In-ears aren't just for the big guys anymore.
A few years ago, every big-name artist started the transition to in-ear monitors, even though the technology has been around since the early 1980s. It's been the 'secret weapon' that has helped many artists perform better than they ever would have otherwise, and the love of in-ears has trickled down to independent musicians, too; heavy-hitters in the in-ear industry such as Future Sonics and Ultimate Ears have released superior quality universal earpieces featuring their expertly-designed sound signatures, and audio equipment companies such as Shure and Sennheiser have released affordable versions of their pro-quality (and pro-level-expensive) transmitter/receiver combos. It's never been easier to 'go in-ear'; however, mixing in-ear monitors is a much different process than mixing wedges.
Whether you're on stage or in the studio, mixing in-ears is a much different affair than mixing wedge monitors.
In this guide, it's assumed that you're familiar with the equipment necessary for mixing in-ears, and you have a mixer and an in-ear system, either wired or wireless.
A few years ago, every big-name artist started the transition to in-ear monitors, even though the technology has been around since the early 1980s. It's been the 'secret weapon' that has helped many artists perform better than they ever would have otherwise, and the love of in-ears has trickled down to independent musicians, too; heavy-hitters in the in-ear industry such as Future Sonics and Ultimate Ears have released superior quality universal earpieces featuring their expertly-designed sound signatures, and audio equipment companies such as Shure and Sennheiser have released affordable versions of their pro-quality (and pro-level-expensive) transmitter/receiver combos. It's never been easier to 'go in-ear'; however, mixing in-ear monitors is a much different process than mixing wedges.
Whether you're on stage or in the studio, mixing in-ears is a much different affair than mixing wedge monitors.
In this guide, it's assumed that you're familiar with the equipment necessary for mixing in-ears, and you have a mixer and an in-ear system, either wired or wireless.
If you're a stationary musician (drummers, keyboard players, pedal steel players), a wired system is considered the best choice for both convenience and budget. For others, a wireless system of the highest quality you can afford is a great option. Also, don't forget the added cost of the monitor earpieces themselves; getting the best quality earpieces you can, whether custom-molded or universal-fit, is equally important. Many times, the included earphones with off-the-shelf systems offer relatively poor isolation and frequency response compared to even moderately-priced earphones purchased specifically for that purpose.
Hearing conservation
The first thing to remember is that in-ear monitoring is all about hearing conservation as much as it is quality monitoring. Taking your monitors off the stage and into your ears presents an interesting problem; while in-ear monitors have the ability to offer greatly reduced sound pressure level (SPL) exposure, you can actually damage your hearing even worse with in-ears if done wrong. Remember, with wedge monitors, you have sometimes over 100 decibels of SPL coming at your head from several feet away; with in-ears, you could potentially push just as much relative SPL through speakers much closer to your ears.
In fact, many times touring sound companies -- while gladly provide top-quality in-ear monitoring equipment -- will refuse to provide an engineer for the artist, insisting that they supply their own because nobody wants to be responsible for damaging a top artist's hearing with poorly executed in-ear mixes.
Many in-ear units offer fairly good limiters built into the belt pack, but it's never a bad idea to consider something external, especially if your artist is high-volume.
In fact, many times touring sound companies -- while gladly provide top-quality in-ear monitoring equipment -- will refuse to provide an engineer for the artist, insisting that they supply their own because nobody wants to be responsible for damaging a top artist's hearing with poorly executed in-ear mixes.
Many in-ear units offer fairly good limiters built into the belt pack, but it's never a bad idea to consider something external, especially if your artist is high-volume.
The first part of your signal chain you should consider investing in is a brick wall limiter for this very purpose. There are high-end models -- such as the Aphex Dominator and DBX IEM processor -- but any quality limiter, such as those built into the relatively inexpensive DBX compressor/limiter combos, will work, especially when used in conjunction with built-in limiters. The purpose here isn't to compress or restrict the signal, but catch any unexpected feedback or transients from entering the earphone signal.
Stereo or mono?
If you have the resources to run a stereo, or binaural, mix -- meaning, a stereo transmitter/receiver combo and a stereo auxiliary send from your mixer -- then, by all means, mix in stereo. Mixing in stereo has a distinct advantage on in-ears; you'll be able to set your mix in a way that mimics real life. If you're a lead singer, you'll want your vocals to be in the middle, but the guitars and drums can be panned around you just as you'd hear them while standing on stage.
Mono does have advantages. First, if you have a lower-end transmitter and receiver system, you will get a much stronger signal if you broadcast in mono. This is an advantage, especially in large cities where there are less clear frequencies to choose from.
Mono also has the advantage of being simple; if you don't have a stereo aux send, it's a lot easier to just use one instead of trying to balance two separate sends as a stereo pair.
Mono does have advantages. First, if you have a lower-end transmitter and receiver system, you will get a much stronger signal if you broadcast in mono. This is an advantage, especially in large cities where there are less clear frequencies to choose from.
Mono also has the advantage of being simple; if you don't have a stereo aux send, it's a lot easier to just use one instead of trying to balance two separate sends as a stereo pair.
Mixing the mix
The first thing to remember is that, while many artists that use in-ears prefer a full mix, on a small stage, this won't be necessary. Many times, you'll want a very simple mix on a smaller stage -- just vocals, a little guitar (or another instrument the mix owner is playing), and kick drum. Remember, the loudest sounds always win at the mic, so you'll get enough bleed from the vocal mics to hear everything else clearly.
On a larger stage, the sky's the limit. Just remember to communicate with your artist, and ask specifically what they want. If you're mixing in stereo, keep in mind that everything they want panned will be the opposite of what you see. If you see a guitar on the left side of the stage, they'll want it on the right side of their mix, because when they're facing the crowd, that's how they hear it.
Start with a kick drum, overheads, and bass guitar. Once you get a solid foundation, you can add the vocals. Make sure that you avoid sending an effects send at this point -- make sure your artist is feeling comfortable just hearing the rhythm section and their own voice.
On a larger stage, the sky's the limit. Just remember to communicate with your artist, and ask specifically what they want. If you're mixing in stereo, keep in mind that everything they want panned will be the opposite of what you see. If you see a guitar on the left side of the stage, they'll want it on the right side of their mix, because when they're facing the crowd, that's how they hear it.
Start with a kick drum, overheads, and bass guitar. Once you get a solid foundation, you can add the vocals. Make sure that you avoid sending an effects send at this point -- make sure your artist is feeling comfortable just hearing the rhythm section and their own voice.
Then, color in the rest of the instruments they require. Remember, they'll always want their own voice and their own instrument on top of everything else, so make sure you don't bury the important signals.
I tend to avoid putting snare or close-mic'ed toms in a mix until the artist feels comfortable and asks for it. Sometimes, hearing a loud snare crack suddenly can be scary, and unnecessary to the overall health of the mix.
I tend to avoid putting snare or close-mic'ed toms in a mix until the artist feels comfortable and asks for it. Sometimes, hearing a loud snare crack suddenly can be scary, and unnecessary to the overall health of the mix.
Adding Ambiance
In a larger room, you'll soon find that your artist may feel isolated. This is very common; in-ears, by design, offer exceptional ambient noise reduction, which in turn can make a player feel cut off from the world around them.
First, consider adding a crowd microphone. Some like to put two on either side of the stage, in stereo, to give a wide sound; I prefer a single shotgun microphone at the base of the microphone stand in front of the lead singer, pointed at the back of the room. This gives a perfect 'localization' -- the artist knows that the ambiance they hear is happening right at their feet.
First, consider adding a crowd microphone. Some like to put two on either side of the stage, in stereo, to give a wide sound; I prefer a single shotgun microphone at the base of the microphone stand in front of the lead singer, pointed at the back of the room. This gives a perfect 'localization' -- the artist knows that the ambiance they hear is happening right at their feet.
SuperNATURAL Powered
Derived from the flagship TD-30’s SuperNATURAL concept, the TD-11 also provides a complete and natural drumming experience when played with V-Compact series pads. Thanks to Behavior Modeling Technology*, the response becomes much more precise and faster, and the ambience enhances the sounds more realistically — all of which were difficult to realize with the previous sound module.
Behavior Modeling Technology
Beyond the physical modeling of instruments, Roland goes a step further by modeling the instrument’s distinctive behavior and how it responds to the performer, resulting in natural, expressive sounds that evolve organically in realtime.
Internal Songs and Song Player
The TD-11 is equipped with realistic and powerful onboard backing songs and loop phrases, which are perfect for practicing as well as for the pure enjoyment of playing along. With a USB flash drive connected to the module, you can play back audio files (WAV, MP3) directly from the USB flash drive. You can mix the balance of your drumming with the backing track, change the tempo of the song with the Speed Control, loop specific sections with A-B repeat, and take your practice sessions to a new level.
Advanced Practice Tools
Roland’s highly acclaimed Coach Mode is onboard the TD-11, including Time Check, Quiet Count, and Warm Ups — a full set of exercises for self-improvement. In addition, QUICK REC lets you easily record and play back your own performance. This is a convenient way to repeatedly record yourself practicing and evaluate your performance.
Computer Compatibility
By connecting the TD-11 to your computer with a single USB cable, you can transmit audio and MIDI data. It’s a simple, convenient method for interfacing with the DT-1 V-Drums Tutor, V-Drums Friend Jam, and/or your favorite DAW software.
Air Recorder and V-Drums Friend Jam for iPhone
The TD-11 is also compatible with the Air Recorder and V-Drums Friend Jam for iPhone. These are new iOS Apps for Roland Wireless Connect, an innovative system that allows Roland electronic musical instruments to communicate fluidly with the iPhone.
*Requires the WNA1100-RL wireless USB adapter (sold separately).
*iPhone is a trademark of Apple Inc., registered in the U.S. and other countries.
Dynamic Prismatic Sound Modeling Brings Your Drumming to Life
Great drummers demand great performance. The new TD-50 is a powerful new drum sound module whose original Prismatic Sound Modeling technology means that every element of your playing style is caught and conveyed in thrilling detail. Working alongside Roland’s newly developed digital snare and ride pads—which feature our most advanced trigger-sensing technology yet—the TD-50’s high-resolution processing gives you the most lifelike, resonant, and expressive sounds you’ll hear from an electronic kit.
Customize Your Sound for Live Sessions and Studio Work
A variety of musical scenarios are no problem with the TD-50, which offers a choice of onboard kits to suit every session. This advanced module also supports deep sound customization, including basic adjustment of heads and shells, layering of internal and user samples, and adjustment of overhead mics and ambience. For tailored performance, a compressor and three-band EQ can be controlled for each pad individually, while three independent multi-effect sections let you treat specific drums with 30 effect types such as delay, flanger, saturator, and many others. The two-band multi-compressor and four-band equalizer on the output let you change the overall dynamics and tonal balance, depending on whether you’re in the studio or on stage. And with new Snapshot feature, you can quickly assess and compare any edits to your sounds before making permanent changes.
Play with Your Own WAV Files and Record Easily to a DAW
As a creative drummer, you’ll love the TD-50’s open-ended connectivity, which lets inspiration flow in both directions. Using the module’s SD card slot, it’s easy to trigger your own WAV files using any of the TD-50KV’s drum pads, and you can loop or layer them alongside the internal sounds while controlling volume and tone via the TD-50’s front panel. When you write a great groove, simply connect the TD-50 module to a computer via USB for multi-track recording direct to your favorite DAW. Up to 10 channels can be recorded separately, then easily edited for tone color and more. There’s even a choice of audio sampling formats: 48 kHz, 96 kHz, and the standard 44.1kHz.
Hit the Stage Faster with Balanced Connections to a PA
If you play live every night, the TD-50KV will help avoid the time and effort of a lengthy setup. The TD-50 is the first V-Drums module to feature an XLR stereo master out and eight TRS direct outs, allowing for a balanced connection to a PA system. Assigning a pad to any of the individual outputs is simple, while convenient master/headphones volume controls and group faders balance the output levels instantly. You can also assign the volume to control headphones only, perfect for adjusting the monitor level without affecting the PA signal.
Practice Features to Develop Your Technique
The TD-50 doesn’t just let your drum technique shine—it actively improves it too, offering onboard features that help you get the best from practice sessions. Whether you lock down your timing with the Quiet Count function or play along to backing tracks via the SD card slot, it’s easy to get inspired, even when you’re practicing alone.
Record Drum Performances
The TD-50 also includes a unique, easy-to-use audio recording function—simply hit the record button and start playing to capture your performance. If you’re playing to a click or backing track, there’s an option to record just the drums, or to record them with the click or track included. Once captured, your recordings can be easily exported for upload and editing in your DAW. With the TD-50, it’s never been easier for a drummer to record grooves.
Applications
Mono sound is preferred in radiotelephone communications, telephone networks, and radio stations dedicated to talk shows and conversations, public address system, hearing aids. Stereo sound is preferred for listening to music, in theaters, radio stations dedicated to music, FM broadcasting and Digital Audio Broadcasting (DAB).
History
Until the 1940s mono sound recording was popular and most of the recording was done in mono even though the two-channel audio system was demonstrated by Clément Ader in as early as 1881. In November 1940 Walt Disney's Fantasia became the first commercial motion picture with stereophonic sound. With the advent of magnetic tapes the usage of stereo sound became easier. In the 1960s albums were released as both monaural LPs and stereo LPs because people still had their old mono players and the radio station were mostly AM. Similarly movies were released in both versions because some theaters were not equipped with stereo speakers systems. Today no monaural standards exist for 8-track tape and compact disc and all films are released in stereophonic sound.
Recording Methods and Audio Quality
Mono sound recording is done mostly with one microphone and only one loudspeaker is required to listen to the sound. For headphones and multiple loudspeakers the paths are mixed into a single signal path and transmitted. The signal contains no level, arrival time or phase information that would replicate or simulate directional cues. Everyone hears the very same signal and at the same sound level. The sound played for instance by each instrument in a band will not be heard distinctly though it will have full fidelity. Hand held recorders record sound in mono. It is cheaper and easier to record in mono sound.
Stereo recording is done with two or more special microphones. The stereo effect is achieved by careful placement of microphone receiving different sound pressure levels accordingly even the loudspeakers need to have the capability to produce the stereo and they also need to be positioned carefully. These sound systems have two or more independent audio signal channels. The signals have a specific level and phase relationship to each other so that when played back through a suitable reproduction system, there will be an apparent image of the original sound source. It is expensive and it requires skill to record stereo sound. There are following methods of recording in stereo-
- X-Y technique: intensity stereophony - In this technique two directional microphones are at the same place, typically pointing at an angle between 90° and 135° to each other.
- A-B technique: time-of-arrival stereophony- Here two parallel microphones which are not direction specific are kept some distance apart. This results in capturing time-of-arrival stereo information as well as some level (amplitude) difference information.
- M/S technique: Mid/Side stereophony - A bidirectional microphone facing sideways and another microphone at an angle of 90°are kept facing the sound source. This method is used for films.
- Near-coincident technique: mixed stereophony - This technique combines the principles of both A-B and X-Y (coincident pair) techniques. The playback is suitable over stereo speakers.
This video provides an explanation for some of the differences between mono and stereo sound, as well as how to record stereo sound.
Compatibility
Mono is compatible with and usually found on Phonograph cylinders, Disc records, like 78 rpm and earlier 16⅔, 33⅓, and 45 rpm microgroove, AM radio and some (very few) FM radio stations. Mono and stereo are both found in MiniDisc, compact audio cassette, most FM radio (and in rare circumstances AM radio broadcasting), VCR formats (NICAM Stereo) and TV (NICAM Stereo). Mono is not used in 8-track tape and audio CDs.
References
Expanded Roland TD-12S V-Stage set
V-Drums is a variety of electronic drums, drum brain modules, and related electronic percussion product manufactured and trademarked by Roland Corporation.
Hp solution center software for windows 7 64 bit download. What concerns me is the fact that other people are having problems with the HP Solution Center and Windows 7.
The primary V-Drums products are complete electronic drum kits. These vary in price and complexity, ranging from a few hundred dollars to approximately US$7,499 (MAP-Minimum Advertised Price). Components such as additional pads, cymbal pads, triggers, mounting hardware, and modules are also sold individually to augment an existing kit.
Like most electronic drum modules, V-Drums drum modules are MIDI-capable. This enables the player to use a V-Drums kit to control not only the kit itself, but other MIDI-capable instruments, such as digital samplers. MIDI also allows V-Drums kits to be controlled by other MIDI-capable instruments. V-Drums, like most electronic drum kits, can output to an amplifier, recording device, or headphones.
- 2Trigger types
- 3Roland drum modules
- 3.1Available drum modules
- 4Drum sets
The Roland V-Drums System[edit]
Each V-Drums kit is composed of the following:
- Triggers which serve as an electronic alternative for acoustic drums, acoustic cymbals, and other acoustic percussion instruments.
- A module, the central processing unit to which all triggers connect. The drum module takes electronic signals from the triggers during play, synthesizes the sounds of percussion instruments of all types, and signals other MIDI-capable gear to perform various electronic tasks.
- A stand, upon which the triggers and module are mounted via clamps.
Trigger types[edit]
V-Drums trigger devices are of four major types: mesh-head drum pads, rubber pads, cymbal pads and acoustic drum triggers. Mesh-head pads look very similar to acoustic drums, and attempt to emulate their feel. The simpler, more generic type is a rubber pad, which is less expensive, but also looks and feels less like an acoustic drum. There are several models of cymbal pads (also called V-Cymbals). The more expensive ones attempt to emulate the physical properties of acoustic cymbals of various types (e.g.: hi-hat, crash, ride), while the simpler, less expensive cymbal pads are less realistic. Acoustic drum triggers can be used to provide trigger signals from standard acoustic drums.
From an electrical point of view, trigger pads can be of the following types:
- Mono Pads, using one Piezoelectric sensor for the head. Usually kick-drum pads or older and less expensive pads.
- Stereo Pads, using one piezo sensor for the head and an additional switch for the rim. If the rim switch is triggered, the signal strength is determined by the head's piezo sensor. Mostly rubber pads and cymbal pads.
- Stereo Pads using two piezo sensors, one for the head and one for the rim. Mostly mesh-head pads.
- Three-way Pads using one piezo sensor and two switches. Roland's three-way cymbal pads (CY-12R/C, CY-13R and CY-15R) work this way, the piezo triggers the bow, and the switches trigger edge and bell.
Rubber pads[edit]
Round rubber pads were introduced with the TD-7 drum module in 1992 (previous Roland pads were polygonal) and were universally used as trigger pads for drums and cymbals. Since the introduction of mesh-head drum pads and cymbal-shaped trigger pads, standard rubber pads are only used as tom-tom and (until recently) bass drum trigger pads on Roland's less expensive drum kits. More expensive kits don't include any rubber pads at all any more.
The downsides of rubber pads are their less realistic rebound and their relatively high ambient noise level (compared to mesh-head pads), but their lower price, and increased durability, still makes them a better choice in some cases.
Cloth-head pads[edit]
Cloth-head drum pads were introduced with the KD-9 in 2011, using a cloth-like material as the drum head with an underlying, relatively thick layer of foam. These pads are softer than rubber pads and feel more realistic, while producing less ambient noise. They are only available in small sizes though, and the head tension cannot be adjusted like on mesh-head pads.
Mesh-head pads[edit]
Roland V-Drums mesh-head triggers resemble acoustic drums in both appearance and feel. The striking surface is a two-layer taut woven mesh of fibers fitted with several electronic sensors. This allows the mesh-head trigger to respond to the play of a drumstick in a manner that feels more like real drums than their earlier rubber predecessors. Roland developers have stated that the design of the mesh-head V-Pad was inspired in part by a small toy trampoline[1].
In 1997, Roland developed and patented an updated version of mesh-head drum triggers, a key feature of the V-Drums line. As such, the name 'V-Drums' sometimes refers specifically to Roland's mesh-head based drum triggers. The company began marketing the mesh-head triggers under the 'V-Drums' name in 1997, in conjunction with the TD-10 drum module.[2]
Roland mesh-head V-Drums have a playable rim which has its own electronic sensors (and corresponding sounds). Many drummers who formerly eschewed electronic drums because of their lack of authentic feel have adopted V-Drums and other mesh-head drum products due to the recent advances of mesh-head technology.[citation needed]
Mesh-head triggers have created an expanded market for electronic drum kits because electronic drum kits, especially mesh-head based ones, make little or no unwanted ambient noise.[citation needed]Mesh heads used in V-Drums kits today are made by the American drumhead company Remo.
Acoustic drum triggers[edit]
Roland also makes acoustic drum triggers, which can be mounted on the rims of standard acoustic drums and provide a trigger signal from those drums, effectively turning them into trigger pads. The acoustic drumhead can either be left on the drum, to get the acoustic sound as well as a trigger signal, or the drumhead can be replaced with a mesh-head to lower ambient noise, if only the trigger signal is needed.
Cymbal pads[edit]
Drum Monitor Mono Vs Stereo Roland 2
In the early 2000s, Roland moved away from using standard rubber pads as cymbal triggers and introduced new cymbal-shaped trigger pads with a rubber surface, which they call V-Cymbals.
The more expensive cymbal pads can swing freely after being hit (only rotation of the pad is prevented by a special cymbal mount), so they feel more like real cymbals, while the less expensive cymbal pads are not movable and always stay in their fixed position, thus feeling less realistic. Most of the movable pads also feature a third bell zone, which is triggered when hitting the bell area of the cymbal pad. These cymbal pads are called three-way cymbals because of their three trigger zones (bell, bow and edge).
Electronic hi-hats[edit]
Electronic hi-hats are always made up of two components: a trigger pad to detect hits, and a variable resistor-based hi-hat controller to detect the foot position, so the drum module can determine whether the hi-hat is supposed to be open or closed (or somewhere in between).
The simpler, less expensive solution uses a simple fixed V-Cymbal pad in combination with a separate foot pedal controller, which allows the drum module to replicate the sound of a hi-hat, but does not emulate the feel and scope of expressiveness of acoustic hi-hats.
The more expensive V-Hi-Hats integrate trigger pad and controller into a set of two opposing pieces, designed to be mounted on a conventional hi-hat stand. Because the hi-hat pad moves with the position of the pedal and can swing freely when the hi-hat is opened, this solution feels much more authentic. The most complex and most expensive VH-13 V-Hi-Hat and the older VH-12 can also detect different amounts of foot pressure in the closed position, but they are only compatible with the TD-30 and the older TD-12 and TD-20 drum modules. The simpler VH-11 can be used with more modules, but it cannot sense foot pressure in the closed position.
Available drum and cymbal pads[edit]
Pad Name | Type | Years Available | Diameter | Zones/ Channels | Trigger | Positional Sensing | Colors | Notes | ||
---|---|---|---|---|---|---|---|---|---|---|
Head/Bow | Rim/Edge | Bell | ||||||||
BT-1 In Production | Bar-shaped Rubber Pad | 2013- | – | 1 (Mono) | Piezo | – | – | No | Black/Gray | Needs to be connected to a stereo input, despite being a mono pad |
CY-5 In Production | Cymbal Pad (fixed) | 2006- | 10 Inches | 2 (Stereo) | Piezo | Switch | – | No | Black, White | No edge trigger on pads that shipped with the HD-1 |
CY-6 | Cymbal Pad (fixed) | 2001-2003 | 12 Inches | 2 (Stereo) | Piezo | Switch | – | No | Black | |
CY-8 In Production | Cymbal Pad (fixed) | 2003- | 12 Inches | 2 (Stereo) | Piezo | Switch | – | No | Black | |
CY-12C In Production | Cymbal Pad (movable) | 2011- | 12 Inches | 2 (Stereo) | Piezo | Switch | – | No | Black | |
CY-12H | Hi-Hat Cymbal Pad (fixed) | 2000-2004 | 12 Inches | 2 (Stereo) | Piezo | Switch | – | No | Black | |
CY-12R/C In Production | Cymbal Pad (movable) | 2001- | 12 Inches | 3 (Three-way) | Piezo | Switch | Switch | Yes | Black | |
CY-13R In Production | Cymbal Pad (movable) | 2011- | 13 Inches | 3 (Three-way) | Piezo | Switch | Switch | Limited (TD-50, TD-30, and TD-25 only) | Black | |
CY-14C In Production | Cymbal Pad (movable) | 2000- | 14 Inches | 2 (Stereo) | Piezo | Switch | – | No | Black, Silver, Metallic Gray | |
CY-15R In Production | Cymbal Pad (movable) | 2000- | 15 Inches | 3 (Three-way) | Piezo | Switch | Switch | Yes | Black, Silver, Metallic Gray | |
CY-18DR In Production | Digital Cymbal Pad (movable) | 2016- | 18 Inches | 3 (Digital) | Digital | Yes | Black | |||
KD-5 | Kick Drum Pad | 1994-199? | 2 Inches | 1 (Mono) | Piezo | – | – | No | Black | |
KD-7 In Production | Kick Drum Pad | 1992- | 2 Inches | 1 (Mono) | Piezo | – | – | No | Black | Piezo polarity can be switched |
KD-8 | Rubber Kick Drum Pad | 2003-2011 | 5 Inches | 1 (Mono) | Piezo | – | – | No | Black | No dynamics when connected to HD-1 |
KD-9 In Production | Cloth-head Kick Drum Pad | 2011- | 6 Inches | 1 (Mono) | Piezo | – | – | No | Black | |
KD-10 In Production | Cloth-head Kick Drum Pad | 2018- | 6 Inches | 1 (Mono) | Piezo | – | – | No | Black | |
KD-80 | Mesh-head Kick Drum Pad | 1999-2003 | 8 Inches | 1 (Mono) | Piezo | – | – | No | Black, White | |
KD-85 In Production | Mesh-head Kick Drum Pad | 2003- | 8 Inches | 1 (Mono) | Piezo | – | – | No | Black, White | |
KD-120 In Production | Mesh-head Kick Drum Pad | 1998- | 12 Inches | 1 (Mono) | Piezo | – | – | No | Black, White, (Red), (Purple) | |
KD-140 In Production | Mesh-head Kick Drum Pad | 2008- | 14 Inches | 1 (Mono) | Piezo | – | – | No | Silver, Black Chrome | |
KD-180 In Production | Mesh-head Kick Drum Pad | 2018- | 18 Inches | 1 (Mono) | Piezo | – | – | No | Black | |
KD-220 In Production | Mesh-head Kick Drum Pad | 2018- | 22 Inches | 1 (Mono) | Piezo | – | – | No | Black | |
KD-A22 In Production | Acoustic Kick Drum Conversion Kit | 2016- | 22 Inches | 1 (Mono) | Piezo | – | – | No | Black | |
KT-9 In Production | Kick Trigger Pedal | 2016- | – | 1 (Mono) | Piezo | – | – | No | Black/Silver | |
KT-10 In Production | Kick Trigger Pedal | 2014- | – | 1 (Mono) | Piezo | – | – | No | Silver/Black | |
PD-5 | Rubber Pad | 1994-199? | 8 Inches | 1 (Mono) | Piezo | – | – | No | Black | |
PD-6 | Rubber Pad | 2001-2003 | 8 Inches | 1 (Mono) | Piezo | – | – | No | White | |
PD-7 | Rubber Pad | 1992-???? | 7 Inches | 2 (Stereo) | Piezo | Switch | – | Yes | White | Piezo polarity can be switched |
PD-8 In Production | Rubber Pad | 2003- | 8 Inches | 2 (Stereo) | Piezo | Switch | – | Yes | Black | |
PD-8A In Production | Rubber Pad | 2012- | 8 Inches | 1 (Mono) | Piezo | – | – | Yes | Black | Pad not available separately, ships with the TD-11K and TD-17K drum sets |
PD-9 | Rubber Pad | 1994-???? | 10 Inches | 2 (Stereo) | Piezo | Switch | – | Yes | White | Piezo polarity can be switched |
PD-80 | Mesh-head Drum Pad | 1999-2003 | 8 Inches | 1 (Mono) | Piezo | – | – | Yes | Black, White | |
PD-80R | Mesh-head Drum Pad | 1999-2003 | 8 Inches | 2 (Stereo) | Piezo | Piezo | – | Yes | Black, White | |
PD-85 In Production | Mesh-head Drum Pad | 2003- | 8 Inches | 2 (Stereo) | Piezo | Piezo | – | Yes | Black, White | |
PD-100 | Mesh-head Drum Pad | 1997-2003 | 10 Inches | 1 (Mono) | Piezo | – | – | Yes | Black, White, Red, Purple | |
PD-105 In Production | Mesh-head Drum Pad | 2003- | 10 Inches | 2 (Stereo) | Piezo | Piezo | – | Yes | Black, (White) | |
PD-105X | Mesh-head Drum Pad | 2008-2012 | 10 Inches | 2 (Stereo) | Piezo | Piezo | – | Yes | Silver | Replaceable shell wraps |
PD-108 In Production | Mesh-head Drum Pad | 2012- | 10 Inches | 2 (Stereo) | Piezo | Piezo | – | Yes | Black Chrome | Replaceable shell wraps |
PD-120 | Mesh-head Drum Pad | 1997-2003 | 12 Inches | 2 (Stereo) | Piezo | Piezo | – | Yes | Black, White, Red, Purple | |
PD-125 In Production | Mesh-head Drum Pad | 2003- | 12 Inches | 2 (Stereo) | Piezo | Piezo | – | Yes | Black, (White) | |
PD-125X | Mesh-head Drum Pad | 2008-2012 | 12 Inches | 2 (Stereo) | Piezo | Piezo | – | Yes | Silver | Replaceable shell wraps; Also available as PD-125XS for snare stands (without rack mount) |
PD-128 In Production | Mesh-head Drum Pad | 2012- | 12 Inches | 2 (Stereo) | Piezo | Piezo | – | Yes | Black Chrome | Replaceable shell wraps; Also available as PD-128S for snare stands (without rack mount) |
PD-140DS In Production | Digital Mesh-head Drum Pad | 2016- | 14 Inches | 2 (Digital) | Digital | – | Yes | Silver | ||
PDX-6 In Production | Mesh-head Drum Pad | 2006- | 8 Inches (6 inch head) | 2 (Stereo) | Piezo | Piezo | – | No | Black | |
PDX-8 In Production | Mesh-head Drum Pad | 2006- | 10 Inches (8 inch head) | 2 (Stereo) | Piezo | Piezo | – | No | Black | No rim trigger on pads that shipped with the HD-1 |
PDX-12 In Production | Mesh-head Drum Pad | 2018- | 12 Inches | 2 (Stereo) | Piezo | Piezo | – | No | Black | |
PDX-100 In Production | Mesh-head Drum Pad | 2012- | 10 Inches | 2 (Stereo) | Piezo | Piezo | – | Yes | Black | |
RT-3T | Acoustic Tom-Tom Drum Trigger | 2003-2006 | – | 1 (Mono) | Piezo | – | – | No | Silver | |
RT-5S | Acoustic Snare Drum Trigger | 2003-2006 | – | 2 (Stereo) | Piezo | Piezo | – | No | Silver | |
RT-7K | Acoustic Kick Drum Trigger | 2003-2006 | – | 1 (Mono) | Piezo | – | – | No | Silver | |
RT-10K | Acoustic Kick Drum Trigger | 2006-2015 | – | 1 (Mono) | Piezo | – | – | No | Black | |
RT-10S | Acoustic Snare Drum Trigger | 2006-2015 | – | 2 (Stereo) | Piezo | Piezo | – | No | Black | |
RT-10T | Acoustic Tom-Tom Drum Trigger | 2006-2015 | – | 1 (Mono) | Piezo | – | – | No | Black | |
RT-30H In Production | Acoustic Drum Trigger | 2015- | – | 1 (Mono) | Piezo | – | – | No | Black | |
RT-30HR In Production | Acoustic Drum Trigger | 2015- | – | 2 (Stereo) | Piezo | Piezo | – | No | Black | |
RT-30K In Production | Acoustic Kick Drum Trigger | 2015- | – | 1 (Mono) | Piezo | – | – | No | Black | |
VH-10 In Production | Integrated Hi-Hat Cymbal Pad and Controller (movable) | 2018- | 12 Inches | 2 (Stereo) | Piezo | Switch | – | No | Black | |
VH-11 In Production | Integrated Hi-Hat Cymbal Pad and Controller (movable) | 2005- | 12 Inches | 2 (Stereo) | Piezo | Switch | – | No | Black | Only limited support of controller part by some drum modules (see list of hi-hat controllers below) |
VH-12 | Integrated Hi-Hat Cymbal Pad and Controller (movable) | 2004-2012 | 12 Inches | 2 (Stereo) | Piezo | Switch | – | No | Black, Silver | Controller part only compatible with the TD-50, TD-30, TD-20 and TD-12 drum modules |
VH-13 In Production | Integrated Hi-Hat Cymbal Pad and Controller (movable) | 2012- | 12 Inches | 2 (Stereo) | Piezo | Switch | – | No | Metallic Gray | Controller part only compatible with the TD-50, TD-30, TD-20 and TD-12 drum modules |
Available hi-hat controllers[edit]
Hi-Hat Controller Name | Hi-Hat Pad | Type | Years Available | Foot Pressure Sensing (when closed) | Compatibility (controller part) |
---|---|---|---|---|---|
FD-6 | any | Hi-Hat Controller Pedal | 2001-2005 | No | All Modules |
FD-7 | any | Hi-Hat Controller Pedal | 1992-2004 | No | All Modules |
FD-8 In Production | any | Hi-Hat Controller Pedal | 2003- | No | All Modules |
FD-9 In Production | any | Hi-Hat Controller Pedal | 2016- | No | All Modules |
VH-10 In Production | Integrated Hi-Hat Cymbal Pad and Controller | 2018- | No | All Modules | |
VH-11 In Production | Integrated Hi-Hat Cymbal Pad and Controller | 2004- | No | Full Support: TD-50, TD-30, TD-25, TD-20, TD-17, TD-15, TD-12, TD-11, TD-9 Basic Support: TD-10 (with TDW-1), TD-8, TD-6/6V, TD-4 Raw Compatibility: All Modules | |
VH-12 | Integrated Hi-Hat Cymbal Pad and Controller | 2004-2012 | Yes | TD-50, TD-30, TD-20, TD-12 | |
VH-13 In Production | Integrated Hi-Hat Cymbal Pad and Controller | 2012- | Yes | TD-50, TD-30, TD-20, TD-12 |
Pad/Module Compatibility[edit]
Generally, all Roland drum pads and cymbal pads can be connected to any input on any Roland drum module, and the head/bow zone will always work. However, when more capable pads are connected to less capable inputs, some zones (e.g. rim/edge or bell) on the drum pad cannot be used. Connecting less capable pads to more capable inputs usually lets you use all zones of the pad.
Drum pads and cymbal pads from other manufacturers are also generally compatible with Roland drum modules as long as they use a piezo as the head/bow trigger, but zones other than head/bow are sometimes problematic, especially on three-zone pads. Also, the module settings may need some tweaking. Hi-Hat controllers however are not usually compatible between manufacturers.
It should be noted that there are different kinds of stereo pads and stereo inputs. While all types of stereo pads and inputs do have two channels, they are still electrically different, so not all combinations of stereo pads and stereo inputs let you use all zones/features.
DRUM MODULE INPUT | |||||||
---|---|---|---|---|---|---|---|
Mono Input | Stereo Input Mono/Mono Input when not split | Stereo Input (piezo/switch) | Stereo Input (piezo/piezo) | Three-Way Input (piezo/switch/switch) | Digital Input | ||
DRUM PAD or CYMBAL PAD | Mono Pad | All Zones | All Zones | All Zones | All Zones | All Zones | Incompatible |
Stereo Pad (piezo/switch) | Head/Bow only, No Choking | Head/Bow only, No Choking | All Zones | All Zones | All Zones | Incompatible | |
Stereo Pad (piezo/piezo) | Head/Bow only | Head/Bow only (all zones can be triggered, but with serious crosstalk problems and no rimshots) | Head/Bow only | All Zones | Head/Bow only | Incompatible | |
Three-Way Pad (piezo/switch/switch) | Head/Bow only, No Choking | Head/Bow only, No Choking | Head/Bow and Rim/Edge only or Head/Bow and Bell only | Head/Bow and Rim/Edge only or Head/Bow and Bell only | All Zones | Incompatible | |
Digital Pad | Incompatible | Incompatible | Incompatible | Incompatible | Incompatible | All Zones |
There's also a detailed compatibility chart for current Roland trigger devices and drum modules on one of the last pages of Roland's V-Drums catalog, which is also available as a PDF download[3] from their home page. Discontinued modules are not included in their chart though.
Roland drum modules[edit]
Roland drum modules range in features and price from the top-of-the-line TD-50 to the TD-30, TD-25, TD-17, TD-4, TD-1 and HD-3 (although the TD-1 and HD-3 brains are not sold separately, as they connect with a proprietary 25-pin parallel connector to the frame and pads). Higher model numbers denote more advanced models, while lower numbers are used for less expensive ones. The TD-20, TD-15, TD-12, TD-11, TD-10, TD-9, TD-8, TD-7, TD-6, TD-5, TD-3 and HD-1 are out of production.
Available drum modules[edit]
Drum Module | Years Available | Drum Kits | Instruments | Trigger Inputs | Outputs[d] | MIDI | Voices (Polyphony) | Features/Notes | ||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Drum | Backing | TOTAL | MONO | STEREO | THREE- WAY[b] | DIGITAL | Stereo Pairs | Single Channel | Positional Sensing | Other | ||||||||
mono/ mono[a] | piezo/ switch | piezo/ piezo | ||||||||||||||||
HD-1 Superseded by HD-3 | 2007-2012 | 10 | 70 | – | 7 (+ Kick) | 7 | – | – | – | – | – | 1 | – | Out | ? | No | Module not sold separately | |
HD-3 In Production | 2012- | 20 | ? | – | 7 (+ Kick) | 3 | – | 3 | 1 | – | – | 1 | – | Out | ? | No | Module not sold separately | |
TD-1 In Production | 2014- | 15 | ? | – | 9 | 4 | – | 4 | 1 | – | – | 1 & USB | – | USB | ? | No | Module not sold separately | |
TD-3 Superseded by TD-4 | 2004-2009 | 32 | 114 | – | 9 | 4 | – | 4 | 1 | – | – | 1 | – | In/Out | 32? | No | ||
TD-4 In Production (Partially superseded by TD-11) | 2009-2012 2012- | 25 | 125 | – | 9 | 4 | – | 4[b] | 1 | –[b] | – | 1 | – | Out | ? | No | Module was briefly out of production in 2012, TD-4KP cable only allows up to 8 pads | |
TD-5 | 1994-2001 | 32 | 210 | – | 8 | – | – | 8 | – | – | – | 1 | – | In/Out | 14 | No | ||
TD-6 | TD-6 Superseded by TD-6V | 2001-2003 | 99 | 1024 | 262 | 9 (11[a]) | 1 | 2 | 5 | 1 | – | – | 1 | – | In/Out | 64 | No | |
TD-6V Superseded by TD-9 | 2003-2008 | 0–2[c] | 5–7[c] | |||||||||||||||
TD-7 | 1992-1999 | 32 | 256 (512) | 9 | – | – | 9 | – | – | – | 1 | 2 | In/Out | 14 | No | |||
TD-8 Superseded by TD-12 | 1999-2005 | 64 | 1024 | 262 | 10 (12[a]) | – | 2 | 7 | 1 | – | – | 2 | – | In/Out | 64 | Yes | ||
TD-9 | TD-9 Updated to TD-9 v2.0 | 2008-2011 | 50 | 522 | ? | 10 | 1 | – | 3 | 5 | 1[b] | – | 1 | – | In/Out | ? | No | USB Port (for USB Memory)[f] |
TD-9 v2.0 Superseded by TD-15 | 2011-2012 | 99 | 552 | TD-9 Firmware Update, also adds support for MP3 backing tracks | ||||||||||||||
TD-10 | TD-10 Updated with TDW-1 | 1997-2000 | 50 | 600 | 54 | 12 | – | – | 11 | 1 | – | – | 4 | – | In/Out | 56 | Yes | Proprietary Memory Card Slot[e] |
TD-10 with TDW-1 Superseded by TD-20 | 2000-2004 | 100 | 960 | |||||||||||||||
TD-11 Superseded by TD-17 | 2012-2018 | 50 | 190 | – | 9 | 1 | – | 3 | 4 | 1[b] | – | 1 & USB | – | Out, USB[g] | ? | No | Two USB ports: 1x PC (MIDI[g]/Audio) 1x Memory[f] | |
TD-12 Superseded by TD-30 | 2005-2012 | 50 | 560 | 262 | 11 | – | – | 4 | 6 | 1[b] | – | 1 | 2 | In/Out | 64 | Yes | ||
TD-15 Superseded by TD-25 | 2012-2015 | 100 | 500 | – | 10 | 1 | – | 3 | 5 | 1[b] | – | 1 & USB | – | Out, USB[g] | ? | No | Two USB ports: 1x PC (MIDI[g]/Audio), 1x Memory[f] | |
TD-17 In Production | 2018- | 50+50 | 310 | – | 10 | 1 | – | 3 | 5 | 1[b] | – | 1 & USB | – | Out, USB[g] | ? | No | SD Card Slot, can trigger WAV samples, available as TD-17 with Bluetooth or TD-17-L without Bluetooth | |
TD-20 | TD-20 Updated with TDW-20 / Superseded by TD-20X | 2004-2008 | 50 | 560 | 262 | 15 | – | – | 6[b] | 9 | –[b] | – | 3 | 4 | In/Out | 64 | Yes | CompactFlash Slot[e] |
TD-20 with TDW-20 or TD-20X Superseded by TD-30 | 2008-2012 | 100 | 920 | |||||||||||||||
TD-25 In Production | 2015- | 18+18 | 233 | – | 10 | 1 | – | 3 | 5 | 1[b] | – | 1 & USB | – | Out, USB[g] | ? | Yes | Two USB ports: 1x PC (MIDI[g]/Audio), 1x Memory[f] | |
TD-30 Superseded by TD-50 | 2012-2016 | 100 | 1100 | 262 | 15 | – | – | 6[b] | 9 | –[b] | – | 3 & USB | 4 | In/Out, USB[g] | 64 | Yes | Two USB ports: 1x PC (MIDI[g]/Audio), 1x Memory[f] | |
TD-50 In Production | 2016- | 100 | >400 | – | 14 | 1 | – | 3 | 9 | 1[b] | 3 | 4 & USB | 4 | In/Out, USB[g] | ? | Yes | SD Card Slot, enabling a digital trigger input disables an analog trigger input | |
TM-2 In Production | 2014- | 99 | >100 | – | 2 (4[h]) | – | – | – | 2[h] | – | – | 1 | – | In/Out | ? | No | SD Card Slot, Can trigger WAV samples | |
TMC-6 Discontinued | 2002-2015 | – | – | 6 | – | – | 5[b] | 1 | –[b] | – | – | – | Out | – | No | Trigger-to-MIDI converter | ||
^a Two Mono pads can be connected to Mono/Mono inputs by using an insert cable (Tom2/Aux and Tom3/4 inputs on the TD-6, Kick1/2 and Aux1/2 inputs on the TD-8).^b Three-way (piezo/switch/switch) inputs can be used to connect a three-way cymbal like the CY-12R/C, CY-13R or CY-15R, or one non-three-way pad. On the TD-4, TD-10 with TDW-1, TD-20, TD-30 and TMC-6, three-way cymbals can be connected using two designated Piezo/Switch inputs. Connecting them to any two stereo inputs on any module works with some limitations and is not officially supported.^c On The TD-6V, two stereo inputs (Tom2/Aux and Tom3/4) can be configured to be either mono/mono inputs or piezo/switch inputs.^d Outputs excluding the headphone jack.^e Memory card slots can only be used to store module settings.^f USB Memory can only be used for wav/mp3 backing tracks, recording to MIDI files and to store module settings. The TD-9 writes proprietary MIDI files and the TD-9 v1.x only supports WAV backing tracks.^g MIDI In/Out is available through USB.^h On the TM-2, the inputs can also be configured to be mono/mono inputs, allowing up to two pads per input by using an insert cable. |
Availability Timeline[edit]
Drum module input capabilities[edit]
It is important to note that not all drum module inputs have the same capabilities. Besides the obvious differences between mono, stereo and three-way inputs, which support mono (single-zone), stereo (dual-zone) or three-zone pads accordingly, there are additional differences in the capabilities of stereo inputs. While some stereo inputs only support pads with a piezo and a switch (piezo/switch inputs), others also support pads with two piezos (piezo/piezo inputs). Also, some stereo inputs are only intended to be split into two mono inputs by using an insert cable (mono/mono inputs). Certain pairs of stereo inputs can be configured to form one three-way input.
On some drum modules, some inputs may support additional features such as positional sensing or brush sweeps.
The capabilities of drum module inputs are listed in the table below. For details about which type of trigger pads are compatible with which type of drum module input, see section Pad/Module Compatibility above.
The column 'Connector Type' shows the number of trigger inputs with audio jack sockets and the number of trigger inputs with audio jack plugs on a proprietary wiring harness. If a module uses a wiring harness, inputs that feature an audio jack socket are indicated with an asterisk (*) next to the input type.
Connector Type | Kick | Snare | Tom1 | Tom2 | Tom3 | Tom4 | Hi-Hat | Hi-Hat Ctrl | Crash1 | Crash2 | Ride | RideEdge | Aux1 | Aux2 | Aux3 | Aux4 | Aux5 | Aux6 | |
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
HD-1 | Harness: 8 HH Ctrl: Harness | Controller (var.resistor) | Mono | Mono | Mono | Mono | – | Mono | Controller (var.resistor) | Mono | – | Mono | – | – | – | – | – | – | – |
HD-3 | Harness: 8 HH Ctrl: Harness | Controller (var.resistor) | Stereo piezo/piezo | Mono | Mono | Mono | – | Stereo piezo/switch | Controller (var.resistor) | Stereo piezo/switch | – | Stereo piezo/switch | – | – | – | – | – | – | – |
TD-1 | Harness: 9 HH Ctrl: Harness | Mono | Stereo piezo/piezo | Mono | Mono | Mono | – | Stereo piezo/switch | Controller (var.resistor) | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch | – | – | – | – | – | – | – |
TD-3 | Sockets: 9 HH Ctrl: Socket | Mono | Stereo piezo/piezo | Mono | Mono | Mono | – | Stereo piezo/switch | Controller (var.resistor) | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch | – | – | – | – | – | – | – |
TD-4 | Harness: 9 HH Ctrl: Harness | Mono | Stereo piezo/piezo | Mono | Mono | Mono | – | Stereo piezo/switch | Controller (var.resistor) supports VH-11 | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch | – | – | – | – | – | – | – |
Three-way piezo/switch/switch | |||||||||||||||||||
TD-5 | Sockets: 8 HH Ctrl: Socket | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch | – | Stereo piezo/switch | Controller (var.resistor) | Stereo piezo/switch | – | Stereo piezo/switch | – | – | – | – | – | – | – |
TD-6 | Sockets: 9 HH Ctrl: Socket | Mono | Stereo piezo/piezo | Stereo piezo/switch | Stereo Mono/Mono (splittable) | Stereo Mono/Mono (splittable) | – | Stereo piezo/switch | Controller (var.resistor) supports VH-11 | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch | – | – | – | – | – | – | – |
TD-6V | Sockets: 9 HH Ctrl: Socket | Mono | Stereo piezo/piezo | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch | – | Stereo piezo/switch | Controller (var.resistor) supports VH-11 | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch | – | – | – | – | – | – | – |
Stereo Mono/Mono (splittable) | Stereo Mono/Mono (splittable) | ||||||||||||||||||
TD-7 | Sockets: 9 HH Ctrl: Socket | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch | Controller (var.resistor) | Stereo piezo/switch | – | Stereo piezo/switch | – | – | – | – | – | – | – |
TD-8 | Sockets: 10 HH Ctrl: Socket | Stereo Mono/Mono (splittable) | Stereo piezo/piezo Pos.Sensing BrushSweep | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch | – | Stereo piezo/switch | Controller (var.resistor) supports VH-11 | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch | – | Stereo Mono/Mono (splittable) | – | – | – | – | – |
TD-9 | Harness: 8 Sockets: 2 HH Ctrl: Harness | Mono | Stereo piezo/piezo | Stereo piezo/piezo | Stereo piezo/piezo | Stereo piezo/piezo | – | Stereo piezo/switch | Controller (var.resistor) supports VH-11 | Stereo piezo/switch | Stereo* piezo/switch | Three-way piezo/switch/switch | Stereo* piezo/piezo | – | – | – | – | – | |
TD-10 | Sockets: 12 HH Ctrl: Socket | Stereo piezo/switch | Stereo piezo/piezo Pos.Sensing BrushSweep | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch | Controller (var.resistor) | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch Pos.Sensing | – | Stereo piezo/switch | Stereo piezo/switch | – | – | – | – |
TD-10 with TDW-1 | Sockets: 12 HH Ctrl: Socket | Stereo piezo/switch Pos.Sensing | Stereo piezo/piezo Pos.Sensing BrushSweep | Stereo piezo/switch Pos.Sensing | Stereo piezo/switch Pos.Sensing | Stereo piezo/switch Pos.Sensing | Stereo piezo/switch Pos.Sensing | Stereo piezo/switch Pos.Sensing | Controller (var.resistor) supports VH-11 | Stereo piezo/switch Pos.Sensing | Stereo piezo/switch Pos.Sensing | Stereo piezo/switch Pos.Sensing | – | Stereo piezo/switch Pos.Sensing | Stereo piezo/switch Pos.Sensing | – | – | – | – |
Three-way (Ride+Aux1) piezo/switch/switch Positional Sensing | |||||||||||||||||||
TD-11 | Harness: 8 Sockets: 1 HH Ctrl: Harness | Mono | Stereo piezo/piezo | Stereo piezo/piezo | Stereo piezo/piezo | Stereo piezo/piezo | – | Stereo piezo/switch | Controller (var.resistor) supports VH-11 | Stereo piezo/switch | Stereo* piezo/switch | Three-way piezo/switch/switch | – | – | – | – | – | – | |
TD-12 | Sockets: 11 HH Ctrl: Socket | Stereo piezo/switch | Stereo piezo/piezo Pos.Sensing BrushSweep | Stereo piezo/piezo Pos.Sensing (Rimshots only) | Stereo piezo/piezo Pos.Sensing (Rimshots only) | Stereo piezo/piezo Pos.Sensing (Rimshots only) | – | Stereo piezo/switch | Controller (var.resistor) supports VH-11 and VH-12/13 | Stereo piezo/switch | Stereo piezo/switch | Three-way piezo/switch/switch Positional Sensing | Stereo piezo/piezo Pos.Sensing (Rimshots only) | Stereo piezo/piezo Pos.Sensing (Rimshots only) | – | – | – | – | |
TD-15 | Harness: 8 Sockets: 2 HH Ctrl: Harness | Mono | Stereo piezo/piezo | Stereo piezo/piezo | Stereo piezo/piezo | Stereo piezo/piezo | – | Stereo piezo/switch | Controller (var.resistor) supports VH-11 | Stereo piezo/switch | Stereo* piezo/switch | Three-way piezo/switch/switch | Stereo* piezo/piezo | – | – | – | – | – | |
TD-17 | Harness: 8 Sockets: 2 HH Ctrl: Harness | Mono | Stereo piezo/piezo | Stereo piezo/piezo | Stereo piezo/piezo | Stereo piezo/piezo | – | Stereo piezo/switch | Controller (var.resistor) supports VH-11 | Stereo piezo/switch | Stereo* piezo/switch | Three-way piezo/switch/switch | Stereo* piezo/piezo | – | – | – | – | – | |
TD-20 TD-20X | Sockets: 15 HH Ctrl: Socket | Stereo piezo/switch | Stereo piezo/piezo Pos.Sensing BrushSweep | Stereo piezo/piezo Pos.Sensing (Rimshots only) | Stereo piezo/piezo Pos.Sensing (Rimshots only) | Stereo piezo/piezo Pos.Sensing (Rimshots only) | Stereo piezo/piezo Pos.Sensing (Rimshots only) | Stereo piezo/switch | Controller (var.resistor) supports VH-11 and VH-12/13 | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch Pos.Sensing | Stereo piezo/switch | Stereo piezo/piezo Pos.Sensing (Rimshots only) | Stereo piezo/piezo Pos.Sensing (Rimshots only) | Stereo piezo/piezo Pos.Sensing (Rimshots only) | Stereo piezo/piezo Pos.Sensing (Rimshots only) | – | – |
Three-way piezo/switch/switch Positional Sensing | |||||||||||||||||||
TD-25 | Harness: 8 Sockets: 2 HH Ctrl: Harness | Mono | Stereo piezo/piezo Pos.Sensing BrushSweep | Stereo piezo/piezo | Stereo piezo/piezo | Stereo piezo/piezo | – | Stereo piezo/switch | Controller (var.resistor) supports VH-11 | Stereo piezo/switch | Stereo* piezo/switch | Three-way piezo/switch/switch Positional Sensing | Stereo* piezo/piezo Pos.Sensing | – | – | – | – | – | |
TD-30 | Sockets: 15 HH Ctrl: Socket | Stereo piezo/switch | Stereo piezo/piezo Pos.Sensing BrushSweep | Stereo piezo/piezo Pos.Sensing (Rimshots only) | Stereo piezo/piezo Pos.Sensing (Rimshots only) | Stereo piezo/piezo Pos.Sensing (Rimshots only) | Stereo piezo/piezo Pos.Sensing (Rimshots only) | Stereo piezo/switch | Controller (var.resistor) supports VH-11 and VH-12/13 | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch Pos.Sensing | Stereo piezo/switch | Stereo piezo/piezo Pos.Sensing (Rimshots only) | Stereo piezo/piezo Pos.Sensing (Rimshots only) | Stereo piezo/piezo Pos.Sensing (Rimshots only) | Stereo piezo/piezo Pos.Sensing (Rimshots only) | – | – |
Three-way piezo/switch/switch Positional Sensing | |||||||||||||||||||
TD-50 | Sockets: 14 HH Ctrl: Socket Digital: 3 USB (assignable to any input) | Mono | Stereo piezo/piezo Pos.Sensing BrushSweep | Stereo piezo/piezo Pos.Sensing | Stereo piezo/piezo Pos.Sensing | Stereo piezo/piezo Pos.Sensing | Stereo piezo/piezo Pos.Sensing | Stereo piezo/switch | Controller (var.resistor) supports VH-11 and VH-12/13 | Stereo piezo/switch | Stereo piezo/switch | Three-way piezo/switch/switch Positional Sensing | Stereo piezo/piezo Pos.Sensing | Stereo piezo/piezo Pos.Sensing | Stereo piezo/piezo Pos.Sensing | Stereo piezo/piezo Pos.Sensing | – | – | |
TM-2 | Sockets:2 | – | – | – | – | – | – | – | – | – | – | – | – | Stereo piezo/piezo | Stereo piezo/piezo | – | – | – | – |
Stereo Mono/Mono (splittable) | Stereo Mono/Mono (splittable) | ||||||||||||||||||
TMC-6 | Sockets:6 | – | – | – | – | – | – | – | – | – | – | – | – | Stereo piezo/switch | Stereo piezo/piezo | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch | Stereo piezo/switch |
Controller (var.resistor) | |||||||||||||||||||
Three-way piezo/switch/switch | Three-way piezo/switch/switch | Three-way piezo/switch/switch |
Drum sets[edit]
Roland V-Drums components are typically sold as drum sets, which are made up of drum and cymbal pads, a hi-hat pad and controller, a drum module and a drum rack. Sometimes, additional hardware such as a kick drum pedal and a hi-hat stand is also included (usually only as limited offers).
High-end V-Drums sets[edit]
Roland's most advanced and most expensive V-Drums sets include:
- V-Pro drum sets (Roland's flagship drum sets)
- TD-50 Drum Module (previously TD-10, TD-20, TD-20X, TD-30) with all the advanced features, very extendable
- Some digital pads (ride and snare)
- larger diameter mesh-head drum pads
- larger diameter mesh-head kick-drum pad
- movable crash cymbals and three-way ride cymbal
- movable two-piece hi-hat
- large drum rack
In the past, Roland also sold V-Stage drum sets, which had smaller pads and came with a slightly stripped-down drum module (first TD-8, then TD-12) with fewer inputs, but still most of the advanced features of the flagship modules. The V-Stage drum sets were discontinued in 2012 when the TD-30 was introduced. Instead, Roland is now also offering a V-Pro drum set with smaller and less expensive pads.
Mid-tier V-Drum sets[edit]
Roland's mid-tier V-Drums sets include:
- V-Tour drum sets
- TD-25 drum module (previously TD6/6V, then TD-9, then TD-15) with only some advanced features, only slightly extendable
- medium-sized mesh-head pads, or simpler small mesh-head pads on less expensive sets
- simple cloth kick-drum pad
- movable crash cymbal and three-way ride cymbal
- movable two-piece hi-hat, or fixed hi-hat and foot controller on earlier sets
- medium-sized drum rack
- (A TD-25KV model adds an extra crash cymbal)
- V-Compact drum sets
- TD-11 drum module (previously TD-3, then TD-4) with no advanced features, only slightly extendable
- simple small mesh-head drum pads, or only one simple mesh-head drum pad and three rubber pads on less expensive sets
- simple cloth kick-drum pad
- movable crash cymbal and three-way ride cymbal, or fixed cymbal pads on less expensive sets
- fixed hi-hat and foot controller
- small drum rack
Entry level V-Drum sets[edit]
Roland's entry level V-Drum sets include:
Mono And Stereo
- V-Drums Portable drum set
- TD-4 drum module with no advanced features, only slightly extendable
- rubber pads for snare and toms
- simple rubber kick-drum pad
- fixed cymbal pads
- fixed hi-hat and foot controller
- very compact foldable drum rack
- V-Drums Lite drum set
- HD-3 drum module (previously HD-1) with no advanced features, not extendable
- one simple small mesh-head drum pad and three rubber pads
- foot controller-based kick drum
- fixed cymbal pads
- fixed hi-hat and foot controller
- very compact drum rack
Older drum sets[edit]
Older drum sets with the TD-7 and the (less expensive) TD-5 drum module had all rubber pads as drum and cymbal pads, simple kick-drum pads, and a rubber pad and foot controller for the hi-hat. Although they were not marketed as V-Drums at the time, they used the same technology and the trigger pads continued to be used in later V-Drum sets. TD-7 and TD-5 drum sets were discontinued in the late 1990s when the TD-10 and TD-8 were introduced.
Available drum sets[edit]
Drum Set Name | Product Line | Years Available | Drum Module | Kick Drum Pad | Snare Pad | Tom-Tom Pads | Hi-Hat Pad / Controller | Crash and Ride Cymbal Pads | Drum Stand (often optional) |
---|---|---|---|---|---|---|---|---|---|
HD-1 | V-Drums Lite | 2007-2012 | HD-1 | Integrated | PDX-8 | 3x Rubber | CY-5 / Integrated | 2x CY-5 | HD-1/3 Stand |
HD-3 | V-Drums Lite | 2012- | HD-3 | Integrated | PDX-8 | 3x Cloth-Head | CY-5 / Integrated | 2x CY-5 | HD-1/3 Stand |
TD-1K | Compact | 2014- | TD-1 | Pedal | Rubber | 3x Rubber | CY-5 / Pedal | 2x CY-5 | TD-1 Stand |
TD-1KV | Compact | 2014- | TD-1 | Pedal | PDX-8 | 3x Rubber | CY-5 / Pedal | 2x CY-5 | TD-1 Stand |
TD-3S | V-Compact | 2004-2006 | TD-3 | KD-8 | PD-8 | 2x PD-8 | PD-8 / FD-8 | 2x CY-8 | MDS-3C |
TD-3SV | V-Compact | 2004-2006 | TD-3 | KD-8 | PD-80R | 3x PD-8 | PD-8 / FD-8 | 2x CY-8 | MDS-3C |
TD-3SW | V-Compact | 2006-2009 | TD-3 | KD-8 | PDX-8 | 3x PD-8 | CY-5 / FD-8 | 2x CY-8 | MDS-3C |
TD-4K | V-Compact | 2009-2011 | TD-4 | KD-8 | PDX-8 | 3x PD-8 | CY-5 / FD-8 | 2x CY-8 | MDS-4 |
TD-4K2 | V-Compact | 2011-2012 | TD-4 | KD-9 | PDX-8 | 3x PD-8 | CY-5 / FD-8 | 2x CY-8 | MDS-4 |
TD-4KP | V-Drums Portable | 2012- | TD-4 | Rubber | Rubber | 3x Rubber | CY-5 / FD-8 | 2x CY-5 | TD-4KP Stand |
TD-4KX | V-Compact | 2009-2011 | TD-4 | KD-8 | PDX-8 | 2x PDX-6, 1x PDX-8 | CY-5 / FD-8 | 2x CY-8 | MDS-4 |
TD-4KX2 | V-Compact | 2011-2012 | TD-4 | KD-9 | PDX-8 | 2x PDX-6, 1x PDX-8 | CY-5 / FD-8 | 1x CY-12C, 1x CY-13R | MDS-4 |
TD-5K | Compact Drum System | 1994-199? | TD-5 | KD-5 | PD-5 | 2x PD-5 | PD-5 / FD-7 | 1x PD-5 | MDS-7 |
TD-6K | V-Club | 2001-2003 | TD-6 | KD-7 | PD-6 | 3x PD-6 | PD-6 / FD-6 | 2x CY-6 | MDS-6 |
TD-6KV | V-Tour | 2003-2008 | TD-6V | KD-8 | PD-85 | 3x PD-8 | PD-8 / FD-8 | 2x CY-8 | MDS-3C |
TD-6KW | V-Tour | 2006-2008 | TD-6V | KD-8 | PDX-8 | 3x PD-8 | CY-5 / FD-8 | 2x CY-8 | MDS-6C |
TD-6KX | V-Tour | 2006-2008 | TD-6V | KD-8 | PD-105 | 3x PD-85 | CY-5 / FD-8 | 1x CY-8, 1x CY-12R/C | MDS-6C |
TD-7K | Stage Kit | 1992-199? | TD-7 | KD-7 | PD-9 | 2x PD-7, 2x PD-9 | PD-7 / FD-7 | 1x PD-7, 1x PD-9 | MDS-7U |
TD-8K | V-Custom | 1999-2001 | TD-8 | KD-80 | PD-80R | 3x PD-80 | PD-7 / FD-7 | 2x PD-7 | MDS-8 |
TD-8KV | V-Stage | 2001-2005 | TD-8 | KD-80 | PD-80R | 3x PD-80 | PD-7 / FD-6 | 2x CY-12R/C | MDS-8C |
TD-9K | V-Tour | 2008-2011 | TD-9 | KD-8 | PDX-8 | 3x PD-8 | CY-5 / FD-8 | 2x CY-8 | MDS-9 |
TD-9K2 | V-Tour | 2011-2012 | TD-9 v2.0 | KD-9 | PDX-8 | 2x PDX-6, 1x PDX-8 | CY-5 / FD-8 | 1x CY-12C, 1x CY-13R | MDS-9 |
TD-9KX | V-Tour | 2008-2011 | TD-9 | KD-8 | PD-105 | 3x PD-85 | CY-5 / FD-8 | 1x CY-8, 1x CY-12R/C | MDS-9 |
TD-9KX2 | V-Tour | 2011-2012 | TD-9 v2.0 | KD-9 | PD-105 | 3x PD-85 | VH-11 | 1x CY-12C, 1x CY-13R | MDS-9 |
TD-10K/B | V-Basic | 1997-2000 | TD-10 | KD-7 | PD-120 | 1x PD-100, 1x PD-120 | PD-7 / FD-7 | 1x PD-9 | MDS-10 |
TD-10K | V-Concert | 1997-2000 | TD-10 | KD-7 | PD-120 | 2x PD-100, 1x PD-120 | PD-7 / FD-7 | 3x PD-9 | MDS-10 |
TD-10 Set | V-Pro | 2000-2004 | TD-10 with TDW-1 | KD-120 | PD-120 | 2x PD-100, 2x PD-120 | CY-12H / FD-7 | 2x CY-14C, 1x CY-15R | MDS-10 |
TD-11K | V-Compact | 2012-2018 | TD-11 | KD-9 | PDX-8 | 3x PD-8A | CY-5 / FD-8 | 2x CY-8 | MDS-4V |
TD-11KV | V-Compact | 2012-2018 | TD-11 | KD-9 | PDX-8 | 2x PDX-6, 1x PDX-8 | CY-5 / FD-8 | 1x CY-12C, 1x CY-13R | MDS-4V |
TD-12K | V-Stage | 2005-2012 | TD-12 | KD-85 | PD-105 | 3x PD-85 | VH-11 | 2x CY-12R/C | MDS-12 |
TD-12KV | V-Stage | 2005-2012 | TD-12 | KD-85 | PD-105 | 3x PD-85 | VH-11 | 3x CY-12R/C | MDS-12 |
TD-12KX | V-Stage | 2008-2012 | TD-12 | KD-120 | PD-105 | 2x PD-85, 1x PD-105 | VH-11 | 3x CY-12R/C | MDS-12X |
TD-15K | V-Tour | 2012-2015 | TD-15 | KD-9 | PDX-8 | 2x PDX-6, 1x PDX-8 | CY-5 / FD-8 | 1x CY-12C, 1x CY-13R | MDS-9V |
TD-15KV | V-Tour | 2012-2015 | TD-15 | KD-9 | PDX-100 | 2x PD-85, 1x PDX-100 | VH-11 | 1x CY-12C, 1x CY-13R | MDS-9V |
TD-17K-L | 2018- | TD-17-L | KD-10 | PDX-8 | 3x PD-8A | CY-5 / FD-9 | 2x CY-8 | MDS-4V | |
TD-17KV-L | 2018- | TD-17-L | KD-10 | PDX-12 | 3x PDX-8 | CY-5 / FD-9 | 2x CY-8 | MDS-4V | |
TD-17KV | 2018- | TD-17 | KD-10 | PDX-12 | 3x PDX-8 | CY-5 / FD-9 | 2x CY-8 | MDS-4V | |
TD-17KVX | 2018- | TD-17 | KD-10 | PDX-12 | 3x PDX-8 | VH-10 | 2x CY-12C, 1x CY-13R | MDS-4KVX | |
TD-20K | V-Pro | 2004-2008 | TD-20 | KD-120 | PD-125 | 2x PD-105, 2x PD-125 | VH-12 | 2x CY-14C, 1x CY-15R | MDS-20 |
TD-20KX | V-Pro | 2008-2012 | TD-20X | KD-140 | PD-125XS | 2x PD-105X, 2x PD-125X | VH-12 | 2x CY-14C, 1x CY-15R | MDS-25 |
TD-25K | V-Tour | 2015- | TD-25 | KD-9 | PDX-100 | 2x PDX-6, 1x PDX-8 | VH-11 | 1x CY-12C, 1x CY-13R | MDS-9SC |
TD-25KV | V-Tour | 2015- | TD-25 | KD-9 | PDX-100 | 2x PD-85, 1x PDX-100 | VH-11 | 2x CY-12C, 1x CY-13R | MDS-9SC |
TD-25KVX | V-Tour | 2018- | TD-25 | KD-180 | PD-128S | 3x PDX-100 | VH-11 | 2x CY-12C, 1x CY-13R | MDS-9SC |
TD-30K | V-Pro | 2012-2016 | TD-30 | KD-120 | PD-125 | 3x PDX-100 | VH-11 | 1x CY-12C, 1x CY-13R, 1x CY-15R | MDS-12V |
TD-30KSE | V-Pro | 2014-2016 | TD-30 | KD-120 | PD-128S | 3x PDX-100, 1x PD-125 | VH-13 | 1x CY-12C, 1x CY-13R, 1x CY-15R | MDS-12V |
TD-30KV | V-Pro | 2012-2016 | TD-30 | KD-140 | PD-128S | 2x PD-108, 2x PD-128 | VH-13 | 2x CY-14C, 1x CY-15R | MDS-25 |
TD-50K | V-Pro | 2016- | TD-50 | KD-120 | PD-140DS | 3x PDX-100 | VH-11 | 1x CY-12C, 1x CY-13R, 1x CY-18DR | MDS-50K |
TD-50KV | V-Pro | 2016- | TD-50 | KD-140 | PD-140DS | 1x PD-108, 2x PD-128 | VH-13 | 1x CY-14C, 1x CY-15R, 1x CY-18DR | MDS-50KV |
TD-50KVX | V-Pro | 2018- | TD-50 | KD-220 | PD-140DS | 1x PD-108, 2x PD-128 | VH-13 | 1x CY-14C, 1x CY-15R, 1x CY-18DR | MDS-50KV |
Artists who use Roland V-Drums[edit]
- Craig Blundell of Steven Wilson[4]
- Omar Hakim[5]
- Gregg Bissonette[6]
- Jimmy Brown of UB40
- Omar Abidi of Fightstar
- Adrian Young of No Doubt
- Stephen Morris of New Order
- Neil Peart of Rush[7]
- Zach Hill of Death Grips
- Dead P.A.[8]
- Adrian Belew of King Crimson
- Pat Mastelotto of King Crimson
- Joe Kaiser of Eugene, Oregon.
- Roger Taylor of Duran Duran[9]
- Rafa of Aurthohin
- KJ Sawka of Pendulum and Destroid
Jean-bernard Merlot td12kx and td17
References[edit]
- ^Roland Drums & Percussion Resource Guide, rolandus.com
- ^V-Drums History: How Roland Became the Biggest Drum Company in the World, Roland Users Group
- ^http://www.roland.com/V-Drums/downloads/index.html
- ^Corporation, Roland. 'Roland - CRAIG BLUNDELL ON TOUR WITH ROLAND V-DRUMS'. Roland. Retrieved 14 July 2018.
- ^Australia, Roland (17 April 2017). 'Electronic Drums Q&A - Roland Australia'. Roland Australia. Retrieved 14 July 2018.
- ^Australia, Roland (17 April 2017). 'Electronic Drums Q&A - Roland Australia'. Roland Australia. Retrieved 14 July 2018.
- ^http://www.neilpeart.net/index.php/articles/modern-drummer-07/
- ^'Archived copy'. Archived from the original on 12 January 2012. Retrieved 16 November 2010.CS1 maint: Archived copy as title (link)
- ^Corporation, Roland. 'Roland - RTV - Roger Taylor (Duran Duran)'. Roland. Retrieved 14 July 2018.
External links[edit]
- V-Drums History Roland Users Group
- The Mondor, an expansive V-Drum setup
- The SuperGAS Cage, AusDisciples Band custom V-Drum cage
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