The answer here is a Yamaha ead10 and a set of 215 shure in ears. Treat the room as you go but you’d be surprised on what that tool can do for your playing.
One thing i did not find how to do is to change one of the zones , like the rim of the ride to play chaina cymble , the other thing is you have to dig in to set the sensitivity of all the pad to response good . And there is an issue that some of the time if you play at a pad you cannot here all the strikes like 2 feom 5 , or not hearing at first and then the other yes . And last thing is the menu is on the right and not on the left . Anither thing when you play from usb , you cant record yourself with the track . I love to get some help
Hearing from my Genelec 8030Bs. I can barely make a diff to objectively outline gains/losses between both. Both are awesome, both excel at the job. If I'd had none and had to get one, probably I'd get the Audix just cause I think it's a better economic choice. Besides the comparison, I don't much like the general mix of the drums. Not quite a fan of the overly aggressive bus comp as it seems to throw the comparison towards a very niche use case. Also there's something I can describe as dirt(is it saturation?)
@@user-dd3ti8iu6d Because it sounds like 99% of other e-kits would in the same room. While there are some variations of volume between e-kit’s acoustic sound… “90% quieter than acoustic drums” is sufficient for almost everyone. If you’re in a situation where 1-2db is a make or break, you shouldn’t trust a RU-vid video to make that decision. Go play the e-kit(s) in person, and decide what you believe is the quietest. I should also mention that acoustic e-kit demos exist at beginner level kits more so than the pro level.
@@AdamTuminaro Oh my bad, I thought "most" e-kits have rubber pads so I imagine they would just sound like tapping on rubber pads. This seemed like "mesh" would sound different than rubber pads. Amazing the mesh is only 1 or 2 db difference from the solid rubber! So your saying the mesh sounds like hitting rubber pads.....Got it.... Thanks for the info. You're right, I can't trust a RU-vid video to make that decision because no one shows that. Thanks for the feedback.
@@user-dd3ti8iu6d BIG correction here - rubber and mesh do not sound the same, and mesh is significantly quieter. I was speaking about mesh-to-mesh comparisons. Rubber heads are absolutely louder and feel completely different. I genuinely forgot that rubber pads are still actively in production. I don’t know anyone who plays rubber pad e kits, and would not factor them into your comparisons. Go mesh.
@@AdamTuminaro OK, Thanks for the heads up. I would much rather have a full real set. It's not a money issue as much as a wife issue. I have never seen a Mesh set in person. I guess I will need to drive out to a music store to see what they sound like to someone sitting in the other room. Thanks again.
I was watching your double bass video, i loved it so i subscribed to your channel and i discover this vidéo and i cannot be ignorent about Maple hart issue and your situation. I amfrom France where we are lucky to get free surgery, my wife got open heart surgery twice for Marphan syndrom, it have been really tough for her to recover from that surgery but now she is fine, she can have normal life but she will get another heat surgery in the next ten years and it is pretty hard for her. Your situation is definitly toughter and i am happy to help you as much as i can. I hope it can help.
Honestly, the most important thing that increase my double bass progression was my drum throne, it became far beter as soon my drum throne was super steady. For the chain drive feeling on direct drive, i set up the top of the direct drive cam at 90 degree when the beater is hiting the drum head, it give the feeling of control like chain drive.
Ray Herrera, former Fear Factory drummer, used to say that practicing a bass drum part with a paradiddle and then going back to single strokes works wonders for independence and speed. And he required a left-foot lead with a diddle to play Slave Labor because of the way that part is written. It has doubles, hertas, left-foot lead and just the entire thing is easier. Another drum part that has a diddle at the beginning and the end of the beat is Angra’s Acid Rain. This is a common feature in former Angra drummer Aquiles Priester’s drumming.
I love drums, I love playing drums, but past drummers back then had such a natural groove and feel. New drummers are damn impressive, but drummers from back then had this ability to stop time.
Great lesson! However at 7:17/7:38, I don't hear a 16th triplet followed by two 8th notes. Instead I hear a sort of 7/8 groove. If we think it in 8th : three 8th notes followed by two quarter notes. At 8:16, (complete groove), the feeling is different and I now clearly hear the16th triplet followed by two 8th notes. Am I wrong ?
I use my 12x9 quite a bit, I think it sounds wonderful and I have no problem tuning it. I have drums in all sizes from 8 to 18 and, as long as you know what you're doing, you can tune any of those sizes easily.
20s sound great mic'd, probably punchier than any other size, and you don't even have to try. Slap the heads on, finger tight, reso maybe a half turn more if you're feeling funky, and with, lets say an E901 you got endless punch. But it doesn't give me enough back. Even 22s sometimes feel like there's something missing. I need a little more resistance. So naturally, i now play a ported 26x20. High tuned reso. Looks huge, sounds huge, records weird. Only tried recording it with a boundary mic tho, so i'll have to experiment a little more.
it will take me a year just to get the sticking right. So you are playing 32nds, which is not a 6 stroke roll, then adding 2 - 32ds to make it fit or 1/16th? Again making it not 6 stroke rolls. Here is a trick to 6 stroke rolls...add notes and play 32ds. wow. here is a trick to triplets add a note and play 8th notes. Haha ok the sticking will be hard but these are pro fills with a good amount of cheeky funky flare to them. Thanks for making the video(s).
@@s4lroachclip you seem to be under the impression that rudiments and subdivisions are linked. They are not linked in any form, aside from mathematical convenience. A 6 stroke roll is the same rudiment in every subdivision; it’s a pattern, with no ties to any other musical theory. I would *highly* recommend watching my subdivision masterclass series at the link in my bio, which you can do for free.
@@AdamTuminaro Cool, I was being a little playful about it, no disrespect intended. I want to let you know that I join the many others that have an enormous amount of appreciation for the videos you have provided for the entire drumming community. I truly do have much respect and thank you from the bottom of my heart.
I just wish the black holes weren't so damned expensive I have one low volume head on one of my snares I love it, but still too pricey to convert my whole practice kit
I really love the combo of birch/mahogany. It has more warmth than an all Birch kit but doesn't lose that great birch attack/crack in the bass drum. And that 60 degree bearing edge really helps the attack.
I like your playing very much! Funny how it seems that Alesis recently lowered the price on their Crimson 2 SE kit, in all likelihood to compete with this kit!
So I have a very easy but colorful pattern. A 6 stroke roll with 2 kicks at the end. Throw some hi hat barks in there, hit the Toms on the single strokes, or hit the ride bell. Works at insane speeds with a double pedal, and at fast speeds with a single pedal. Very easy to speed up, it's a very intuitive pattern.
I'm not surprised that the approach you've taken from the start (to figure things out on your own) has lead you to a conclusion on rudiments like this. But if you check out Virgil Donati playing, his live videos as well as albums (like Serious Young Insects) and his "Double Bass Drum Freedom" book (and Dom Famularo's "Pedal Control") and actually start working on your feet technique instead of just trying to suffer your way through with a full-leg technique, you'll notice how playing challenging patterns (like rudiments, with accents too) that require different techniques really improves your grasp on primitive single strokes. I don't mean that single strokes are dumb though. I just mean that after you explode your brain with Virgil's exercises after nailing down heal down, AND heal-up, AND full-leg, AND combined techniques, you'll find the "regular" double-bass patterns a breeze to say the least. They become primitive for the brain to figure out. It's all about building up the control in your feet. You do need to set the bar higher than what you aim to be able to play. And of course all of that doesn't necessarily mean that you will use doubles or other rudiments in your playing all the time, but it also doesn't mean you have to reach Virgil's level to start being creative with your feet.
