensure the tone created is authentically vintage - just add years of smoke and a touch of sweat and we think that they will come extremely close."

FULL REVIEW: Crush Drums Sublime E3 kit

(Reviewed in Rhythm)

Our verdict

"With this evolution of its design process, Evans has launched a true revolution in drum heads."

FULL REVIEW: Evans Level 360 drum heads

(Reviewed in Rhythm)

Our verdict

"Built in the USA, Gretsch's new Brooklyn mixes the vintage and the new in a pleasing cocktail that offers a real alternative pro-line Gretsch at a more competitive price."

FULL REVIEW: Gretsch Brooklyn Kit

(Reviewed in Rhythm)

Our verdict

"It was HighWood's criteria to create a no-compromise, yet cost-effective bass drum pedal. The result is a quality product, representing Brit engineering at its very best - mission accomplished."

FULL REVIEW: Highwood Malleus Double Kick Pedal

(Reviewed in Rhythm)

Our verdict

"Drums have to be special to join Mapex's Black Panther range and the Black Widow kit definitely fulfils the entry requirements."

FULL REVIEW: Mapex Black Panther Black Widow kit

(Reviewed in Rhythm)

Our verdict

"The BC2rm is a ruggedly-built, road-ready tool from a company at the forefront of tactile monitoring. It has been designed for touring on a professional scale and so carries an appropriate price tag."

FULL REVIEW: Porter & Davies BC2RM

(Reviewed in Rhythm)

Our verdict

"This kit offers full portability (and is therefore incredibly easy to transport), with little compromise - it is also easily stowable, which will appeal to those not wishing to fill up their valuable space with drums - the rack design could well set a new trend."

FULL REVIEW: Roland TD-4KP electronic kit

(Reviewed in Rhythm)

Our verdict

"Drum kits just go on getting better and Tama's new Star series, substantially changed from the already excellent Starclassic, is another step towards Drum Heaven... at an eye-watering price."

FULL REVIEW: Tama Star Maple Kit - Tama Star Bubinga Kit

(Reviewed in Rhythm)

Our verdict

"Built with Yamaha's usual attention to detail, the Live Custom is a powerful new addition to the market."

FULL REVIEW: Yamaha Live Custom kit

(Reviewed in Rhythm)