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Roland Module Tuning: Trigger Setup - Initial Settings Discussion

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  • Roland Module Tuning: Trigger Setup - Initial Settings Discussion

    Hello all,

    This thread is dedicated to the discussion of the initial setup of Roland Sound Modules. In here we will discuss all the basic trigger settings that need adjustment to get your module working to its best abilities. Since the Roland manuals leave a lot to be desired when it comes to detailed instructions, or clearly defined definitions of what is being adjusted, it is up to us to come up with a better understanding of what this specific tuning adjustment has on the sounds the module produces.

    This thread is just one part of a series of threads dedicated to the tuning of your Roland Sound Module. Please see the
    Master Roland Module Tuning thread where there are links to other tuning discussions and suggestions for new topics to be included in this series.
    I think my work is done here.

  • #2
    I have been dangling a carrot for some time now saying I was writing a "TD-30 setup" guide and now I am finally putting it out there. While this setup may be specific to the TD-30, many, if not all, of these settings can be found on all the modules. So this can be beneficial for anyone.

    This is a basic set-up process I have been coming up with over the last couple months to properly set up your TD-30 module. This set up can work for any pre-set kits as well as creating your own kits. Since the manual leaves a lot to be desired, not only in explaining what each step does, but more importantly what steps should be done first so you aren’t making adjustments aimlessly hoping you get the right sound and dynamics you are looking for. So here are the first steps you should do right from the get go, the second you first turn this module on. Okay, fine, play a few kits and have some fun, but when you are done playing around, put the sticks down and grab your manual because we are going to really dig in to this module. Let’s get started.

    Step 1: Group Faders

    Slide the group faders up and down and set all the faders to “0”. Yeah, put them all at the zero line. Don’t forget to hit the button under the “fader” label (red light should light up) and adjust the sliders up and down and set them to “0”. Dont jam them all to the top. If you do, you wont have anywhere to go if you need to make adjustments on the fly. This is especially important for people who play live and the venue may have acoustics that enhance some instruments more than others. A simple fader adjustment either up or down will quickly fix the problem.

    Step 2: Mixer Adjustments

    Click the “Mixer” button and lets go through this menu. Under the “Volume” tab set ALL the head & rim volumes to “80”. I believe default is 120, and that’s just not going to work. Each instrument is going to blend differently with every other instrument, for every kit. These mixer settings are KIT SPECIFIC. If you make an adjustment here, it will only affect the kit you are currently in and all other kits will be set up as their defaults. This is good and bad all at the same time. Good in that you aren't messing up any of your other kits by making adjustments here, and bad in that you have to fiddle with this for EVERY kit. But there is some relief that you don't have to manually adjust this for every kit. You can adjust the mixer settings in one kit and COPY these settings to all your other kits. Check out page 66 of the manual for simple instructions on how to do this.

    Next, under the “Pan” tab adjust the sliders up and down to work best with your pad placement. You can pan the Head and Rim together, or independently. For most people you will want to pan them both together, however if you have your inputs split and have the head trigger on the left and the rim trigger on the right side of your kit you will want to move them around independently. This doesn't need to be a huge adjustment here. We aren't looking to have any crazy panning left or right. A true acoustic kit still makes a sound in both of your ears no matter where, or what, you are hitting. We are just looking to create a bit of a bias to the sound. If your hi-hat is on your left, it should be a bit weighted to your left but not full left. It just won’t sound realistic if you go overboard here. When you have all your settings made, I recommend playing the kit a bit and seeing how the various pads sound. You will be able to tell if you have gone overboard on this pretty easily. If you have, make the adjustment and lets move on.

    Under the “Min Volume” tab, leave everything at “0” for both Head and Rim. If it’s not zero, change it to zero. We are trying to get the most dynamic range we can out of the kit right now, and we can always make adjustments to this later if need be. Also, there are a couple other places where you can change your "minimum volume" of the pad, so lets just keep these all at "0".

    Finally, under the “Kit Vol.” tab, adjust the “Kit Volume” to 100. Considering we took the faders and the individual pad volumes down, we need to bring the overall volume of the kit back up. Also in this menu we have the "Pedal HH Volume." This is the hi-hat "Chick" volume. Keep this at the default for now. It may be a bit quiet, but without having any instruments selected, nor any idea exactly what kind of kit we will be making, we have no idea what this volume should be. We can adjust it later when we have the all other pads setup and at their proper dynamics. Under Xstick Volume, keep this at default for now. It will probably be a bit quiet, but again, we can adjust this when we have the rest of the pads at the right dynamics.
    Attached Files
    Last edited by Tommy_D; 12-23-14, 04:11 PM.
    I think my work is done here.


    • #3
      Okay, lets get in to the thick of it here. All of these settings are considered "Global Adjustments". As in, they change how every kit will play. The previous adjustments were more "kit specific" (except for the faders) but the following is how to set up your pads, how they read your hits, how they interpret what you are playing and how the module will ultimately play the sound. Setting it up incorrectly could lead to a lot of headaches down the road, so lets try to get it right the first time and make sure you have an enjoyable playing experience.

      Step 3: Trigger Adjustments
      Click the "Trigger" button and lets go through the following tabs:

      Under the “Bank” tab, set up the trigger types accurately for whatever pads you are using. I can only assume you are using Roland pads, so match up the pad with the trigger type. One thing to take notice of is that the Trigger Bank is numbered. There are 4 banks you can choose from. By default you start on Bank 1, but you can save multiple trigger banks to the memory of the TD-30. Why would this be beneficial? Well, if you move your module between various drum kits (TD-30KV to TD-9k, or TD-30k, or acoustic kit with triggers, etc.) you can set up multiple banks and just make a quick change to the trigger bank and play away. This would of course require you to spend the initial time to set up the various banks, but once its set, you should be good to go. Regarding the hi-hat trigger setup, there has been some discussion that if you are using a VH-11 or VH-12 you can set the trigger type to VH-13 and get more sensitivity. I can not confirm nor deny this as I use a VH-13. I recommend setting it up for the proper pads, but you can search the forum or play around yourself to see if you get better playing out of using the “wrong” settings. There is also discussion that you can use other trigger types for A2E conversions and get better triggering results. I will let you figure out what works best for your specific pads and triggers, but if you are using all Roland gear, I recommend setting it up accurately for the pads you are using.

      Under the “Hi-Hat” tab set the “Hi-Hat Type” to the correct hi hat you are using. The “Trig Type” should be set up from the previous step. Still in the “Hi-Hat” tab, click the “Offset” tab

      Follow the instructions on the screen for the automatic offset adjustment and perform this step. Go back to the “Hi-Hat” tab and adjust the foot splash sensitivity. Positive adjustments make the foot splash easier to sound. Negative adjustments make it harder to get a foot splash sound. Adjust to your liking and playing style. Next, adjust the “Noise Cancel” (VH-12 & 13) or “CC Max” (VH-11) values depending on what hi hat you are using. Since I use a VH-13, there are only 3 settings for this adjustment. I have tried all three and can not find any difference between them. I just keep it set to “1” and call it a day.

      Hit the "Exit" button to get back to the main Trigger menu.

      Under the “Sens” tab let’s start adjusting the trigger sensitivities. All of your “Trig Type” settings should be correct from the adjustments we made in the trigger “Bank” tab. There should be no need to make any changes to this parameter in this menu. Adjust the Sensitivity (head sensitivity) and Rim Gain (rim sensitivity) for every head pad and rim of each trigger. This has to be painstakingly done for each and every pad you have. In the case of people with a maxed out TD-30 (like myself), it will take a while. What you should be doing is watching the meter on the module as you hit each pad and rim as hard as you can, or at least as hard as you normally play. If the trigger meter is peaking (ie. Bright red bar lights up) you will want to lower the sensitivity until it just barely lights up. What you are looking to do is just peak the meter on your hardest hits. You really need to lay in to the pads to get this set up right. You will also want to play the kit like you normally would and keep checking the meter as you play. You might find that you get a lot more “whip” in your wrists when you play vs. just smacking the pads and it will peak the meter easier. The objective of this step is to get the maximum amount of dynamic range out of the pad. If you peak the meter on even a medium hit you are effectively eliminating half of your dynamics. The less often you peak the meter, the less chance you have of getting the “machine gunning” effect so many VST and acoustic users like to complain about with electric kits.

      I have tried to get all my pads (heads and rims) to be right on the edge of peaking, with the occasional peak if I really lay in to it. Each pad should be able to peak, but it really should be right at the hardest hits of your playing style.

      Exceptions to the rule:
      - There are a couple pads that I would allow to peak earlier than my “hardest” hits, and these are the “accent” pads. These include things such as the ride bell, accent cymbals like a China or an effects cymbal sound, or an effects crash. The idea is that these specific sounds don’t need so much “tonal range”. A ride bell should have that nice “ping” sound that is intended to be an accent. A weak sounding ride bell is not something you typically look for. The same goes for quick China sounds or explosive accent cymbals. For these sounds you might want to up the sensitivity just a touch to get that meter to peak a bit easier. It will help get that full accent sound much easier.

      Okay, now that the sensitivities are set up, let’s move in to the “Advanced” tab of the trigger settings and start getting these pads to work with your playing style.

      The first tab is the “Thre” tab, also knows as Threshold. Under this tab you have two things that need to get adjusted: Threshold and Curve.

      Under the “Threshold” command you want to play the pads one at a time at what would be your lowest velocity level for your playing style. You will want to adjust the threshold setting slowly up from 0 until your light tapping no longer produces a sound. Once you find this setting, lower the threshold back down a notch or two so your light taps start coming back in. Like the sensitivity settings you just went through, this has to be done to each and every pad and rim. If you have a lot of pads, better get a couple beers because you will be in for a long and tedious night of tinkering around. Under the “Curve” command you will be adjusting the volume change of the pad based on your velocity changes (playing dynamics) you have while playing. The manual does a pretty good job of showing you graphs (page 133) on how each of the various options changes the dynamics, but it might be worth giving a bit of an explanation on these graphs.

      Linear: This one is pretty self explanatory. Hit the pad and the volume goes up incrementally with the harder you hit.
      EXP1 & EXP2: These two are designed to hold back the increase in volume change as you play harder. Why would you want this? Well, maybe it’s nice to have if you want to keep back some crazy dynamic change issues you might have. Certainly ghost notes will be easier to achieve. I supposed depending in the “instrument” you are playing this could be a valuable setting. Perhaps someone who plays fast jazz music and really needs to get that ride moving fast might want this setting to pair back any inadvertent accents. EXP1 holds back the accents a little bit and EXP2 holds back the accents a lot.
      LOG1 & LOG2: These two are the inverse of the EXP1 & EXP2. These settings try to enhance those middle velocity hits to get a bit more “umph” out of them. These are great curves for snare drums to keep that nice “cut through” dynamic sound without having to beat the snot out of the snare for every hit. The LOG1 setting is not too drastic, just a bit of a boost to the mids, but the LOG2 setting is much more aggressive. Adjust to your tastes.
      SPLINE: This is an interesting one. The graph in the manual shows a steep upswing in volume when you hit the drum at medium to heavy velocities. This particular curve setting tends to remove a lot of the middle dynamics and almost have an “on/off” effect to the sound. On/Off is a bit of a drastic definition. Its intention is to have the drum or cymbal either play nice even ghost notes, or nice even heavier hits. It’s a bit “one or the other.” I don’t recommend this setting for something like a snare drum where all the subtle nuances are needed, but for me it works great on toms and the ride bow. Of course depending on your playing and music style, you may find this setting absolutely sucks.
      LOUD1 & LOUD2: This curve setting is designed to remove your lower volume dynamics (light hits) and “compress” your overall playing dynamics. Don’t get this confused with a compressor though. A compressor works a bit differently and is used for a different application. Anyways, this curve adjustment is probably something a “metal” player would want as it keeps the overall volume LOUD, hence the name. Your heaviest (peak) hits, don’t get any louder with this setting, just the soft ones. Your ghost notes won’t be very “ghostly” anymore, so if you need ghost notes I recommend using a different setting. LOUD1 increases the volume of the lower velocity hits just a little bit, while LOUD2 increases them dramatically. Remember the "Min Volume" adjustment you could have made in the Mixer settings. This curve setting does the same thing.
      Attached Files
      Last edited by Tommy_D; 12-23-14, 04:14 PM.
      I think my work is done here.


      • #4
        Okay, now that your Threshold and Curves are set up, lets go to the next tab under the Advanced Trigger settings: “RIM”

        Like most of the menus there is always going to be the “Trig Type” at the top. All of this is has been set up from way long ago so you shouldn't change this parameter. Next up is the Head/Rim Adjust. This setting is designed to adjust how easily to can get a “rim shot” sound out of the drum. The kit should be set up fairly well from the factory, but you may find that you have a difficult time getting the snare to make a rim shot, or on the other side of the spectrum you may find that the rim trigger is getting hit when you hit only the head. There may be a bit of over lap in this setting from when we adjusted the “Sensitivity” and “Rim Gain” a while back, but if those settings are correct you shouldn't be getting inadvertent, or falsely triggered, sounds. This is a pretty simple setting:

        Start trying out some rim shots and see how hard you have to hit the pad/rim to get the desired triggering you want. If rim shots are too easily triggered (i.e. you hit the head only and a rim shot triggers) you will want to raise the value. If rim shots take too much force to achieve and you keep hearing just the head sound you will want to lower the value until the rim shots come back in. Finding the balance of proper rim shot triggering is what you are trying to achieve.

        The X-stick threshold is much like the standard “threshold” settings for your pads that we discussed a while back, only this threshold setting adjusts between an open rim shot sound and the cross stick sound. What you want to do is start with a setting right in the middle, somewhere around 65. Play the snare drum and see how easily you can trigger rim shot sounds. If you are having no problems with the rim shots, try making a cross stick sound. If you are hearing a nice cross stick sound without any accidental rim shot sounds, you are done. If you are getting the wrong sounds, adjust the setting either up or down. If you are getting rim shot sound when trying to do a cross stick sound, adjust the value higher. Play the drum again trying to get rim shots. If you are playing rim shots and hearing some cross stick sounds getting mixed in, lower the setting a bit until you tune them out. In the end you should have a clear distinction between how hard you have to hit the rim before you switch from a cross stick sound to a rim shot sound.

        Now that that is set up, click on the “SCAN” tab. Skip the “Trig Type” setting and move to the 3 adjustments below.

        The first adjustment here is the "Scan Time". Roland calls this "Trigger Signal Detection" but to the layman, its called "Positional Sensing Control". Roland tries to explain this as some sort of hot spot removal tool, but it doesn't do that. Completely ignore what they say in the manual on this. I have only known this setting to adjust the zone for where the module starts to recognize you are moving off the center of the drum and moving towards the rim. The higher the value the smaller the center zone becomes and you get more and more edge shot sounds. Too low of a value and you go the opposite direction and get only head center sounds. Most people have found a setting of 2-2.3 to be a good sweet spot. You want a good sized "center" zone (lower number) without removing all of your positional sensing. You paid good money to have positional sensing technology in your module, so you might as well use it.

        The next adjustment is "Mask Time". This setting is most useful for bass drums. That bouncy mesh head can make for double triggering. Ideally you will want to adjust the head tension first to eliminate as much of the bouncy feel the bass drum has, and then you can adjust this setting to remove any accidental double triggering you may have. The lower the setting, the more sensitive the head is to double triggering. The higher the setting and you may actually miss intentional fast hits. Fast double bass will need a lower mask time or you will get missed hits. The same goes for any of your other pads. A snare drum would be ruined if the mask time value was too high. Imaging a drum roll with random faulty triggering in it. It would be bad. Try to keep this setting as low as possible. The lower the better.

        The last setting in this tab is the "Retrigger Cancel" setting. Roland calls this out as something most rim mounted acoustic triggers would need to make sure they aren't false triggering. For a standard Roland pad you shouldn't need to adjust this. I think I have all of mine set to "1". I believe the idea is that when you hit a mylar head the wave produced in the head moves from the center, to the rim, back to the center, and back to the rim again as the drum naturally "rings". This waveform can wreak havoc on some triggers and having control over what the trigger detects as a hit and what is just a second, or third "wave" is very useful.

        Click on the “POSI” tab and let’s check out the positional sensing settings.

        Under the “Position Detect” section there are two adjustments. Head: This is a simple On/Off adjustment. Do you want positional sensing or not? Just to let you know, only the snare drum “head” sounds have positional sensing attached to them. None of the tom “head” sounds offer positional sensing. There is positional sensing when it comes to “rim” sounds for the toms, but no head sounds. Default should be set to “ON” for all pads. You can keep this at the default setting of you like. If you don’t want positional sensing set on, just turn it off. Easy peasy.

        Rim: Like the “Head” positional sensing setting, this is just an On/Off adjustment. The “Rim” setting is used for the tom sounds. As mentioned above, there are no positional sensing sounds associated to any of the tom heads, just the rims. If you set both the Head and Rim to ON you will be able to get different pitched rim shots depending on the “depth” of your rim shot. This can also be great for snare drums if you want to do those tight, high pitched “Buddy Rich” style rim shots.

        The final setting in this tab is the “3-Way Trigger” setting. This setting can only be adjusted on the Ride and Ride Edge input. If you like having a 3-way triggering ride (Edge, Bow, Bell) then make sure that both of these are set to ON. However, if you never use the “Edge” of your ride cymbal, set these to OFF and you will be able to plug the Ride Edge input to another 2-way trigger, like another cymbal or drum pad.

        Okay, now that you have all your trigger settings made there is just one more thing you need to do in the Trigger menu, and that is to monitor the trigger signals and check for cross talk.

        Go to the main Trigger menu (the one we were in way back at the beginning of this) and under the “Monitor” tab you can check how all your pads are playing with each other. Since you can see the velocity of all the triggers all at once you can check if any of your pads are false triggering. In addition, you can see your hi-hat settings for the open and closed position. You could see this same graph when you were adjusting your hi-hat, but this is just a “one stop shop” location for all your trigger settings.

        Have a play around the kit and take a look at the velocity chart. If you are hitting a tom pad and some other pad is being triggered, you can make an adjustment to the cross talk setting, or leave it as is. The thing is, the threshold setting we adjusted previously should take care of most of the cross talk issues that may arise. The light hits should not register thanks to this threshold setting, but if for some reason you are getting big enough false trigger you might want to look at how your drums are set up on your rack or stands. Maybe the drums are actually touching each other and adding a ¼ inch of space will eliminate the cross talk. Maybe you need a bit better isolation at your mounting points. Adding just the slightest bit of isolation (like a single layer of paper towel) where metal to metal contact is made might eliminate the cross talk. If you are still having cross talk issues after you have made adjustments, let’s move to the x-talk tab.

        This is the cross talk chart. This chart shows you what pads may be inadvertently triggered while hitting another pad. The TD-30 ships from the factory with cross talk elimination already built in to it. Coupled with the threshold settings we made and any adjustments you may have made to your pad mounting you shouldn't even need to make an adjustment on this chart. However, you may need to make an adjustment if you completely ignored everything in this entire setup guide up until this point. So here is how it works:

        You hit a pad, and if a pad other than the one you hit was triggered a little box with a value will appear. If the little box is "unfilled", or is a dark colored box, the current setting for cross talk cancellation is doing its job and eliminating the cross talk. However, if the little box is "filled in" and is a bright white box, the module will put a little arrow under the pad that false triggered. It is telling you that this pad needs more cross talk cancellation dialed in. To add more cross talk cancellation you press the "Focus" (F4) button and it will highlight the pad that was falsely triggered and raise the cross talk cancellation value to the value at which the pad was triggered. Hit the "Set" (F5) button and the module saves this new value. This will eliminate the cross talk until that value is crossed again. If you are getting cross talk at low velocity hits I recommend you re-read this setup guide and get your trigger settings set up correctly as you should have little to no cross talk with a properly set up kit.


        So that's it. Your module should have all its basic settings all ready to go. Once you start making some kits you can always go back and adjust the Hi Hat Pedal volume and the Cross Stick volume. Overall your kit should be playing a lot better than it did from the factory as is tuned to work with your playing style and not some default setting. Much like everything with this module, factory settings are not perfect. This is why many people don't like the factory kits and think they are crap. They aren't crap, they just aren't tuned. But that is for another tuning thread.
        Attached Files
        Last edited by Tommy_D; 12-23-14, 04:17 PM.
        I think my work is done here.


        • #5
          Nice work man, good effort. This will surely help a lot of people
          TD30KV-addictive drums-ableton live
          Korg Triton-Gibson SG special-Pedulla custom 5 string thunderbass


          • #6
            Great job Tommy! This is the most information a beginner can get. Very nicely done indeed!
            - EKIT: Jobeky Drums: Custom 5 piece "Lacewood fade" & Hart 13" Pro Chrome snare. ROLAND MG V-CYMBALS
            - AKIT: PDP Concept Maple by DW. Zildjian K & A Custom cymbals. Hybrid acoustic mic'd / 2Box triggered kit



            • #7
              Awesome job. Might want to mention that since panning is done per kit, and it is extremely likely that you will want most (if not all) of your kits panned the exact same way, TD30Browser allows you to hit every kit at the same time. I know it drove me absolutely nuts before that feature was there. Also might want to mention that when using drumsplitters, setting the pad type to PAD2 (at least on the TD30) seems to be beneficial.
              eKit (TD-30KV):
              aKit: (Tama Starclassic):


              • #8
                Originally posted by kgoroway View Post
                Awesome job. Might want to mention that since panning is done per kit, and it is extremely likely that you will want most (if not all) of your kits panned the exact same way, TD30Browser allows you to hit every kit at the same time. I know it drove me absolutely nuts before that feature was there. Also might want to mention that when using drumsplitters, setting the pad type to PAD2 (at least on the TD30) seems to be beneficial.
                Yes, the mixer settings are kit specific and are not global. This can easily be fixed for any new kits you are making. You just do all the mixer settings I mentioned above to one of the default USER KITs and save that kit to the USB card. Then you can copy those mixer settings to all the kits in just a few button pushes. Page 66 of the manual details this in relatively simple terms. You have to copy it to each individual kit one at a time, but it is faster than doing it manually.

                As for splitters and different pad trigger types, this is all an experimentation by the user. Yes the PAD2 trigger type works well, but it still had a few bugs in it for me. The one thing I didnt like was that you lost the Head/Rim adjust option. This is very important when splitting pads so you don't get any false triggering. I actually got some pretty good luck using CY5 and CY8 settings for splitting cymbals, and I use PD-125 or PD-85 settings for my split toms. But it really is an experimentation. Some pads just don't play nice together for splitting. For example a PD-128 does not play nice with a Yamaha PCY-135. They can split up beautifully, but the PCY false triggers when it is played with another instrument head, like a snare drum for example... But that same PCY-135 splits with a Madcat splash cymbal without any issues what-so-ever.

                Its strange.
                I think my work is done here.


                • #9
                  Tommy, this thread = AWESOME!

                  Thanks for taking the time to post it.
                  - ATV aD5 with PDX6/8 toms, PDX100 snare, CY6/FD8 hihat, CY8s/CY13r, and KD9


                  • #10
                    Nice work. Really nice.
                    While many of us have learned this process over time and different modules, someone getting into it for the first time would be clueless.
                    If they follow your guide, they'll be getting the most out of their triggers and pad response from using this guide.
                    Well done. And thanks!


                    • #11
                      Originally posted by Tazed View Post
                      Nice work. Really nice.
                      While many of us have learned this process over time and different modules, someone getting into it for the first time would be clueless.
                      If they follow your guide, they'll be getting the most out of their triggers and pad response from using this guide.
                      Well done. And thanks!
                      8 piece DIY Acrylic, 2x2Box DrumIt5, Gen16 4xDCP, DIY Acrylic&Gen16 Conversions, Sleishman Twin-QuadSteele hybrid, Gibraltar&DrumFrame rack, DW9502LB, Midi Knights Pro Lighting


                      • #12
                        Glad you all like the set-up guide. It took a while to write, but I think it will be beneficial to all the new e-drummers out there. I know when I got my TD-30 I had no clue what I was supposed to do. I UTFSE for days trying to find what ever info I could about setting up the module. Through all my research, along with reading and re-reading the manual over and over again, I finally came up with a simple process to get the basic settings all in to one logical set up guide. Hopefully this helps some people. That's the point of these threads. To help people become a bit more competent in their module tuning. No one should fear their drum module. It's a tool; A rather complex tool that will take time to understand and master, but never-the-less still just a tool. I believe you should know how to use your tools to get the most out of them and that's what I want to bring to the table here.

                        Any new people out there, don't be afraid to ask questions. If you have a module other than the TD-30 and have set-up questions, post them here and someone will be able to help you.
                        I think my work is done here.


                        • #13
                          great work! this needs a sticky!
                          Pearl Mimic pro, A to E 7 piece Pearl Decade maple, ddrum Deccabons, Ddrum DDTi, UFO X-bar triggers, Real feel heads, Gibraltar rack, VH13, PD105 side snare, Roc-N-Soc,Tama Iron Cobra, Iron cobra high hat stand, Cobra clutch, Pearl throne thumper, Roland and Kit Toys cymbals, Roland KC 500, Promark


                          • #14
                            What setting do you recommend for the Hi Hat. I need the Hi Hat to cut through when keeping time .


                            • #15
                              Which hi hat and module are you using? Have you gone through the trigger settings of the various pads and made sure they are all set up correctly?
                              I think my work is done here.