Yamaha EAD10

dsop

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The cymbals sound fine to me, especially the ride, but it is really dependent on your placement. If you mount your cymbal at Tommy Campbell height, it may not pick it up as well.
 

halldorl

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This sounds like it could be worthwhile. Have you had any issues with it picking up other instruments live? Is the mix between the toms, hats and cymbals good enough? Do you have any control over that?

Thanks
Regarding controlling the mix between individual parts of the kit: with a snare trigger you can adjust that signal but overall you cannot adjust volume of every component of the kit, the EAD is simply not made for that.

Re; cymbals. Hihats are pretty weak through the EAD due to the distance from the mic.

I had to move my ride cymbal further to the right because it was to loud when set up with a 4 piece kit (one up, one down). It was too close to the mic.

But the bottom line is: it still sounds great and is super easy and simple to use. As I stated before; it’s perfect for smaller venues where you use it to “lift up” or “spice up” your sound AND hear everything well via in-ears.

For large stages and venues? Haven’t tried it. Maybe one day....
 

rikkrebs

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So far, Iv'e heard no one talk about cymbal representation in mix. Couple questions but no replies; did I miss any?
Cymbals are a bit loud in the mix for me. However, I pulled up the triggers in the mix and backed down the mic FX. I also moved my ride placement up a bit.

The weirdest thing for me was hearing my ride in my left ear as well as my right through headphones.
 

Mr OMalley

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Has anyone used one of these with a set that has Remo Silent Stroke heads and with the low volume cymbals like the Zildjian LV 80s? Wonder how well the EAD10 mic would pick up the heads and cymbals.

If it picks them up decently, that could make a great low volume practice set with the benefits of EAD10. Kinda like an electronic set.
Hi
I have the EAD set up at home with silent heads on my acoustic kit for practice. You can easily get enough volume generated from the built in mic through headphones. The Roland cymbals only pick up as the sound you could expect to hear from tapping rubber albeit amplified. The reverb and effects are however detectable on the head for sure.
The only issue that I have is getting the bass drum trigger on a mesh head. It doesnt work. I can only assume it is to do with the lack of vibration produced from the meshhead on the bass drum. I have tried various manipulations and methods to get a clear and consistent signal from the built in trigger. These include tightening and loosening of the head, manipulating the positioning of the mic/trigger unit. I even returned it to Yamaha for repair.
When it was returned, still no joy with it on the meshheads. Only an intermittent signal produced usually only achieved by applying brute force on the pedal. So in last resort I replaced with a normal acoustic head. I had tried this before the repair but following the repair I do find that there is a pretty good and consistent signal from the trigger so I think I'm happy with that.

My major beef though is is live applications. Feedback is the problem. We play fairly loud. I have tried various things. Reducing the mic sensitivity, connecting my module into my own powered speaker and then onto the mixer. Reducing the mic sensitivity even below zero. Putting as much distance between the mic and the powered speaker etc. The only thing I havent tried is some sort of screening obstacle to reduce the mic and the speaker "talking" to each other which produces the feedback.

any suggestions on this feedback issue will be gratefully received!
 

cochlea

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I can't help with the feedback problem but in order to get a better triggered response from your bass drum, you may want to explore changing the trigger settings inside the module. Yamaha has an advanced manual online that is separate from the regular user's manual that comes with the EAD10. This manual has a section on trigger adjustments in the module. I initially had some issues with the bass trigger level and response, and found that experimenting with different trigger envelopes in the module made a significant difference. I also find that the bass drum triggers better when I don't bury the beater into the head (BTW: I'm using a conventional bass head rather than a mesh head).
 

xsabers

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Hi
I have the EAD set up at home with silent heads on my acoustic kit for practice. You can easily get enough volume generated from the built in mic through headphones. The Roland cymbals only pick up as the sound you could expect to hear from tapping rubber albeit amplified. The reverb and effects are however detectable on the head for sure.
The only issue that I have is getting the bass drum trigger on a mesh head. It doesnt work. I can only assume it is to do with the lack of vibration produced from the meshhead on the bass drum. I have tried various manipulations and methods to get a clear and consistent signal from the built in trigger. These include tightening and loosening of the head, manipulating the positioning of the mic/trigger unit. I even returned it to Yamaha for repair.
When it was returned, still no joy with it on the meshheads. Only an intermittent signal produced usually only achieved by applying brute force on the pedal. So in last resort I replaced with a normal acoustic head. I had tried this before the repair but following the repair I do find that there is a pretty good and consistent signal from the trigger so I think I'm happy with that.

My major beef though is is live applications. Feedback is the problem. We play fairly loud. I have tried various things. Reducing the mic sensitivity, connecting my module into my own powered speaker and then onto the mixer. Reducing the mic sensitivity even below zero. Putting as much distance between the mic and the powered speaker etc. The only thing I havent tried is some sort of screening obstacle to reduce the mic and the speaker "talking" to each other which produces the feedback.

any suggestions on this feedback issue will be gratefully received!
We use in-ear monitors and so I've had zero feedback issues.
 

BigMur

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DrumForum member, Jayzdrumz, took the EAD 10 on tour across Canada recently. Their sound engineer has been using it in Larger venues every gig. It is a killer piece of equipment. Jayson has used it in his home studio and had clinics on behalf for of Yamaha. He knows how to use it!

 

Mr OMalley

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I can't help with the feedback problem but in order to get a better triggered response from your bass drum, you may want to explore changing the trigger settings inside the module. Yamaha has an advanced manual online that is separate from the regular user's manual that comes with the EAD10. This manual has a section on trigger adjustments in the module. I initially had some issues with the bass trigger level and response, and found that experimenting with different trigger envelopes in the module made a significant difference. I also find that the bass drum triggers better when I don't bury the beater into the head (BTW: I'm using a conventional bass head rather than a mesh head).
Hi and thanks. Yes I have been through the internal menus with varying results. We are rehearsing at the weekend so I will try again with the regular head. the alternative albeit "cheat" solution is to use another trigger attached to the kick drum and inputted into one of the other 3 trigger inputs. that has worked well enough but I have some percussion pads too and I wanted to use all of the other inputs for those.
One other question comes to mind. Is it really possible to directly connect a kick drum dynamic microphone into the EAD via the aux input? I saw a comment where a member had offered that as a solution to providing additional power to the kick on top pf the sensor built in microphone but I dont know if that's even possible?
 

Mr OMalley

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We use in-ear monitors and so I've had zero feedback issues.
Thanks very much! We almost invariably play bars where the sensor unit is pretty close enough to the PA in any event but we have considered using IEM's. I'm not really familar with how they work but I'm assuming that they do away with the need for any sound sources [other than the PA] on the stage area? My band members have an array of sound sources that they need for their sound. Is it possible then to turn those way down but have them set up via the mixer desk and in turn channeled to the PA so as to reduce the risk of feedback? Thanks so much...
 

Mr OMalley

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DrumForum member, Jayzdrumz, took the EAD 10 on tour across Canada recently. Their sound engineer has been using it in Larger venues every gig. It is a killer piece of equipment. Jayson has used it in his home studio and had clinics on behalf for of Yamaha. He knows how to use it!

excellent video and explanation of it in live use, thanks for sharing that!!
 

cochlea

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Hi and thanks. Yes I have been through the internal menus with varying results. We are rehearsing at the weekend so I will try again with the regular head. the alternative albeit "cheat" solution is to use another trigger attached to the kick drum and inputted into one of the other 3 trigger inputs. that has worked well enough but I have some percussion pads too and I wanted to use all of the other inputs for those.
One other question comes to mind. Is it really possible to directly connect a kick drum dynamic microphone into the EAD via the aux input? I saw a comment where a member had offered that as a solution to providing additional power to the kick on top pf the sensor built in microphone but I dont know if that's even possible?
I think it's possible to use a splitter on at least some of the inputs on the module. Perhaps you could split the bass drum input so that the external bass trigger and the trigger mounted to the microphone housing go into the bass drum input on the module. If so, that would keep the remaining inputs free for other percussion pads.
 

Mr OMalley

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I think it's possible to use a splitter on at least some of the inputs on the module. Perhaps you could split the bass drum input so that the external bass trigger and the trigger mounted to the microphone housing go into the bass drum input on the module. If so, that would keep the remaining inputs free for other percussion pads.
Great thanks for the tip! I will look into that. So. What you're suggesting is a 1/4 Jack cable out from input A on the module with 2 angled ends one end inserted in the A input on the sensor and the other into my roland kick trigger. Great idea if that could work. Thanks!
 

cochlea

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Great thanks for the tip! I will look into that. So. What you're suggesting is a 1/4 Jack cable out from input A on the module with 2 angled ends one end inserted in the A input on the sensor and the other into my roland kick trigger. Great idea if that could work. Thanks!
Yes, that sounds right. I've not tried this so I can't guarantee it will work with the bass trigger. However, I swear I saw this mentioned somewhere as an option, perhaps in the user's manual or on Yamaha's DTX forum.
 

xsabers

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Thanks very much! We almost invariably play bars where the sensor unit is pretty close enough to the PA in any event but we have considered using IEM's. I'm not really familar with how they work but I'm assuming that they do away with the need for any sound sources [other than the PA] on the stage area? My band members have an array of sound sources that they need for their sound. Is it possible then to turn those way down but have them set up via the mixer desk and in turn channeled to the PA so as to reduce the risk of feedback? Thanks so much...
At worst, some sound from say, a guitar amp, may be picked up by your EAD. Not unlike what you may find using overhead mics. That said, the lack of any sound from your EAD being amplified back onto the stage should reduce or eliminate feedback altogether.
 

Mr OMalley

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Yes I see. To date we have generated probably far too much on stage noise. Hopefully we can find a workable solution. Sorry to ask but Im not sure of what you mean by your second sentence wrt "the lack of any sound" etc. could you run that bit by me again please? Thanks
 

xsabers

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Yes I see. To date we have generated probably far too much on stage noise. Hopefully we can find a workable solution. Sorry to ask but Im not sure of what you mean by your second sentence wrt "the lack of any sound" etc. could you run that bit by me again please? Thanks
No stage monitors, no amplified drums (or anything else) aimed back at the EAD.
 

thejohnlec

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I’ve been using the EAD for small club gigs as micing system. I did add a snare trigger. Works wonderful sound wise PLUS I run the band monitor mix through the aux input and use in-ears via headphone output. That way I can control the balance between the band and the drums. Pretty darn neat I’d say. Love this thing.
I was wondering about this. So, the signal coming in through the aux input (your band mix in this case) does not get sent to the main outputs? Only the drum sounds get sent through the mains?
 

Mr OMalley

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Hi. I recently thought about the same thing.
Im looking for more mic pick up on the far left side, far right side and (especially) more kick.
What I don't know is wheter the EAD Master Out Mono can be inputted directly into the Aux input channel on the SSC enabling the sound to be mixed within the SSC or whether both the EAD and the SSSc have to be run separately.
the other thing Im questioning about the SSC is whether it is prone to feedback as is the case in my experience with the EAD10.
 

jazzerone

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Hope I'm not (again) violating any forum rules here... but, if anyone is interested I have a like-new EAD10 plus a DT50S dual zone trigger that will be going up in the marketplace. Just wanted to give a heads up in this thread since there's so much interest...
 

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