Electronic drum

In 1967, Felix Visser, a drummer playing with the Dutch pop band the VIPs, DIY-modified one of the pre-Roland Music-era Ace Tone electronic rhythm box-drum machines, which was intended to play simple pre-programmed rhythms, so that it could be played as a live instrument. The Ace Tone rhythm box was designed by Ikutaro Kakehashi, who later founded Roland Corporation Japan. As with all rhythm boxes and later drum computers, before a "human feel" was developed by introducing subtle variation and "swing", the Ace Tone rhythm boxes had a metronomic, machine-like sound.

In Visser's modification, the Ace Tone box was extended with a large flat board holding 12 printed circuit boards of approximately 4 × 4 inches, with the copper traces intertwining like forks. The copper traces formed the touch surfaces for the sounds generated by the Ace Tone box. Each touch pad was sensed by an electronic circuit driving high-speed Siemens computer relays he found in surplus shops. These were connected to the drum and percussion sounds of the rhythm box. Although it was a crude way of playing electronic drum sounds by hand (like a percussionist playing bongos and congas), it worked and added a "human feel". Visser's approach enabled drummers to have a new type of virtuosity (e.g., rolls on electronic bass drums could be played with sticks). The unit was used in Frans Peters' studio in radio city Hilversum, Netherlands.

The system was over-sensitive to humidity:

"The circuits would be triggered by the touch pads, merely by damp. Just breathing over them would do the job. So in the end a 40 Watt light bulb was built inside the box holding the pads, electronic circuitry and relays, to heat up the unit when the instrument had been sitting in a car and then put on a stage in a relatively warm, damp environment. After all we'd just left the dark ages of electronic music... "

The first electronic drum was created in the early 1970s by Graeme Edge, drummer of The Moody Blues, in collaboration with Sussex University Professor Brian Groves. The device was used in the song "Procession" from the 1971 album Every Good Boy Deserves Favour.[1]

Question - "One of the strangest pieces was 'Procession' (Every Good Boy Deserves Favor, 1971), which featured the pioneering work of Graeme Edge's electronic drum kit. How did that come about?"

Graeme - "I'd got in touch with the professor of electronics at Sussex University, Brian Groves. We worked up an electronic drum kit, a marvellous idea. I had the control panel in front of me, it's old hat now but we were the first to do it. There were pieces of rubber with silver paper on the back with a silver coil that moved up and down inside a magnet that produced a signal, so it was touch sensitive. I had 5 snares across the top and then ten tom-toms and then a whole octave of bass drums underneath my feet and then four lots of 16 sequencers, two on each side. There was a gap — to play a space — a tambourine, ebony stick, snare and three tom-toms. This was pre-chip days, back then you did it all with transistors. So it had something like 500 transistors. The electronic drums inside looked something like spaghetti. When it worked it was superb, but it was before its day, because it was so sensitive..."

The first commercial electronic drum was the Pollard Syndrum, released by Pollard Industries in 1976. It consisted of an electric sound generator and one or more drum pads. It quickly caught the attention of numerous high-profile drummers/percussionists at the time, such as Carmine Appice and Terry Bozzio. However, the Syndrum was a financial failure and the company failed in the following years.[1]

In 1978, the Simmons company was created to produce commercial electronic drums sets. Its most notable product was the SDS-5, released in 1981. With its characteristic hexagon-shaped pads, the SDS-5 was first used by Richard James Burgess on From the Tea-rooms of Mars ...., "Chant No. 1" by Spandau Ballet, and "Angel Face" by Shock. After its debut on the top musical chart shows and parades, this electronic instrument garnered significant attention from established and influential rock/pop musicians. The sound of the SDS-5 is often described retrospectively with phrases such as "awful" or "sounded like trash can lids" by those who employed them at the time. Despite the critics, the distinctive Simmons sound was extensively used during the 1980s by pop/rock & synth-pop groups such as Duran Duran and progressive rock bands such as Rush, among others. Simmons drums are often viewed somewhat nostalgically by those who began to experiment with these early forays into electronic drums and percussion.

Early Simmons SDS 5 Electronic Drums, ca. 1983.

In the following 1980s, other companies started selling their own versions of Simmons' electronic drums, notably Pearl, Roland and Yamaha. At that time, electronic drums were similar to 2016-era starter or entry-level kits. They consisted of rubber-coated sensor pads mounted on stands. The pads were created to be velocity-sensitive and the sound was generated through single or multiple-layered sampling or synthesized sound.

In 1997, Roland introduced its TD-10 model, which had two major musical and electronic innovations. The first and more controversial innovation was its method of providing noises for the drums/pads to trigger, instead of generating its sound by using samples of an acoustic drum or cymbal. The TD-10 used mathematical models to generate tones using synthesizers. While some drummers lamented the fact that the produced sound was not a "pure" sample of an acoustic instrument, others argued that simple replication of an acoustic drum was not desirable. Secondly, instead of rubber-coated pads, Roland featured a new mesh-like pad, produced in collaboration with acoustic drum skin manufacturer Remo.

The mesh-head pads look and feel approximately like a smaller-sized acoustic drum (although the wooden shell is much smaller). The Remo/Roland mesh surface is made from a double layer of taut woven mesh fibers, fitted with several electronic sensors or triggers. The playing feel is close to that of striking an acoustic drum, but with more bounce than an acoustic skin. Roland termed its commercial drum set "V-Drums", which later became the marketed brand name of its electronic drum line. Together, the mathematical/computational modeling, mesh-head pad surface, and improved trigger sensor technology greatly increased the quality of sounds, the "realistic" feel of electronic drums, and the volume levels in practice and live show settings.[2]

Roland V-Stage Series TD-12S V-Drum Kit. On the left is the "brain", the module that controls the drum sounds and enables the performer to select from different types of drum kit and control the volume.

In the 2010s drum kits from major manufacturers have therefore addressed many of the shortcomings of early electronic drum pads and modules. While each of the significant market brands have entry-level units, the professionally marketed kits are geared toward creating sounds and playing experiences that are nearly indistinguishable from playing a quality acoustic kit or world/orchestral percussion instruments. Examples of these high-end professional kits include the Yamaha DTX 950k and Roland V-Drums TD-30KV.

Professional kits generally have higher-quality digital sounds These drum modules offer high quality modeled drum sounds – with hundreds of onboard sounds, effects and audio loops and song options/patterns to choose from. Some of these modules allow the user to select tuning, head type, depth/width and material (metal, wood type, etc.). Trigger sensor/reliability and reduction of crosstalk have been vastly improved. Triggering now allows both the head and the rim to produce different sounds, facilitating rim and cross shots as well as shell tapping and many other audio sounds that can be assigned to the head or rim, so that the options for live music increase even more. Cymbals can accommodate more zones: for edge, bow and bell strikes with different sounds, with choking capability and realistic cymbal swells.

They have more realistic hi-hats - Acoustic hi-hat cymbals are mounted on in a pair on a stand with a foot pedal enabling the drummer to open and close the hi-hats, which enables drummers to create a wide variety of hi-hat effects, depending on whether the pair of cymbals are fully closed, partially closed, or open. These newer electronic versions are no longer single cymbal pads as in the 3000s, but dual replicated cymbals, that can be mounted on regular stands like their acoustic versions. These cymbals allow for actual opened and closed hand/foot playing. An electronic module detects hi-hat movement/height and position, providing realistic variations of hi-hat sound via degree of placement – open, partially open, and closed hi-hat strikes. Some modules, like the Roland TD-30, also feature foot close and quick close-open sounds, with pressure on the cymbals also being sensed and replicated when tightening or loosening the foot pressure, even on a closed hi-hat. So, the audio sounds tighter when firm pressure is applied on an already closed hi-hat pedal.

The sensor-embedded pads and plastic cymbals are mounted on a stand or on multiple stands, so that the drummer can put them in the desired position.

The electronic drum module is the equivalent to the synth module for electronic drums. It contains the electronic and digital circuitry which produces the synthesized drum sound or the triggered samples. The drum module has a number of faders, buttons and knobs on the front or top so that the drummer can make changes. There is usually some type of display, to give the drummer information about the settings and status. This may include an LCD or LED screen and individual LEDs that light up when sensors are triggered. The drum module is typically mounted on a stand, so that the drummer can easily reach it and see its display and other visual indicators. On the rear or top of the drum module is a patch bay, with a number of labelled jacks for plugging in the sensors, audio outs, and MIDI in or outs.

Drum modules typically contain "drum kit" presets in their memory. Each drum kit has different sounds, such as jazz drums played with a "brushes" sound, rock drums, Latin drums, African drums, or 1980s-era drum machine synthesized drum sounds (like the TR-808 kick drum sound, for example). Some electronic drum modules, such as Roland's TD-12, even include non-drum sounds, such as organ, electric bass, orchestra, and so on, which can be triggered using the drum kit sensors. Some presets also include effects appropriate to the drum kit or its associated genre. The drum module may also contain effect units, such as audio compression, reverb, and equalization. The drum module may offer controls to adjust the sensitivity of the different pads and cymbals, change the sound of the tuning of the drums, adjust the "buzz" of the snare, the muffling of the bass drum, and so on. Some drum modules incorporate features of drum machines or sequencers, such as the capability to play pre-programmed drum beats, so that the live drummer can play along with them.

Some electronic drum manufacturers sell electronic drum-specific combination amplifiers, which contain a power amplifier and one or more speakers in a wooden, wedge-shaped cabinet. The wedge shape is designed so that the speaker is directed at a seated drummer, much like a vocalist's monitor speaker will often be wedge-shaped. Some electronic drummers use keyboard amplifiers or PA systems (both of which are full-range systems). For individual practice, headphones can be connected to the drum module's headphone jack.

A bass drum pedal may be needed in some kits. As well, some electronic cymbals can be mounted on regular cymbal stands. Drummers also use accessories, such as a drum throne, which is a small padded stool.

• Although not totally silent because they are still being played by striking a stick on the surface of the drum heads, electronic drums and their counterpart devices usually produce considerably less acoustic noise than a traditional drum kit. Also, the drummer can use headphones for an essentially silent and private practice in dwellings where it would be impossible to have a studio or acoustic noise level, and perhaps where regular-sized kits would not fit.
• They are much lighter, smaller, and easier to transport than an acoustic drum kit. Electronic drum sets are (usually) more compact than acoustic drums- though it is possible to have them customized to acoustic sizes – or convert acoustic kits to become one and so that alters their size benefits, depending on your choice.
• A single electronic kit can (via its module or software) simulate the sounds of countless acoustic kits and instruments/effects. A drummer in a cover band or wedding band can switch instantly, for instance, from a vintage jazz drum kit to a powerful maple rock kit for a hard rock song, to a TR-808-sounding synthesized drum sound for a house music cover song. Other options include congas, piano, guitar, brushes, orchestral timpani, gongs or even add hand claps or sound effects such as a sirens. In the 2010s, many non-musical samples and effects are available. It is therefore possible to achieve much more than one can with an acoustic kit alone and one has to transport significantly less kit to play a wide variety of sounds and instruments.
• Electronic drums do not require complex and expensive microphones or their large stand arrangements for recording, unlike acoustic drums. Instead, the sound can be obtained through line-out connections. Because of this, an electronic drum is good for education, practice, composition applications. The best-quality electronic drums and drum modules can even be used in studio recording or live performance.
• Electronic drums usually have useful features for both the aspiring beginner or professional alike, such as metronomes with different metronome "voices"; play-along songs/loops and samples, with the ability to record practising or playing; syncing of the metronome to a studio DAW metronome instead of using the studio's click; or experimenting with composition. It is also easy to use an MP3 player or iPod to play songs for practice or for looping those parts to target technique issues or replicate drum parts.
• Electronic drums can be played at a significantly lower volume level, and so are less restrictive for use, avoiding the need for the rest of a band or other quieter musicians to have to increase their volume acoustically or electronically to match the percussive volume level. This is particularly advantageous in coffeehouse and cafe stages, smaller rooms, or older architectural theatres or churches, where excessive volume is not necessarily desired and can dominate in a way that is difficult and time-consuming to solve (with acoustic drums, some small venues use plexiglass screens to reduce the onstage drum volume).
• When equipment such as sticks, brushes (vinyl brushes for mesh heads) and mallets are used with electronic drums, they last slightly longer than on acoustic kits, due to the use of rubberized rims and hoop protection that prevents stick contact with metal.
• They can be used to control or sample from other MIDI instruments or work with other samplers (Roland SPD-SX, or Yamaha DTX Multi-12), or percussion pads (Alesis Percussion Pad, Roland SPD-30 Octapad/Handsonic- HPD 20 or the Yamaha DTX Multi-12). They also work well alongside digital audio workstation software for using samples rather than modeled computer-generated sounds. As well, the drum playing can be sent via MIDI to a computer program such as a scorewriter.

• Electronic drums do not perfectly reproduce the sound of acoustic drum kits. Even if a good-quality electronic drum kit uses sampled acoustic drums, the sample for a given drum or cymbal will sound the same when it is repeated, whereas an acoustic drum or cymbal's sound can be subtly changed on repeated strikes. (Replacing acoustic drums may not be the entire scope or purpose of electronic kits in 2019, but it is still a large priority for many customers.)
• Unlike acoustic kits, for which most of the individual drums and cymbals can be combined, the individual drums, sensors, pads, modules, and cables of an electronic kit may be incompatible with those of other models or brands.
• Important features such as realistic-feeling pads and advanced, realistic sound modeling or samples are generally limited to expensive sets. Entry-level electronic kits generally use single triggered rubberized hard pads and modest-quality samples or sound modeling. Even expensive kits have limitations, as compared with acoustic kits; for example, even an expensive electronic cymbal with multiple sensors might not be able to sense strikes to the bottom cymbal, which can be done on an acoustic cymbal.
• Unlike acoustic drum kits, which are powerful enough to be audible in a small gig without amplification, electronic kits need at least one power outlet and a keyboard amplifier or small PA system to be audible.
• The quality of the sounds reproduced by an electronic kit depends on the quality of the sound module, samples, amplifier, personal monitors, headphones, satellite speakers, or audio system used by the performer.
• Every region has regulations on electronic equipment. Bands that are on tour with electronic drums will need to do maintenance and periodic tests of the equipment. As well, bands that are crossing international borders may need accurate paperwork for their electronic drums. Cables, plugs, adapters, earthing, and any sign of damage or modification without the proper paperwork could nullify a band's or a venue's insurance policy. Occasionally a venue may require a risk assessment before electronic drums can be used on stage.[3]

Alesis PerformancePad electronic drum kit

A table-top electronic drum (or portable electronic drum) is an electronic drum that has all of its pads (except foot pedals) and the electronic sound module combined in a single table-top unit. It may have a small amplifier and small loudspeakers incorporated so that it can be used at jam sessions without plugging into a PA system. The sound generation is generally simpler (single-layered samples) when compared to more expensive, full-size electronic kits. Also, the feel when playing a table-top drum/pad is very different from using a full-size electronic kit or an acoustic kit. The advantages of table-top drums are their portability and the relatively lower price.

Some acoustic drummers use a table-top electronic drum as their first foray into electronic drumming, since purchasing a single table-top unit and setting it up alongside an acoustic drum kit is much cheaper and simpler than fitting an entire acoustic kit with sensors and connecting them to a "drum brain" module. With a table-top drum mounted on a stand, a drummer who has an otherwise acoustic drum kit could add different drum and percussion sounds to her playing, such as synthesized drum sounds, or samples of a percussion instrument that would otherwise be impractical to have onstage (e.g., a large gong).

An acoustic triggered drum kit is a regular acoustic drum kit coupled with drum trigger/s (sensors) on the drums and cymbals. The triggers can be "built inside" or permanently fixed on to cymbals–so that they are necessarily either: fixed triggers (electronic kit essentially), removable (can be either acoustic or electronic by default of purpose at the time), or simply an acoustic kit that is now actually a "Hybrid" kit–using external triggers that attach to the rim and skin (or batter head) so as to trigger other sounds on top of the natural acoustic sound produced or simply to boost it for performance.

The triggers detect hits/ vibrations on the batter head and/or hoop rim and generate an electric signal. The signal is then sent to an electronic module/sampler or via cables and an Audio Interface to MIDI-DAW/drum software on a PC/laptop/Mac–to trigger the selected sounds. Usually, the "acoustic triggered kit" has either commercially available mesh head "skins" (silent), or the drummer keeps her natural skins (using acoustic skins for a Hybrid kit are standard practice) and other muting accessories to reduce the acoustic sounds generated when played. This way, an acoustic (electro/acoustic) or Hybrid triggered drum kit has the feel and sizes of the standard acoustic kit but with the added benefits of an electronic kit's onstage silence, controllable volume (an important factor in small venues) or the added sound library available in 2016-era high-end kits, which includes sounds for large gongs and other instruments that are expensive and hard to transport in their original acoustic form.[4] DrumsAnywhere software[5] uses a single piezoelectric microphone, to trigger eight different drum pads on any flat or irregular surface, such as a table or wooden chair.

Some drummers have a mixture of acoustic drums and cymbals and electronic drum equipment (sensor pads and a "drum brain"). For example, a drummer who finds that their cymbals are too loud in the small venues they play in may use electronic cymbals, but acoustic drums otherwise. On the other end of the spectrum, a drummer who has mostly electronic drums may add a few acoustic drums or cymbals to the kit to add timbral variety or "colour".

This hybrid kit mixes traditional acoustic instruments with sensor-equipped electronic drum gear.

Aerodrums is a motion capture system that allows a drummer to perform without a kit physically present. A high speed camera captures the drummer's motions and converts them into electronic signals that can trigger drum samples. Senstroke is a similar system that uses bluetooth technology.[6][7]