Roland TD-9KX

The V-Tour TD-9KX is the latest member of the noble and highly respected V-Drum family from Roland. Though originally announced in January this year, the TD-9KX was given its initial UK airing at the first London Internal Music Show in June. Roland chose the huge ExCel venue for the UK leg of their huge global product release, exhibiting a diverse array of new electronic instruments and ancillary equipment, including keyboards, amplifiers, effects pedals and electronic kits. They also unveiled significant enhancements to their existing product range, such as the expansion board to the TD-20 and extra pads added to the original TD-12K package, while keeping the same retail price. It was during my visit to the show that I met up with Craig Blundell (an in-demand session musician, clinician and Roland endorsee), who was extolling the virtues of the brand new TD-9KX. Having witnessed a blistering and extremely impressive demonstration by Mr Blundell, I just had to check out the TD-9KX for myself!

Under the bonnet there is a brand new "advanced sound engine", which after just a cursory glance reveals some stunning attributes, including in-built real audio tracks, useful practice facilities and the ability to play user WAV files from a USB stick. The kit is available with either mesh or rubber drum pads, depending on choice and budget. The TD-9KX includes the rack, brain and mesh pads for the snare and toms, whereas the TD-9K comes with rubber pads throughout. Whichever option is chosen, there is room for expansion via the two supplementary sockets (Aux and Crash 2) on the rear panel of the controller, and Roland offer a range of additional pads to choose from. The system is also compatible with the two-piece VH-11 hi-hat pad, which operates very much like its real counterpart and is available as an optional extra for £259.

Sitting upon the left side tube of the MDS-9 rack, in a space-saving 'portrait' format, is the relatively lightweight (850-gramme) TD-9 'brain'. This is encased in a silver-coloured rectangular plastic box with a well-designed layout and every conceivable knob, button and cursor key large enough for even the fattest sausage-like fingers to operate with ease. The specific function is very clearly printed upon each button and, once activated, illuminates to avoid any confusion about which option has been selected. Fortunately, there is also a good deal of information clearly displayed on the 128 x 64-dot graphic LCD, which is sighted atop the controller and features an icon-based backlit graphic display with user-adjustable contrast. Towards the lower portion of the TD-9, the Value dial provides a quick method of adjusting parameters while the +/- (increment/decrement) buttons positioned just above the dial echo the functionality of the dial but at one notch or step at a time. Those familiar with the layout of the TD-12 or TD-20 will notice the absence of mixer controls from the front panel. Fortunately, the full mixer functions are still available, but are accessed via a few simple menus and displayed on the LCD. Adjustment is made by selecting the voice or pad and altering the individual volume using either the incremental buttons or the dial. A similar mixer display is also available to show settings for the effects sends.

Pad and brain connectivity is provided by a wiring loom, which, together with the supplied Velcro cable ties, helps keep the whole ensemble tidy. Each of the pad ends of the cables are terminated with standard quarter-inch jacks, while to the other end there is a male DB-25 plug (a 25-way connector developed for Roland's HD-1), which plugs directly into the DB-25 socket on the percussion module. This dramatically speeds up setup time, helps avoid cable spaghetti, reduces the need for a multitude of jack sockets and, ultimately, helps keep the overall TD-9 design very compact. Output is via standard quarter-inch jacks, with Left (doubling as a Mono out) and Right output sockets. Input (Mix In) socketry is provided by a 2.5mm jack to allow connection to an audio source such as an MP3 or CD player, allowing you to jam along to your favourite tracks. The side panel houses many inputs and outputs, including MIDI In and MIDI Out/Thru, and the front panel sports a headphone output on a standard quarter-inch jack socket for virtually silent performance.

The TD-9's training mode, Scope, allows the user to analyse each strike upon a drum or cymbal pad, with timing compared against either the onboard metronome, one of the preset songs or both. Once the Scope option is selected (which can be at any juncture — even in the middle of performing one of the onboard songs), the graphic segment displays a drum machine-type grid, with graphics representing each of the pads (although the hi-hat pedal does not get analysed). The metronome fires up and, as soon as you strike the pads, a reading of how accurate (or otherwise!) your timing may be is displayed in real time. While for some, this may be considered some form of mental cruelty, for others this will be a very useful practise aid — and if you slot into the former, the second method of training will be slightly easier to digest. While the timing is still analysed, performance is made along to one of the audio backing tracks, which just feels a whole lot less rigid than using the metronome on its own.

Although the drum editing parameters might at first glance seem a little basic, with just three levels of tuning and 'muffling' (Tape 1, Tape 2 and Blanket), there is a whole host of settings that ultimately affect the overall drum sound, including nine types of ambience, various mic positions and EQ, while the editable parameters of the cymbal pads include size (from one inch to 40!), pitch and sustain. It is possible to build your own kits with a whole variety of materials including metal (brass, steel, etc) or wood (maple, ash, etc), so if you feel that your preferred kit should have a 28-inch bass drum made from birch, without any muffling, including a 30-inch hi-hat it's all there for the playing.

There are many drum machines and sound modules that feature onboard songs played by GM MIDI (which sometimes may sound a tad naff), but the most impressive feature on this module is the inclusion of 50 songs that use 'real' audio performances, and these are conveniently named according to musical style or genre. The most extraordinary aspect here is the ability to play these at any chosen tempo, without altering the pitch! It is also possible to mute any of the backing 'musicians' or instruments, which include bass, guitar, piano, drums, percussion and more.

The side of the TD-9 houses the power input, left and right outputs, a mini-jack input, MIDI In and Out/Thru sockets and two extra trigger inputs.

On the front edge of the percussion controller (away from the player and harmful stick action) is a USB socket, which takes a standard (inexpensive and widely available) USB memory stick. This basically serves three functions. Firstly, it allows you to back up the configuration of the TD-9 (settings such as muffling, room type and percussion sets). The second function is to save data from a recorded performance produced in Quick Rec mode, and lastly, the memory stick may be used to store and retrieve user sound files in WAV format. These files (up to 99 of them!) have to be stored on the 'root' of the stick and can be up 2GB in size. The sample rate has to be 44.1kHz and the user has a choice of 8-, 16- or 24-bit files. The file name given on the computer is shown on the TD-9's display. Roland have thoughtfully provided a metal guard around the socket area to help protect the memory stick when in the slot, which should help avoid accidentally damaging the USB stick. Unless the USB stick is being written to or read from, the TD-9 allows plugging or unplugging of the USB stick and, once removed, the TD-9 reports "USB stick removed" — something PC's with a Microsoft operating system could possibly benefit from, without the need to 'stop' the device!

The USB port on the side of the brain allows you to connect a USB memory stick, which you can use to store your settings and performances, and also play back WAV files.

Out of the four drum pads included with the kit, the PD-105BK (employed for the snare drum in the review example) is the largest and probably the most complex. The pad offers very accurate sensing between the actual rim and head, which means that both cross sticking and rim shots are possible. The 10-inch pad is fitted with a Remo-manufactured mesh head and is tensioned by six lugs, around what appears to be a shell made from a wood-based fibre utilising similar shell technology to that employed by Remo's Acousticon drums. The outer portion of the shell is finished in a black-to-chrome fade, which, along with a white shell finish, is one of the two colour options available. To the side is a single quarter-inch jack socket, and the underside features a robust, six-spoke assembly that houses the sensors. The smaller PD-85BK eight-inch tom pads are also fitted with Remo mesh heads, and these are constructed from ABS plastic with five tuning lugs to apply tension to those mesh models.

This newly designed kick assembly features a soft, rubbery pad, which is attached to a rigid and robust pressed-steel plate. Folding out from the actual plate is a large, triangular steel bar, which has some fearsomely large steel spikes to help anchor the unit and avoid the possibility of it creeping away during performance. Once the bar folds out and locks to its optimum angled position, the pedal can be clamped in place and it's ready to play. Also, at the end of your gig or rehearsal it is very quick to pack away again. Although the surface of the rubber pad is relatively small, it is actually large enough to allow a double beater.

The most complex cymbal pad in the V-Drum range is the CY-12R/C, which features separate triggering for the bell, bow, and edge, as well as a choke facility.

Each of the three cymbal pads here is entirely different and, in this kit setup, have different cymbal applications too. Sitting on a small bracket sited next to the actual drum module is the compact, single-zone CY-5 pad. This is the smallest one here and is employed (in conjunction with the hi-hat pedal), as the hi-hat. The CY-8 eight-inch cymbal is a dual-zone pad, and has the ability to 'choke' the crash sound via the edge trigger. This is used as a crash cymbal for the majority of the preset kits. The most complex cymbal pad here is the CY-12R/C, which features three-way triggering and a choice of stick striking areas — bell, bow, and edge — and, of course, it has a 'choke' facility too. With this model, just about every function of a conventional cymbal is available — and you don't have to polish it!

There are a few subtle but significant enhancements to the rack system that accompanied the TD-12K, reviewed last year. These include resin ball clamps/adjusters on the mounts for the snare and each of the two cymbals — a very worthwhile addition. Unlike the rack of the TD-12K, the wiring isn't hidden internally within the tubing. While this is not quite as aesthetically pleasing, it does make it far easier to change the whole kit setup over to a left-handed player if needed! For maximum stability Roland suggest the outer rack legs be set only 1.2 metres apart, and though this may seem fairly constrained (especially if you are used to an acoustic kit), the pads are considerably smaller than conventional models so there is plenty of room to nestle in between the various pads.

With the exception of the three small cymbal arms, the rack comes fully assembled — this means the user won't have to struggle with MFI-type assembly instructions, and the rack can be ready to roll within a couple of minutes. As I clamped each of the drum pads into place I paused to admire the new resin ball mounts for the snare and the two cymbals. Following the supplied Quick Start guide, connecting everything up was really easy, and as the jacks connecting the drum and cymbal pads are colour coded and clearly labelled, setup was foolproof and rapid. Each component and cable connection went on, in went the single DB-25 plug and the two finger screws were tightened in place. A cable tie is provided, and this I coiled around the first few centimetres to keep it tidy at the back of the percussion box.

Checking out the various kits and preset songs is a breeze, and with one touch of the mute button, the drums on any one of the selected songs stop playing. Muting any of the other backing instruments requires pressing the F1 key and selecting the instrument(s), which are graphically represented on the screen. There is a very slight pause when changing the standard tempo on any of the onboard songs while the TD-9 recalculates. This is quite obvious when decreasing the tempo but, oddly, not too noticeable when increasing it. The overall effect, however, is very impressive.

If the Scope function seems to you like being smacked across the back of the hand for any dodgy timing, then the Quick Rec function will have you smiling again in no time. This is one of the fastest methods of recording your playing and instantly enjoying the results, with the option to store any of the quick recordings onto your trusty USB stick too. Sifting through the available kits clearly demonstrates how the sound of each one radically alters the way you perform, as you adapt to the variety of sounds available. Selecting one of the cooler chill-out kits, for example, appears to make me relax and play sparsely with each of the voices, while on the other hand, choosing one of the more rocky kits (loaded with every conceivable 'huge kit' effect) instantly turns me into some kind of rock beast. The Quick Rec function also gives you the opportunity to record with one kit and play the performance back with another, and the results are very interesting.

Editing and setting up user kits is surprisingly easy for what could potentially be daunting task. I am not sure that I would personally choose a 40-inch hi-hat, but the option is there! Having played with the VH-11 virtual hi-hat I thought that the FD-8 hi-hat pedal wasn't going to cut the mustard, but the combination of trigger response from the CY-8 pad and the pedal is excellent. The mesh pads are a real pleasure to play and give the sticks a superb response, which seems to lift the sticks away from each pad. Surprisingly, the bass drum pad gives an equally impressive result with a swift but natural-feeling pedal action, which I think gives a far more realistic feel than any other electronic bass drum pad I have tried, including the mesh variety. One of the most important and impressive features for me, though, is the ability to instantly record your playing. To be able to hear a performance, analyse it and learn from it too is something we drum folk could all benefit from.

Roland TD-9KX

Electronic drum kit