I really couldn't hear much difference in the tom with and without the suspension mount. However, with the mount screwed directly to the drum, it sounded to me like it had LESS sympathetic resonance when you struck the other tom mounted to the same stand! I've actually removed the suspension mounts from the toms on some of my kits in past, because frankly, they added a lot of unnecessary bulk and weight to the drums. And I couldn't tell a lick of difference in the tone before vs. after removing them.
The memory locks for the floor toms are the same as on the bass drum spurs. They can be ordered separately although they should be included. Sonor has spare parts catalogs on their website where the part number will be listed. I ordered them for my kit. I’m obsessive with things being level and with three floors, it was maddening every time I moved the kit.
You can order SQ2 as a concert tom (lok on the configurator. 11" would require head manufacturers the makes heads for them, as no one make a 11" tom that would require remo etc tooling uo for 11" heads just for Sonor. Usually a costly business. Diecast hoop should realy be an SQ2 option, but i guess with all the tooling cost to make them and maybe less than 10% of SQ2 buyers choosing them they are probably not financially viable
From experience, ive found that suspension mounts make much more difference when the tom is mounted on the kick, regardless if youre using an L arm style or Pearl 7/8 tube style arm on a kick drum mounted tom mount bracket. For example…Theres a HUGE difference in resonance and tone between the older pearl export toms that have the mounts directly into the shell vs the exports with even the ISS mounts. I also found out on my own kit that if you have to mount the bracket directly onto the shell, to use very thick rubber gaskets on the outside and inside of the shell for each mounting screw/nut, and itll have the same affect as using a suspension mount.
Yup. I had the same experience with my Pearl BLX toms. The tom mounts were bolted on the shells. I put on the RIMS system tom mounts and it was insane. So much sustain. It was like night and day, especially on the small toms.
Am I the only one who's more than a little pissed we didn't get to hear ANY of the more exotic options he mentioned, and showed on screen? Kind of annoying, imo since one of the main advantages is getting to stretch out your pickups with new interesting sounds....
Thank you for the video. As a novice this helped me realize that aside from the basic interface/mixer you don’t need outboard preamps right away… they can be a later purchase to help give you that little extra juice, but first would be having a decently treated room, quality built and well tuned drums, good microphones, and of course quality performances. The preamp will not polish a turd. Thank you again!!!
in the descending category I would say first place uad second place rme third place tc , fourth place dead heat the two really ugly and cheap behringers , they can't even be used for well done demos, completely useless preamplifiers otherwise the rme and uad produces a dynamic neutral sound that is very usable even for professional level productions
Birch has the brighter attack but for me personally, I always had trouble tuning them low and getting more sustain out of them (birch tends to decay very fast)...I think the maple is a better choice, unless you play very fast music (like speed metal, etc.), also maple just has more clarity, better fundamental note, more sustain, longer decay, and overall more resonance ("sing") imo
hola!!!!!! fue genial tu video, amo todos esos tambores de sonor, por supuesto tengo una bateria sonor y varios tambores. mis saludos de aqui en argentina
I'm not sure you're doing this right. I think you're just using the preamps on your recording interface with the different preamps in front of and not an actual line in. So all the different preamps just sound like the last one in the chain which is always the same. That's how you were able to hear the "line in" at all... I have some of these preamps and they are drastically different. I can't hear a difference between any of them on this shootout...
Thanks! Feel free to check out the whole EP on Spotify, Tidal, or Apple Music. open.spotify.com/artist/5jlNA0E0dgrHVhZJVA56ok?si=ovpPzHrFTIWH5YcDdBaM2g
Thanks for watching. In a couple of days, I’ll post the snare drum video, and that one has a trick I haven’t seen much around. So you might want to check it out when it comes.
Great test thank you for taking the time to do this I was surprised how good the Berringer 8200 sounded and I also did like the TC electronics on the snare The UA 610 sound real nice on the floor, but that cost a lot more money for just a tiny bit of better quality than the TC or the 8200. Thanks again!!
Thanks for watching the vid! I loved the 8200! Had 4 of them over the years. Finally moved on to a much more expensive convertor and can tell the difference... but at the same time, the 8200 (and it's preamps) are never going to the reason a recording is bad. It's gonna be operator error! The biggest takeaway Ive gotten from lots and lots of microphone preamp tests is "use what you have! It's fine. Mic choice/placement.. along with the quality of the source instrument you're recording make a much bigger impact on the end result. And don't get me started on the spec you record in!" Thanks for checking the video out! -Marty
Die-cast hoops help birch to tame tone and bring some lows, also coated remo emperors on top will bring some lows (at the cost of some muffling to tame overtones). On maple, die-cast hoops kind of bring some wood tone back, but it's only a little.
Great video sir 🙏🏻🥁👍🏻 My preference was for the Phonic, clarity and fat throughout. The designer is my second choice. I’m a Sonor devotee phonic, Delite and vintage 20.
@@MrSonorbakken you are welcome, sir. I am in the stage that I have also managed to learn the Rosanna shuffle so I can appreciate anyone who is able to play in Toto cover band with grace. 🖖
