If you can think it, acoustic triggers can make it happen. Contemplate for a moment, the nature of sound. No matter what you play… a guitar, a piano, a wind instrument, even tapping your desk, the sound you hear comes as a result of striking something, like a piano key, a string, or even by hitting the instrument itself like a drum head. Sound transmits by vibration, which resonates at a given frequency, which is then picked up by your ear and interpreted as sound.
Even when you speak, your vocal chords vibrate at a frequency that your ears pick up, which your brain interprets as speech and words. The sound you hear from your drums is exactly the same. By playing an acoustic drum, you cause the drum head to vibrate.
That vibration creates a sound, which vibrates at a certain frequency, and is in turn controlled by the tension of the drum head. Roland V-Drums are no different. The V-Drums mesh or rubber pad vibrates, which is picked up by a sensor. The whole lot can be powered by a nine-volt battery, or you can use a power supply.
A breakout cable is attached, with a jack socket at the other end for you to connect a longer cable between the trigger and module, and it comes with a self-adhesive bracket to hold the socket in place, too. The technology is a bit dated now, and there are numerous affordable products available these days that include a housing. Well, the brand is still going and its single-zone ST1 offers a no-fuss way to start triggering.
However, the slim design means you might not mind it being attached more constantly. The vibrations caused by your strike are picked up and turned into an electronic pulse, which is then fed to a module brain with trigger inputs.
From here, you assign a sound in the module, which is played or triggered every time it detects the incoming pulse. Triggers can be as simple as a piezo transducer attached to the head. More common, though, are triggers that include their own housing and mounting solutions, clamping to the rim of the drum for secure positioning and offering enough protection from misjudged stick hits. The first thing to look for when choosing from the best drum triggers is how many zones the trigger offers.
The most common acoustic triggers are single-zone mono or dual-zone stereo. A single-zone trigger will interpret hits from a single playing surface, while a dual-zone trigger will be able to detect hits from the head and rim of the drum independently. Your module may also determine the kind of trigger you opt for. For example, a Roland TM-2 has two physical trigger inputs, both dual-zone. MusicRadar The No. Included in this guide: 1. Point being, unlike bass and guitar players, we have little control over how our instrument sounds to the audience.
Triggering a great sounding drum module from our drums solves much of this problem. We can even change drum sounds to match the style of each song! This makes for clearer, punchier, and louder drums in the PA, without other instruments mucking things up. Taken one step further, with the possible exception of overheads, if we bring our personal drum amp, we can bypass front-of-house sound altogether. Killing five-minute drum sounds with almost no mikes? The engineer just dials in another snare, kick, or tom sound.
The main difference is that in addition to the MIDI performance, triggered drum sound, and overhead mikes, the entire acoustic drum sound is also recorded. This gives the producer an amazing amount of sonic material to choose from at mix-down. You might be surprised how many drum tracks consists of an acoustic sound beefed up by a triggered sound, or even completely replaced by it.
Take a look at Fig. This is the most basic trigger setup. It contains three items: the drum, the trigger mounted on the drum, and the trigger interface. They both do the same thing — turn a trigger pulse into MIDI. The choice of which one to use depends on your situation. If you already have an electronic drum set , chances are that you have a drum module that will function as a trigger interface.
If you already have a drum module, you have the most expensive part of a drum trigger setup. How cool is that? There are many drum modules out there, both new and used, at all price levels. But I always look for the best bang for the buck. First, the drum sounds are, well, about 15 years old. Some might argue that they are a bit dated, but hey, that can be a good thing.
That is to say, the time between when the drum is hit until the audio comes out is very noticeable. The amount of delay is in the range of what we use to layback or get on top of the beat, so the delay can be a little disconcerting. This delay is most notice-able on the kick drum.
Because of the sharp attack of the kick, when you put the acoustic kick together with the triggered sound you will hear some flamming. Full stop. Reading your post gives me the impression that you don't really know what you're talking about. MikeM said:. Whoa camper! I never said I was an engineer; I'm just a drummer who's spent consider time, effort and money getting a drum sound I really like.
I've also spent a lot of time figuring out how to play them. It's the engineer's job to get my sound recorded. I expect any experienced engineer worth paying is going to have put in enough time to know how to record real drums. I'm paying him to get my sound, not to have him have me trigger someone else's sound.
Yes, I'm aware that people do this and people are free to do what they want. Do I think it's cheating? If that perspective makes you think I don't know what I'm talking about, then I don't know what to tell you except: have fun with your Exports and your recording skill set that will never learn to record real drums just because "it's hard. TennesseeDrummer Member. Everyone has sand in their vaginas. Damn drummers Bo Eder Platinum Member. So, I've read every post in this thread.
What is the truth about triggers, then? I'm pretty old school and recall Alex Van Halen using Simmons bass drums back when they did - and he had the Simmons bass drums behind his real bass drums. Nowadays we deal with actual triggers attached to the heads? I say do whatever you have to do to make the music you need to make. The music should determine what you need to make it happen, yes?
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