The Beat Goes On: Major Players in Electronic Drums & Percussion Discuss Trends in the Market Segment

Interest in electronic percussion had sort of “ebbed and flowed” from the ‘70s through the early 2000s, but in recent years it seems like those types of instruments have solidly moved past being considered – by some – to be a passing fad and are now embraced by many players. What do you think are some of the major drivers behind the evolution to the current level of acceptance and appreciation?

Drew Armentrout: Great question, and frankly, there are a few factors that have come into play. With electronic drum sets, playability and feel are key. Although there is a clear distinction between an acoustic drum set and the electronic counterpart, improving the playability and responsiveness has made it easier for the acoustic-only player to appreciate today’s instruments without having to modify or adapt to something that feels radically different. The instrument should always be a tool that works for the player, not a design that impedes them or feels awkward. A more obvious change is in the quality of sound, not just in terms of emulation, but also expressiveness. In other words, as the components of the kit respond to the player’s playing style and technique, so should the sounds in terms of expressiveness and dynamic range, whether they are playing a cymbal swell, a buzz roll on a snare, articulating the nuances of a hi-hat, or the character of a percussion instrument. (Not to mention the ability to play virtually silently with headphones in a practice, teaching, rehearsal, or recording environment.) Aside from the technological advances, contemporary music of practically every style requires the modern drummer or percussionist to use some type of electronic percussion. It is simply an essential tool.

Steven Fisher: In the past, electronic percussion systems consisted entirely of pads and modules, which hardly constituted a fully functioning electronic drum set. These systems incorporated synth sounds that made it a fad for the music of that period, and the player typically had to incorporate their acoustic cymbals to make a “complete” drum set. 

The ‘90s marked the debut of the electronic “drum set,” which evolved into more advanced and “acoustic” feeling sets with quality and expressive acoustic drum samples in the 2000s. Still, acoustic drummers with their “electric counterpart” remained far behind keyboard players and guitar players who had these electric/acoustic options for decades. The most important factor for growth in recent years has been people’s desire to have a “quiet” solution that allowed for more drumming opportunities in noise-sensitive locations, as well as a way to directly record drum performances in today’s smaller studios, much like keyboardists and guitar players do. Just as the electric guitar market experienced significant growth in the ‘50s and ‘60s, we see great potential for the electronic drum market. It’s still in its infancy with a lot of room to grow. 

Mark Moralez: I give a great deal of credit to Yamaha and especially Roland for their continued development of electronic e-drum kits and modules. I think the V-Drum kit finally broke new ground for drummers looking for an e-kit that could really take a beating and have a stylized look and feel of an acoustic drum kit. The mesh head allowed for better sensitivity and response on the pads while keeping the volume fairly low. However newer pads like Yamaha’s silicone pad have now given drummers another option in feel that still has great playability. When KAT first came on the scene in 1985 with the MalletKat and the DrumKat controllers they used FSR pads. That was a huge breakthrough in a trigger surface because it was not dependent on vibration like standard piezo pads are. However KAT didn’t get into making full size e-kits until just a few years ago. The current Kat e-kits are using a piezo trigger design that allows us to keep the kits affordable while still maintaining a great response, look, and feel. With KAT e-drum kits we use large rubber pads that are very low in ambient volume but have excellent dynamic response. Still, we have not abandoned FSR for our e-kits but are working on perfecting it now. Another huge reason for e-drum acceptance has to be the creation of great drum software from companies like ToonTrack, XLN, Steven Slate, BFD, and many others. These programs contain gigabytes of ultra hi-end samples that can easily be used with e-kits. So drummers are no longer tied to using internal sampled sounds. In that sense the e-kit is being used as a control surface to play software sounds from your computer. Overall though I think the volume issue of acoustic drums has made it so drummers have had to find a way to practice without driving the neighbors and family members crazy. Cities are more crowded than ever and the ambient volume of acoustic drums is a big issue.

Bob Sabellico: Today’s music demands electronic sounds and the drummer has to be able to create them on stage. The drummer is responsible for triggering sounds that may have been sampled from the original track to make the live performance a true representation of the song. Guitar and keyboard players have been faced with this issue for years and now the drummer faces the same type of sonic demands.

Mike Sutton: Some of the major trends for drummers using electronic percussion are that they are more affordable, readily available, sound better, and also they are easier to use than earlier versions that came to the market in the 1980s/’90s.   There are multiple options for today’s drummer to choose from to fit the intended “gig” applications.   

Mike Robinson: Originally, electronic drums couldn’t mimic the experience of playing an acoustic kit…both in terms of feel and playback quality.  The sounds emitted worked well for niche musical genres, but failed to accurately represent the different styles of music and the needs of the majority of players.  Electronic drums have come much closer to filling those needs, at least for those utilizing the instrument for home practice, recording, and within the worship market where volume control is critical.  Utilization of full electronic kits in most live playing settings has grown within some segments, but it’s still the minority application. 

Tim Root: I think there have been a couple major drivers in the acceptance of electronic drums over the last decade or so. First, electronic drum technology has improved tremendously. the electronic drum products today are so much better than ever before. the sound is better, they feel and play better, their easy to use, and they give you an incredible amount of creative power. The other thing is that technology in general has embedded itself in almost every facet of our life. So much technology is used in making music nowadays it’s a natural for drummers to use electronic drums now.

Hybrid drum kits and other peripherals or accessories that allow players to enjoy the benefits of both acoustic and electronic instruments have been becoming more and more of a factor in the market. Do you feel this is the “trend of the future”?

SF: Driven by the trends in today’s music, hybrid sets represent a logical and exciting evolutionary change from the traditional drum set, which has been continually evolving for over 100+ years. For sure, growth slowed at times, marking smaller, incremental improvements, but it has never been at a standstill. Drummers are constantly searching for new sounds to enhance their sets, and electronics provide a great way for them to dramatically increase their sound options, and allow them to express themselves in new, creative ways.

Yamaha is addressing this trend with DTX Hybrid Packs that are a one-box solution with everything the drummers need to start hybrid drumming — sound module, triggers, pads, cables and mounting hardware. We also have step-by-step videos posted on YamahaDTX.com that demonstrate how to set everything up, including files for the module so that drummers don’t have to do any programming. It couldn’t be any easier for drummers to create a hybrid set.

BS: Absolutely! Many Pearl artists are using hybrid kits that incorporate our Tru Trac pads with their acoustic kits. We have designed kits for Tommy Lee, Mike Mangini, and Brian Frasier Moore and they are always looking to push the envelope with new additions to their kit configuration. Pearl is a 70 year-old acoustic drum company and we recognize the benefit of electronic percussion. We are fully committed to the development of products in the electronic percussion market.

MS: The hybrid kit concept really comes from professional drummers needing to incorporate specific sounds from songs into live performance, as audiences are demanding exact reproductions of their favorite songs in a live show.  Recently the products have become more compact so the working and club level performers can incorporate this technology more.   We see this trend moving forward as technology continues to evolve and be refined. Everyone from players, manufactures, and engineers will be delving deeper into the electronic percussion waters as it is a future avenue of the instrument.

MR: Yes, and this trend is only going to grow.  Drummers now have options to augment their acoustic kit by adding multi-pads that give them the ability to expand the pallet of sounds and trigger backing tracks and samples.  In many cases, this is actually changing the role of the drummer in bands as they’re able to expand their creative contribution to the music.  The limiting factor of what’s been done to date is in the placement of the pads.  Rather than the single location of a multi-pad, drummers need the freedom to place electronic trigger surfaces in and around the kit so they can be more accessible in the midst of playing.  The last thing a drummer wants to do is finish a fast fill on the floor tom and then immediately have to find a 6” x 6” target to the left of their hi-hat to cue a sample.

TR: Yes, I do see the “hybrid” concept becoming more and more of a factor in the market. Playing a hybrid setup is heaven for the drummer. It’s the best of both worlds. Whenever I have the opportunity to put my dream drum setup together it’s always is a hybrid setup.

MM: I view hybrid setups as a bridge between acoustic drummers and electronic drummers. Modern music has so much production in it now that many drummers see a need to add e-pads to their setup to have access to various trigger samples that will fit into their set list. Just about every major touring or TV drummer will also have some sort of hybrid setup or control pad in their setup. I see more and more integration of these trigger setups coming in the future. The multipad/trigger trend now is also including DJ’s who want to be more interactive with the music. In the future I can see more and more looping being included in live gigs to give more expression to the music. The interactive sample loop scene is growing quickly.

DA: Hybrid drumming of course is nothing new, as drummers have been incorporating some type of electronic device for decades. The use of triggers, multi-percussion pads, auxiliary pads, and various sound sources has been an evolving process, and even though musical trends and styles have changed during these years, the use has never really gone away. Today, these hybrid components typically have better design elements, are more reliable, and of course, the available sound sources are in abundance and are sonically superior to what was available in the past. Also, these peripherals and accessories are more affordable, making them more accessible to a wider range of players. Again, today’s music almost always requires some type of electronic percussion for the contemporary drummer, and the hybrid approach is another means for players to achieve these musical goals. I expect to see more of these types of products in the future.

What do you feel are some of the aspects, if any, of electronic drums & percussion that remain a barrier or turn-off to certain players?

MS: The major trade-off for certain players has been that the user experience of early electronic drum products was not good.  They were not “drummer friendly” or they didn’t “feel right” with non-drum like playing surfaces.   This was especially true of the cymbal playing options until the Gen16 system came into the market which feature real cymbals with a specialized hole pattern to reduce the volume while keeping the authentic Zildjian feel.  Then we use our Direct Source pickups to take the audio signal from Buffed Bronze cymbals and run it through the DSP in the Digital Cymbal Processor to create Tone Shapes.  These Tone Shapes allow drummers to have cymbal sound variations from bright to dark and thin to full.  The Gen16 system has helped remove one of the barriers of using electronics by having a better playing experience.

BS: The tide has really turned in this category and we don’t hear as many players saying they hate electronic drums but they do have issues with the look and feel of some of the kits. When we designed our E pro kit, we asked drummers what they were looking for in an electronic kit. Since we have a building full of drummers and percussion experts, we compiled a huge list of requests and that is how we came up with the real drum set look and feel in our products. We have developed a strong following in the Worship market because they require a kit that looks like a real set of drums and featured the traditional sizes of an acoustic kit. Drummers were asked to play electronic kits at the services because of sound issues and we have worked closely with them to address their needs.

TR: I think the look of electronic drum kits is still one of the biggest turn-offs for many drummers. Electronic drums just don’t look as cool as acoustic drums and cymbals… yet!

MM: Drummers are always searching for the best feel and will relate and compare the feel of electronic drum pads to real, acoustic drums. Until we can really nail that feel in an electronic playing surface while keeping the volume down some drummers will continue to be hesitant to jump all in with electronic drums. Also, the setup time and portability is still an issue. Plugging in multiple wires and speaker cables is a drag not to mention dialing in a decent mix. In live gig situations there really is very little time to experiment with mixes or to troubleshoot connection problems. These issues need to be improved so that drummers can feel confident that their e-drum setups will enhance rather than hinder the gig.

DA: In some cases, it is awareness, not knowing the capabilities, and resistance to change from a “comfort-zone.” Although I previously mentioned the importance of great feel and response from these instruments, electronic drums and percussion are not intended to replace their acoustic counterparts; they serve as an additional means to achieve a musical end. Some resistance may initially originate from  the instruments not feeling exactly like the acoustic instrument, which can give some players a negative  first impression. This negative first impression can be increased by factors such as inadequate monitoring and amplification.

SF: One of the main barriers is the interface to the technology. That’s why Yamaha introduced free iOS apps for our DTX products. These valuable tools effectively flatten out the learning curve and make more of the features easily visible. If you can run an app, you can run your DTX module. In most cases, the only time I put my hands on the DTX module is to turn it on and off.

Another barrier is the relative newness of electronic drum sets, which may require drummers to get acclimated to a different instrument – just as keyboard players did with electric pianos/synthesizers and guitar players did with electric guitars. These musicians have had their electronic counterparts for a much longer period of time and have come to embrace them. Electronic drums can most certainly have “acoustic feel” qualities and some crossover applications, but they’re a different instrument and will never take the place of an acoustic.

MR: First, the look of electronic kits to this point have been a turn-off for many drummers as they don’t fill the space like acoustic drums do, the cymbals don’t glisten under the lights as well, etc.  There’s something about the look of an acoustic drum set, regardless of the genre, that’s tough to replace.  It’s the centerpiece on a stage.  The other turn off for players that want the ability to practice at home is the trade-off they’ve been asked to make.  Most people don’t have space enough for two full kits and certainly don’t want to disassemble/reassemble every time they want to switch between acoustic and electronic.  The NFUZD system eliminates this concern as the pads sit directly on top of the acoustic drums and can be put on or taken off in a matter of minutes without having to remove rims and heads.  This allows drummers to enjoy the best of both worlds within a limited practice space…the sound and feel of acoustic drums when nobody is around to care about the noise, and electronics at night when the kids are sleeping or when the neighbors want peace and quiet.  The other major turn off is that up till now, the sound samples included in the modules have been highly compressed and don’t live up to the sound of real drums.  NFUZD has taken the option to fill the available memory with uncompressed samples and get rid of all the quirky sounds that nobody uses more than once…like barking dogs and car horns.  The brings the experience of hearing the samples a lot closer to what drummers are used to when playing their acoustic drums.  For those that desire more sounds, we’ve included a copy of BFD Eco NFUZD Edition VST which has a huge library with the ability to expand and an easy export to module function.

For your own brand, how are sales of electronic drums & percussion instruments compared to this same time in 2014?

SF: Yamaha DTX products have done very well this year compared to last year, and we are very excited about the future in electronic drum and percussion products. 

DA: Our sales, in the U.S market in particular, are up year to date from 2014, which of course is encouraging. The month to month sales this year are also consistently strong, which indicates that our dealers are experiencing strong sell through to consumers.

MM: In our situation with Kat, sales are consistent with last year even though we were recently acquired by Drum Workshop at the beginning of 2015. The great thing about Drum Workshop is that they believe in making very high quality products. They have blazed a trail of innovation in acoustic drums that has set the bar very high. Now with KAT all of us here at DW are very excited to bring that same energy and mind set to our on-going development of electronic drum and percussion instruments. We’ve kept the momentum going and are even launching new higher-end products this year such as the KT4 kit and the HD400 2.1 e-drum speaker system. Very exciting times for KAT and DW.

BS: Right now our focus is on our EPAD conversion kits that allow you to convert you existing acoustic kit to electronic. We do offer the E Pro powered by Export Kit as a turnkey option, but we are seeing a growth in the conversion market. Sales have been steady and we are tracking ahead of 2014.

MS: We have seen continued excitement for our Gen16 line, but we mirror the changes in the electric drum market.  This is because we have a unique product offering that is purchased for use on existing drum sets and electronic drum kits.  Also we have expanded into new market opportunities such as the new L80 Low Volume, which are strictly for the acoustic drum market.

What models, in particular, are your hottest sellers in 2015?

TR: Our low-priced DM6 kit and the new DM10 mesh kits are all doing well. Our SamplePad Pro multi-pad is flying off the shelves. It’s been a huge success.

MM: Our KT3 kit has been a great seller for us as well as the KTMP1 Multipad. Both of these units offer an incredible bang for the buck. Our KTUI26 headphones have also received rave reviews for sound quality and outside isolation while still being very affordable.

DA: In drum sets, we have hot sellers at several price points. At the $999- $1,600 range the TD-11K and TD-11KV have been consistent sellers since their introduction in 2012, and our newer TD-25K and TD-25KV (introduced in April, 2015) are selling very well. The flagship TD-30KV and TD-30K models are still great sellers as well. In the percussion area, the SPD-SX Sampling Pad is the industry standard and a strong selling product, and our new RT-30 Acoustic Triggers are being embraced by the industry, and are in very strong demand.

MS: We recently launched the L80 Low Volume cymbals at Summer NAMM and there has a great reception to the product, which utilizes some the technology used in the Gen16 system while being completely acoustic. These cymbals feature a new alloy, finish style, logo, and market positioning.

BS: EPADRBM conversion Kits and E pro Powered by Export.

SF:  Our DTX400 series is a tremendous value for the money. The DTX400K is the quietest kit we make, but they all have an easy to use interface, great sounds, songs, and training exercises for any skill level. Unlike other kits in that price point, our system allows you to customize kits and sounds, as well as load new songs in the module, and the DTX400 Touch app makes it simple and intuitive.  The DTX502 series kits have also done well. The DTX502 module also has free iOS apps, sample import, and a perfect module for a hybrid set, which is why it’s the module in our DTX Hybrid Packs.

Are there any other trends in the market that you’ve been noticing?

SF: We’ve seen significant growth in education, as more and more educators are using electronic drums and percussion for a wide variety of learning and performance applications.

Yamaha possesses vast and deep resources in acoustic drums, electronic drums, and audio products to take drums and drumming to the next level. This is why we are uniquely positioned to capitalize on the education market, and are truly excited about the future.

MR: We expect the category to change a little over the coming years…maybe not months.  Like with most technology, consumers are going to expect more from it.  They won’t want a cluster of small targets that make the experience feel like playing on an expensive toy.  They’ll want their electronic drumming experience to more closely resemble the feel, sound, and positioning of their acoustic drums. 

MS: A current trend in the electronic percussion market is the increase of tools that simplify the user experience ranging from apps that are easier to understand, to hardware panels on products.  All this is a good thing, enabling drummers to embrace technology in day-to-day activities.

DA: One trend is simply the increasing number of choices available to the consumer. More and more manufacturers are developing and introducing electronic percussion, which is a very positive indicator for the electronic percussion business as a whole.  And many new products naturally offer more features for less cost, which is true of any technology products as those technologies evolve and improve. The challenge is to refine and add these features while maintaining quality, reliability with consistent and attractive designs at a reasonable cost. My expectations in short are more growth, more choices, and incredible advances in newer technologies. It is a very exciting time!

MM: The trends I see now are DJ’s getting into drumming and incorporating pads and triggers to their setups. I also see that the home studio scene is still happening and more drummers are utilizing VST software in their setups. I hope that soon we can break into wireless e-drum setups that are workable and affordable. I’m sure it will happen at some point. For now the trend is adding more realism to drum modules and improving the quality of acoustic samples.

I also should mention that Mario DeCiutiis is still the owner of the KAT brand name and is licensing it to DW so we can co-develop products and have a great sales force. We work closely together with ongoing development of new and future advanced product.

BS: Right now I am seeing what we call “The race to zero.” The kits are getting cheaper and the features are very limited. Pearl is not going to enter this segment of the market at this juncture and we think that there is definitely an audience for a kit that is a “Game Changer.” I expect that the 2016 NAMM show will have some new and exciting products because all of the existing big-ticket kits from the major manufacturers are a bit long in the tooth. 

TR: I think the hybrid concept is going to continue to grow and the abilty to interface with virtual drum software programs is going to be an area of growth going forward. Alesis has high expectations for 2016… that’s all I’m going to say.