Vintage ludwig snare drums

I am using the Alesis Strike Pro SE. Firmware v1.5 I believe. I am having a big issue with ghost notes or double triggering when triggering MIDI. The main offenders are the snare drum, kick drum, and hi hat but really any drum is susceptible to it. It’s really affecting my recordings in a negative way.
If I hit the kick drum for example, many times it won’t just trigger 1 hit, but 3 or 4 rapid hits. It sounds like a speaker blowing out! The hi hat does the same thing. Maybe not as often. And rarely, the snare will do it. Nothing I change in the trigger settings has any effect on this problem. For example with the hi hat, I have set the retrigger setting so high that it wouldn’t detect 8th notes, but it would still throw 3-4 MIDI notes on with the hits it does detect!
This is obviously completely unacceptable. I bought this kit to record my band’s album. It was a huge investment that I now feel like was a big mistake. Any help would be extremely appreciated!

Hey all, I just got off from a pretty awesome march camp with the Surf. I'm in the battery, so pretty much 90% of rehersal was spent away from the other sections, which sucks because even though I love playing drums, snare shots get tiring, and by day 2 of camp I'd much rather listen to the sound of a hornline.
So, here comes Sunday and the brassline and front ensemble met up together to run the ballad piece that they got literally 2 days before. Drumline ended rehersal for the weekend and we finally got to watch sone of the last few reps. A few kids left on an early shuttle and by now there's only 16-20 some people left in the hornline. Even with these relatively small numbers, holy shit could these guys play, and I've been reslitening to a recording of it like 20 times since then. I'ts a really cool ballad, and I don't think I'l be too annoyed hearing it for the 100th time on field this summer. Maybe it's just cause I'm used to being in small bands, and only know about Percussion stuff, but the hornline sounds so good, and so much louder than anything I've ever been apart of.
I'm so excited for April camp when we're going to have alot more brass, and the sound gets that much bigger. Brass players, seriously, if you're looking for a home this summer and want that world-class experience, come to the April camp. As long as you show you're hungry to get better, you will most likely make that hornline I just got blown away by, and damn would I be proud to be in that, because they sound amazing.
Surf's Up. 🤙

If you were anything like me you starting producing in the DAW era whether that was Ableton, FL Studio, Pro Tools, Logic, Reason or one of the many other choices out there. Eventually after listening to your favorite producer's beats and being amazed by the sonics you decided to look up their equipment they used to gain some insight. You then stumble across hardware samplers and see everything ranging from Akai, Roland, Ensoniq, Kurzweil, Yamaha and every other major player around that time. Now you're thinking of taking the leap into vintage hardware samplers to catch some of that sonic magic to add to your own productions and you're friend Beatsheik is here to help.
This post in particular will focus on the Ensoniq line of samplers starting with the revolutionary Mirage to the last hurrah of the ASR-X (pro). Each one unique enough to stand on their own merits and fit a variety of musical styles. Below are my thoughts on each sampler with information and videos showcasing the total essence of what these beasts can do in the right hands.
Please be aware that these are comping from a hip hop producer standpoint first and an audiophile/gear nerd second since using the machines for creation is the most important view to me. Now let's begin.......
MIRAGE (1984)
Retail Price ($1695)
Resell Price ($300 - $500)
The Mirage is an 8-bit powerhouse that makes everything sound like lofi and gritty at any sample rate. It really sounds like what you expect true 8 bit to sound like and every emulation is a cheap imitation of that sound. Although with limited memory (128kb) it could be cumbersome for anyone to make anything more than a smaller looped production but thats where the hexidecimal creativity comes in. Sampling rates range from 8khz - 33khz.
Personally speaking unless you are just fond of the mirage or analog filters are a must then I would skip this one for hip hop production. However, if you are doing other genres that call for synth stabs or certain unique sonic touches then the Mirage is a winner. Also to note that it's the only ensoniq sampler with analog filters (low pass) so this can really help it shape sound in interesting ways.
Some notable songs made using the Mirage were Public Enemy's "Rebel Without A Pause" and Janet Jackson's Control & Rhythm Nation 1814 albums.
PROS: 1. Truly unique sound lofi quality. 2. Only sampler on the list with analog filters.
CONS: 1. Hexadecimal display is convoluted without menu handy. 2. Low memory even for vintage sampler standards. 3. No Sequencer, just a recorder so no quantization.
Mirage Video Examples:
https://youtu.be/tyMxRRdde-E
https://youtu.be/14PMQ0kH5hA
EPS CLASSIC (1988)
Retail Price ($1995 for keyboard, $1895 for rack)
Resell Price ($300 - $600)
This machine is a unique one as its the only 13 Bit sampler Ensoniq ever made. It is a slept on sampler for lofi production due to its various sample rates on input and adjustments of the anti aliasing filter can lead to some interesting sonic palettes. On input the sample rate can range from 6.25 khz to 52 khz and the sound of the eps to my ears are compressed, warm and gritty with a somewhat hollow punch to it. There is a certain authenticity to its lofi sound that just sounds right to my ears. That makes a huge difference when making samples for yourself later as this will alter future decisions mixing wise.
Notable songs made with the EPS are Shyheim's "Rugged Child" album, Das Efx's "Dead Serious" album and Silk Tymes Leather "It ain't where ya from...Its where ya at" album.
PROS: 1) Adjustable sample rate on input (6.25 khz - 52 khz), samples the lowest @ 6.25 khz. 2) Adjustable anti aliasing filter 3) 13 Bit (only sampler I believe to be 13 bit)
CONS: 1) Software can be buggy at times. 2) Limited overall memory without expander (480kb) 3) No effects
Eps Classic Video Examples:
https://youtu.be/7CoOtaoVFks
https://youtu.be/9H73qtB9Fdk
EPS 16+ (1990)
Retail ($2395 for stock ; $2495 for rack, $2995 for Turbo)
Resell Price ($500 - $1000)
This sampler literally is the exact middle of an ASR-10 and EPS Classic sonically and functionally. The sound is either lofi or hifi depending on your sample rate but retains the warmth and grit at the same time. Its sample rates on input range from 11khz to 46 khz and you can completely turn its anti aliasing filter off. This can lead to some strange tones and aliasing that DOES NOT sound like an sp 1200 but unlike anything else you'll find available. This machine is interesting from the others because it is the only unit that can install flash rom memory and not need a floppy or scsi device to boot up. Which means you won't have to worry about old drives or adding more cost to unit if you can find one fully loaded which I appreciate the most. Also I think because of this it operates the fastest.
Noteable songs made with the EPS 16+ are Mobb Deep's "The Infamous" album D'Angelo's "Brown Sugar" album and Wu Tang Clan - C.R.E.A.M (along with a bunch of other songs on the 36 Chambers album)
PROS: 1) Sound quality is excellent with it being able to produce lofi or hifi tones.
2) The ONLY Ensoniq sampler where you can turn off the anti aliasing filter completely on input.
3) Flash Memory is amazing for not having to load os on floppy or sd.
CONS: 1) Only 2mb of memory stock.
2) Some units may overheat.
3) Being Mono only may be a turnoff for some.
EPS 16+ Video Examples:
https://youtu.be/tEW9_jMdCN4
https://youtu.be/zQPKJuaOuAk
ASR- 10 (1992)
Retail ($2695 for keyboard, $2895 for rack and $4495 for 88 key version)
Resell price ($700 - $1500)
This one is the best sampler Ensoniq made as far as functionality and sound come together in one innovative masterpiece. The warm sound of this sampler is on pabetter with any other sampler you will find. With the upgrades to all the samplers as time progressed this one was blessed with optional ram upgrades, more effects, ram tracks and other cool features. The sampling rates are either 29.5ish khz but they call it 30khz and 44khz (48khz if you use the digital card). You can however lower the sample rate as well as with the previous machines.
I really believe this machine is the peak of what Ensoniq offered before the company's demise due to being feature packed true sampler. That coupled with transwaves and looping features you can do whatever you want if you can think it out. Plus with the addons such as Digital I/O, Ram upgrade and SCSI2SD (or Zuluscsi, at the time of writing) you can have a sampler that stands the test of time.
Some notable albums made with the ASR-10 are Kanye West's "College Drop", Missy Elliott's "Supa Dupa Fly" and half Wu Tang Clan's "36 Chambers".
PROS: 1) Best sampler ensoniq ever made with more robust features and capabilities.
2) Better optional upgrades (Digital I/O board and ram)
3) Has the warmest sound and more FX
CONS: 1) Some people report more instability than previous EPS 16+
2) Slightly slower operations on later O.S. versions.
3) Because of its more complex insides it leaves more things to go wrong and fixing can be costly.
Video examples:
https://youtube.com/shorts/JUFPIKBEgs0?feature=share3
https://youtube.com/shorts/YXyhlCVIk9c?feature=share3
https://youtu.be/DUv7LO3kZvc
ASR X/PRO (1997/98)
This one is the weirdest one design wise and workflow wise. Alot more menu diving in a less optimized way. The OS is like the others that if your having familiarity with one then you can navigate the rest.
The sound of this unit though in my opinion is underrated. I'd say that it's so hifi and warm that it sounds way more expensive than it really is. I really can't stress the immense sound quality of this machine and to me thats the only reason I've kept it around. The effects are good but I prefer the ASR 10 effects more but I lean towards the X sonically for hifi and drums. If you can get one of these cheap to pair with something like an MPC or other modern sampler I think you'd be in for a treat. Using it as your only sampler should be a word of warning because it's not for beginners looking for their first sampler unless they are willing to master it.
Notable songs made using the ASR X are Young Jeezy's "Go Crazy" and Freeway's "Roc The Mic".
PROS: 1) Amazing sound! Even though it's different than it's older siblings its sound is hifi and expensive sounding.
2) Smaller than its predecessors and has more than double the tracks of the others (16 total).
3) Effects are excellent and resampling through the machine is a breeze.
4) Resonant Filters are came back
CONS: 1) It's basically unfinished due to Ensoniq being merged and never utilized its full potential.
2) The encoders can get wonky over time and the pads leave much to be desired. They honestly are my least favorite thing about the machine.
3) Way more menu diving since screen is smaller than previous models.
Video Examples:
https://youtu.be/ZofxeQMVZMM
https://youtu.be/Vko73zb6Nmc
FINAL THOUGHTS
If you're looking to add a vintage sampler into your setup in 2023 and already have something like a DAW or the MPC line of sequencers then an Ensoniq sampler can be a real gem in your studio. Be aware that they all have a learning curve so you will have to put some time in to get comfortable with the sampler. On top of that once you fully master the machine you'll see why these masterpieces are highly regarded. There are features still today that can't do what these beats can do i.e. insane looping and modulation features. Maybe even one day they might reach astronomical prices because people will soon realize their value. But as for right now you can still find great deals of you look hard enough.
Also remember these are samplers first so the added bonus is getting a cool sampling synthesizer to make really nice patches you can transfer to your DAW as well. The modulation on these things are abundant and very useful.
I hope this may help someone in the future who is looking to buy their first Ensoniq sampler. Create the music you love and share it with the world 🌎

I have a Roland TD-17 KVX and i’ve been wondering if i should get a more in depth software for better sounds- i’ve tweaked a few of the TD17 sounds to a decent extent but i just find that some of it doesn’t quite reach full satisfaction with certain things- im primarily a metal drummer, and when i’m playing sometimes i just don’t feel fully satisfied when i’m trying to crack a rimshot or get the exact sound i want out of a snare(i know rim shots on ekits are slightly limiting in terms of like fidelity, but i’m wondering if buying some sort of drum software would heavily improve my playing experience, giving me way more sounds. I love a tight, cracky snare, like a maple piccolo, and there’s only so many ways i can replicate sounds like that on the main brain of the drums, so i’m thinking this is probably a good idea to give me a more vast option for playability, considering the td17 is an alright kit?

I'm trying to learn how to finger drum in real time,I've never really learned how to make ghost snares In the MPC one,and I would like some tips on how and where I may be able to produce these notes,I have an idea to EQ and lower the velocity on a previous snare but it would be nice to gather more tips.Thanks!

I like solid, sharp, tight kicks, tingly hihats and fat snares.
I haven't exactly done a lot of research about this, since I'm pretty new to the sample collecting game.
Stock drum samples of Ableton Live just don't do it for me and I haven't been able to gather a nice enough sounding EDM drum kits/sounds from Splice either.
All suggestions are welcome.
For reference "The Wolf" by Chris Schweizer And "Unstable" by Bowdidge & Taylor

Sup my guys, so I've finally got myself a brand new kit (PDP Concept 7) which is a first as I've only ever had 2nd hand kits so I've been proper excited....but I'm really having a bad time tuning and I can also probably guess this is a very annoying question but I'm at a loss at what to do and where to turn. I'm mainly having bass drum tuning issues but the toms I'm sure I can get through but again having the same issues.
I had my previous bass drum down to a T, absolutely loved the sound it cracked out, it had a Evans Emad skin with a ported skin at the front, also my late Nancy's (RIP) duck and down pillow which made it sound amazing
I did the method where you tighten the lugs till the creases disappear on both batter and reso head, it also came with 2 odd shaped drum pillows so I have one at each end of the drum as well as an Evans clear beater head sticker.... But I just can't get a nice solid heavy clicky sound out of it, I'm spending way too much time on it and YT videos just ain't cutting it.
Can anyone help me get this sorted before I put my head through my snare?
Lots of love
Leeroy

Hey i have recently buy a DDrum snare trigger when i put him the trigger is like overwhelmed in the top of the drumhead
I have also notice that the drum module dont get all the note when i play some fast tripplet on
How Can i fix that ?

This is probably the hardest part of production for me since I’m originally a rock guitarist turned all-in one musician/producer (and i use hip/hop/808 sounding drums). If I’m lucky I’ll find a sound i like quickly but usually i end up taking raw(ish) samples and filtering/saturating/sometimes compressing/EQing until i get a drum sound i like. though it takes me so long I’ve probably spent like 12 hours on a kick, snare, two hats, and a tom. is that ridiculous? im amassing a library of my own sounds too but that ofc takes time before it grows big enough to be really helpful

Hey hey
On the weekend I recorded a band, the tones are good, everything sounds tight.
The song starts with a basic floor tom groove and then it builds up, with crunchy guitars, clean bass. The snare sounds awesome, with the right sustain and attack. After this, a heavy guitar part comes in and the drummer start to hit the snare much more strongly, and then suddenly my long and precious snare just becomes a short blop, like a fucking clap.
I would call myself a drum recording maniac. I always tune the drums to specific notes and I always choose the right instrument for the recording after a lot of experimenting.
In this case my choice was a DW snare, half wood, half brass body. Single ply Evans head (brand new). I tuned it to a D (294Hz), I'd call it a mid-high tuning.
¡No moongels!
I tried to use more extreme compression settings, but it didn't help. Also tried parallel comp. I tried long reverbs on that part too, but nothing, it just made it sound weird. I tried shorter plate reverbs too, but the snare itself just sounds like a clap with reverb, on that specific part.
I already recorded this drummer, and his rimshots are just too choked. With any snare. Is it possible that someone has "dead" rimshots? I never had problems with mine. And what can I do about it? Samples?

Hey i have recently buy a DDrum snare trigger when i put him the trigger is like overwhelmed in the top of the drumhead
I have also notice that the drum module dont get all the note when i play some fast tripplet on
How Can i fix that ?

So I am going through The New Breed and I really want to set up my kit for open arm playing (not crossing my arms.
Chester mentions in the book that he recommends three(!) hi hats - two traditional and one for right hand lead. If anyone has could explain Chester’s second traditional hi hat I’d really appreciate it! He also recommends a second floor tom tuned to the level of the bass drum.
For right hand lead it seems the best option is to get a cable/remote hi hat.
The thing is since I’m in a band I have a rehearsal/recording kit AND an at home practice kit - so if I buy a remote/cable hi hat I won’t necessarily be able to practice with the same set up as my rehearsal/recording set.
Somebody here mentioned their work around for open arm drumming was bringing in a second snare to the left of the hi hat.
What has been your experience with open arm drumming/kit set ups? Also any experiences with cable/remote hi hats?

I recently added the first 6.5" snare to my collection. I love the drum, but none of my snare stands will go low enough to let me use it with the kit!
Does anyone know a snare stand that will go lower than most others?
Actually, with my advancing years I'm finding myself attracted to the Yamaha lightweight range. Does the SS3 lightweight stand go very low?

This post is to continue the song discussions on Brother, Sister.
Previous posts in this series:

1. “Messes of Men”
   
2. “The Dryness And The Rain”
   
3. “Wolf Am I (And Shadow)”
   
4. “Yellow Spider”
   
5. “A Glass Can Only Spill What It Contains”
   
6. “Nice And Blue Pt. 2”
   
7. “The Sun And The Moon”
   
8. “Orange Spider”
   
9. “C-Minor”
   

In this song, we start with a pensive guitar and bass bit, then the accordion comes in. Halfway through the first verse we get distorted right guitar entering with snare clicks. There’s a strong guitar transition into the chorus, which is a great heavy part featuring a lovely recurring bass dive. The intro repeats and goes into the second verse with the full band this time. There’s a nice little syncopated drum fill at “syncopation”. After the second chorus, there’s an instrumental bridge leading into the last vocal section, which is similar to what I’ve been calling the choruses, except with starts and stops accented with a bunch of flourishes, noises, feedback, and stuff. There’s a drum fill marking the transition to the outro that pauses for the right guitar in a really cool way. The track ends on a dissonant, screechy groove with a cello or something, and did I hear a sheep bleating somewhere in there?
The bird that plucked the olive leaf Has been circling like a record 'round the spindle of my mind Where the needle's worn the grooves too deep And scratched the wax that's blistered from the heat besides From any movement in the room- If my cat walked by the arm skipped! But to my surprise, my interrupting cat improved A sound already so severely compromised
The needle's worn the grooves too deep The needle's worn the grooves too deep The needle's worn the grooves too deep The needle's worn the grooves too deep
He’s endlessly ruminating on the dove Noah sent in Genesis after the flood that returned with the olive leaf, which signified that it had found land. This suggests that he hopes there will soon be peace after a hardship. His cat interrupted his train of thought but it took his train of thought to a new and better place.
I’m not sure it’s worth reading too much into, but his love interest has metaphorically been a mouse in the last two songs and cats kill mice.
I'm a donkey's jaw on a desert dune Beside the bush that Moses saw That burned and yet was not consumed She's the silver coin I lost I'm the sheep who slipped away We pray with fingers crossed But you listen patiently anyway
He sees himself as an implement that could be used for God’s will (“donkey’s jaw on a desert dune” - Samson used a jawbone of a donkey to kill his enemies, “beside the [burning] bush” - God).
“I’m the sheep who slipped away” refers to the parable of the lost sheep (Luke 15:3-7), which is immediately followed by the lost coin parable (Luke 15:8-10). Both of these parables are about losing faith and repenting. So he sees himself as one who needs to repent. He also takes responsibility for his love interest needing to repent (“She’s the silver coin I lost”).
They both realize the need to repent, so they pray. Their efforts are not honest but God listens patiently anyway.
I wrote a little song for you With a melody I'd borrowed put to words that didn't rhyme To repeat what you already knew As the stones thrown at your window tapped in syncopation You kept a distance out of fear you'd break But what good's a single windchime, hanging quiet all alone? The music our collisions would make Is a sound that turns the road-that-leads-us-back-home Into Home
The music our collisions make! The music our collisions make! The music our collisions make! The music our collisions make!
This one is tough because the “you” in the last section is referencing God, but this verse and the last section of the song aren’t as clear to me. Specifically, God keeping “a distance out of fear…” doesn’t seem right.
CORRECTION. The following paragraph does not make sense as pointed out in the comments (but I’ll leave it here anyway). The disconnect I couldn’t put together actually makes a lot of sense if you take into account Sufi imagery of the divine as lover.
So I interpret this verse as Aaron trying to get this woman’s attention with efforts he realizes are not all that impressive. He wants her to join him in communion with God. We’re wind chimes, we’re no good alone. Come with me, we’ll make beautiful music when we collide. But she is afraid and stays away. This brings to mind “why burn poor and lonely?” and “why pluck one string when you can strum the guitar?” from “Torches Together” on Catch for Us the Foxes, and I would imagine this song is written about the same person.
Also, there’s a lovely Rumi reference in there of “turns the road that leads us back home, into home.” I’ve also seen the idea that the path is synonymous with attainment (enlightenment/salvation) expressed in Eastern traditions.
I had a rusty spade but I'm not the fightin' sort If I was Samson I'd have found that harlot's blade And cut my own hair short! Then in a market dimly lit I come casually to pay You see my coins are counterfeit But you accept them anyway
He tried to bring his love interest into communion with God but failed and didn’t put up much of a fight (had a rusty spade but “not the fighting sort”; as Samson, took his own strength instead of having it taken from him).
He goes to pay back the silver coin he lost. He doesn’t have it, so he presents a counterfeit. God sees this and accepts it anyway.
So spare me your goodbyes Your waving-handkerchief-good-byes Given my tendency to err so on the sentimental side I'll spare you my goodbyes The truth belongs to G-d The mistakes were mine
I’m not sure who this is spoken to, perhaps the “silver coin”, perhaps some other person who thinks he should have fought harder. Either way, a less than joyful goodbye, but left with the lovely line “the truth belongs to G-d, the mistakes were mine.” If I steered you wrong at any point, blame me, don’t blame God. This is a line paraphrasing Bawa Muhaiyaddeen, a Sufi mystic. Bawa founded the Bawa Muhaiyaddeen Fellowship in Philadelphia. Aaron has stated that he was introduced to Bawa’s teachings by his parents. Bawa’s teachings inspired the title and a lot of the content of It’s All Crazy! It’s All False! It’s All a Dream! It’s Alright.