Zitat von Gast im Beitrag #3

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Thanks for sharing my article, @Martin. I realise there are not many informed journalists - in fact, I started digitalDrummer because of a lack of informed coverage in the mainstream drumming media. At the time, the only other option was online forums, which are hotbeds of "group think" - every piles on a few limited concepts and they shout down any dissenting voices.

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I agree with you, and I generally like your article. It just needs to add what I'm listing and criticizing in this thread.

Here's an addition that unfortunately also applies to you (@digitalDrummer):
About ignoring/leaving out information on the part of specialist journalism.

What I find particularly difficult to understand about you (and you are one of the most important specialist journalists in the field of e-drums) is that you completely ignore much of what I have developed, meaning that your readers are also unaware of what is possible with VST-e-drumming. And I am talking here about the most powerful e-drum systems in two respects: bringing e-drums as close as possible to their acoustic counterparts (keyword: “stepless snare positional sensing paired with R/L distinction* and velocity loss compensation towards the edge” ...and much more) and then the other big topic, which unfortunately does not yet exist in the mindset of (e)drummers, namely “advanced creative e-drum engines” such as hihat transmute engines. One of my Facebook users recognized this**, but unfortunately no specialist journalist did.

I have been posting and promoting information and threads on this topic everywhere for more than a year, but there has been no interest whatsoever from the trade press. In my opinion, a competent e-drum journalist should recognize the potential of “advanced creative e-drum engines”, because this is an essential part of e-drumming, and I find it extremely unfortunate that almost all (e)drummers and bands have not even begun to take notice of this. In addition to being a lot of fun, it has the potential to change the way music is made.

What is the reason for leaving all this out? Is it really because it is not standard e-drum hardware, but DAW software setups? I would find that extremely ridiculous, because drum sampler software in standard operation is already a topic in this specialist journalism, so what is so different about this? SuperiorDrummer alone is practically an entire DAW...
In my opinion, its underground status also can't really explain the ignorance, because I see that even the most underdog e-drum hardware stuff like "drumbeam" or "Aerodrums" (I mean, how relevant is something like Aerodrums - it's more or less a joke) (and even DIY hardware/software stuff like e-drum USB expanders) appears in this specialist journalism...



One of the most important aspects of e-drum specialist journalism should be (also in order to promote the topic in the long term and finally challenge its niche status): What can e-drums do that is revolutionarily different (and better) than acoustic drums in an extremely attractive way? And since so-called “software e-drum engines” are the most powerful and, in many respects, the only thing that can be used for this purpose, significant focus should be placed on this.

With the only approaches taken so far, such as “e-drums are for drummers who want to reduce noise pollution for their neighbors” and “they make many things easier and more convenient, e.g., recording is super easy, and they don't go out of tune”, this niche will never grow, I'm quite sure of that.
And focusing on unimportant features is also not really helpful (such as “wireless triggers” (how many new e-drummers will be there because e-drums are "wireless" now??) or the fact that the kit can be converted into a fancy acoustic kit by removing the triggers, as with this “DWe” nonsense (probably no one in the whole world has ever done this or wanted to do it)).
So where are the real innovations that are capable of generating new prospective users? ...I think I can show you the answer!


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* I heard you talk about the L/R distinction feature offered by Toontrack in a recent library release in an interview (and you raved about how it would capture all the nuances - I was immediately like 'no it does not!'). I immediately wondered, do you even know how this Toontrack thing works? It doesn't have much in common with the authenticity of an acoustic snare drum, because these limited, abruptly changing zone boundaries, the generally super few zones, and a one-dimensional non-L/R center zone are, in my opinion, completely missing the point of "getting all nuances" and “e-drums as close as possible to the acoustic model”. I've also published a detailed essay on this topic. Maybe you missed it?



** Cool: In the Facebook SD3 group, someone understood the potential and the significance of the engine. 💙 :






...PS:
I would like to read a lot of innovative and new things about e-drum computer stuff in the e-drum trade press (because computer stuff is of course an important part of it!). How about a feature on Ableton Drummer and the cool things Tobi can offer drummers and musicians, for example, instead of what feels like the hundredth feature on e-drum modules from the established market leaders to cheap Chinese stuff, which hardly seem to be evolving much at all.