Electronic Drum Advances
In the 1970’s, guitarists were becoming inundated with effect and pedal technology allowing them to experiment and explore new sounds and frequencies never available before. Percussionists, seemingly, had to resign themselves to different sized cymbals, drums, and assorted sound effect cymbals to build their orchestra of effects. Not only was this a costly endeavor, lugging around an arsenal of assorted pieces was impractical, unwieldy, and impossible. Change was coming. With the introduction of the first commercially available electronic drum by Pollard Industries in the mid-seventies, drummers’ eyes and ears were opened to new horizons and possibilities that had previously only been afforded to electric guitarists.
The original electronic drum sets were definitely rudimentary experimentations, and their response curve and performance applications were quite limited. Yet, as research and development continued throughout the eighties and into today, electronic drums progressed and evolved into an accepted medium, with an inordinate amount of recording and performance possibilities.
The original technology of electronic drums has remained constant, though improved upon over the last three decades. As in the original prototypes, an electronic pad houses one (or many) piezoelectric transducer microphones that allow a voltage change to be captured when the pad is struck. This signal is transmitted through an instrument cable to a drum “brain” or module that then translates the kinetic energy into sound. The resultant sound produced is determined by the drummer’s programming of an individual effect to the pad being struck. While early drum modules were limited in their processing possibilities, today’s electronic advances have allowed modules to contain dozens upon dozens of true acoustic samples, recorded digitally with such high quality from the original sources, that only a highly trained ear is able to differentiate between an acoustic drum and the advanced sounds produced by electronic kits today.
The possibilities of today’s kits are seemingly endless. More sensitive pads have been introduced, possessing transducers that are able to pick up every nuance, every ghost roll, every precise rudiment, allowing for different zones of the drum “head” to have different timbre and textures just as its acoustic “skinned” cousin possesses. Effects such as reverb, delay, and chorus are only the beginning, with the ability to add effects directly at the source of the strike, processors within today’s modules can accurately reproduce different performance hall situations and microphone techniques without a room, hall, or microphone being present. This allows for drummers of all levels to experience superb sound in the comfort of their own home or studio, whether through expensive monitoring speakers or personal headphones utilized for private, silent practice. No more is it necessary for a passel of microphones when recording since drum modules possess stereo line outs that can be connected directly to the recording device being used. As new innovations are developed, music retailers like Austin’s Strait Music Company keep their knowledge and equipment up to date in order to give local drummers the most options and highest quality available.
About the Author: Clint Strait is a third generation owner and assistant manager of the Strait Music, Austin Music Stores, providing the best selection of electronic drums and accessories to Austin and the surrounding area for over forty years. For more information please visit www.straitmusic.com.
The original electronic drum sets were definitely rudimentary experimentations, and their response curve and performance applications were quite limited. Yet, as research and development continued throughout the eighties and into today, electronic drums progressed and evolved into an accepted medium, with an inordinate amount of recording and performance possibilities.
The original technology of electronic drums has remained constant, though improved upon over the last three decades. As in the original prototypes, an electronic pad houses one (or many) piezoelectric transducer microphones that allow a voltage change to be captured when the pad is struck. This signal is transmitted through an instrument cable to a drum “brain” or module that then translates the kinetic energy into sound. The resultant sound produced is determined by the drummer’s programming of an individual effect to the pad being struck. While early drum modules were limited in their processing possibilities, today’s electronic advances have allowed modules to contain dozens upon dozens of true acoustic samples, recorded digitally with such high quality from the original sources, that only a highly trained ear is able to differentiate between an acoustic drum and the advanced sounds produced by electronic kits today.
The possibilities of today’s kits are seemingly endless. More sensitive pads have been introduced, possessing transducers that are able to pick up every nuance, every ghost roll, every precise rudiment, allowing for different zones of the drum “head” to have different timbre and textures just as its acoustic “skinned” cousin possesses. Effects such as reverb, delay, and chorus are only the beginning, with the ability to add effects directly at the source of the strike, processors within today’s modules can accurately reproduce different performance hall situations and microphone techniques without a room, hall, or microphone being present. This allows for drummers of all levels to experience superb sound in the comfort of their own home or studio, whether through expensive monitoring speakers or personal headphones utilized for private, silent practice. No more is it necessary for a passel of microphones when recording since drum modules possess stereo line outs that can be connected directly to the recording device being used. As new innovations are developed, music retailers like Austin’s Strait Music Company keep their knowledge and equipment up to date in order to give local drummers the most options and highest quality available.
About the Author: Clint Strait is a third generation owner and assistant manager of the Strait Music, Austin Music Stores, providing the best selection of electronic drums and accessories to Austin and the surrounding area for over forty years. For more information please visit www.straitmusic.com.
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