I tried this for about a year (2007), having been inspired by the work of Ras G and the Flying Lotus/ Brain Feeder clan of artists. This system fit the physical criteria, as it was compact, light and did not require complex routing. It also met the cost requirement, as these two units ran at about $350.00 (USD) for the SP-404 and $125.00 (USD) for the Alesis pad. I used the SP-404 prior to the 2012 SX model, so these prices are now dated. The problem I faced was the learning curve on the SP-404 and the technical complexity involved in programming it for the type of application I intended. The SP-404 is a sampler designed to capture and perform sounds on the fly, looping and mashing up compositions. It is, in itself, a very cool piece of equipment, and in the hands of a master like Ras G, the instrument takes on otherworldly possibilities. But for me, it required too much attention away from what I wanted to do: launch percussive sounds and play back some loops in the context of live performance. I ended up sacrificing the quality of my drumming to make it work.
One of the primary technical problems was getting the loops to fit the BPM of the live performance. There is a tap-tempo feature built into the SP-404 interface for performance, but I could not figure out how to get one of the Alesis pads to communicate with this feature. I was spending too much time away from the drum-kit to make this work. I did learn quite a bit and I came to admire the musicianship and creative ability of the guys who use the SP-404 as their primary musical tool. Yet, all told(?), it did not suit my needs as a drummer.
The Alesis ControlPad paired with a Mac Powerbook running Ableton Live
During the time I was learning how to program the SP-404, I was also studying Ableton Live. I was using the program to create the digital samples and loop files I was using with the SP-404. I spent a bunch of cash on a set of Bill Laswell samples, and learned how to produce my own with the instruments provided in the program. Ableton is an instrument in itself, and the program provides hours of productive distraction and creative drifting. I think it should be part of any muso’s creative system, if for no other reason than making it possible to pursue sonic ideas. Many bands have made the program the brain of their creative process and even their live performances (Cut/Copy, Sector 9). Ableton has taken me down many social avenues I would not have travelled otherwise, and introduced me to new musical expressions. It is a cultural force as much as a DAW.
The problem for me turned out to be a physical one. Ableton is technically elegant and user-friendly; it is a deep pool but provides for swimming in the shallows too. I already owned a Mac Powerbook, so I don’t include this in the cost of getting this system together. The problem was in moving the signal from the Mac to a sound system: I needed a sound card. The initial solution was the Presonus Audiobox USB, which had the awesome bus-powered feature. But this added to the bulk of my system and, along with the Macbook and ControlPad (and the many cables between them as well as a stand and bags for it all), had me enslaved to a set-up that was becoming unwieldy for a guy without a drum-tech. As a drummer I already carry a good amount of equipment; adding to the bulk was not desirable and the load-in at gigs was becoming impractical. There were also a number of technical issues that some clubs’ sound-men could not resolve. On a couple of occasions I abandoned the attempt to make the digital stuff work.
The Roland SPD-30, RT 10S, RT10K triggers and a PD-8 pad
This is the system I am currently using. In terms of cost, it is a pricey system; the SPD-30 runs at around $800.00 (USD). The triggers at about $100.00 (USD) each. I bought a used PD-9 for about $40.00 (USD). So, it can be prohibitive to a cash-strapped muso. I came into some extra money and was able to buy it, but it wasn’t something I would be able to afford on my regular budget. It is more than I have spent on any of the previous attempts.
The brain of this system is self-contained. Having all the sounds, controls, routing requirements and eight trigger pads in one object is an elegant solution; it is very user-friendly. I like the idea of a single entity, and its expandability makes it flexible enough for a number of different playing situations. The key bonus for me has been the trigger system and the PD-9 pad. The triggers have allowed me to focus my attention on playing my kit with enhanced sounds that make for some amazing sonic moments during live performance. The PD-9 pad functions as a secondary hi-hat that I use for glitched-out techno sounds. The triggers function like nerve-endings in what now feels like a very natural, organic system. I can press a button to move to a new pre-programmed setting, forget about the unit and just play. I use an 18” kick drum, which sounds lovely, but being able to add classic 808 fatness to it has been a dream come true. This alone has felt like justification for all the cost and effort.
There are some specific issues that I am facing with the SPD-30, both technically and physically. I’ll reserve specific technical comments for a dedicated discussion on the unit. In regards to the physical stuff, the unit is quite large. It takes up some real-estate at 54 cm by 27 cm. Finding a strategic spot on the kit was a challenge. I ended up putting it to my left, where a secondary snare would usually be; it sits at the same height as my primary. This placement required the Roland stand attachment (sold separately) and a stand (more gear); the latter of which was, thankfully, gifted to me by a guitarist friend. I am finding that the load-in is still a bit cumbersome despite the elegance of the system overall.
In conclusion, my experience with the Roland set-up has been overall positive. The system works seamlessly because Roland’s engineering is top-notch. At this point, my primary concern is with the bulk of the unit. The Roland triggers and PD-9 have made the surface pads on the unit seem unnecessary to me as these transcend my needs. So, I have a couple of reasons to look for something smaller.
More on the technical particulars of the SPD-30 in a later review.
Yours in drums,
Chris
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