Usb c charging cable for macbook air2/15/2023 ![]() ![]() Even a few milliseconds of latency can disturb a drummer’s performance. Regardless of the module or the number of outputs, a solid performance on an electronic kit hinges on avoiding latency. It has ten analog outputs, making the channel array of an electronic drum–tracking session very similar to that of an acoustic session. Thankfully, the designers at Roland realized these problems and solved them with the TD-20X, the gateway to a new era of electronic drumming professionalism. Unfortunately, most drum modules don’t offer more than just one or two measly pairs of stereo outputs, and there’s only so much mixing to be done with such a limited arrangement. When recording electronic drums there are two options for the audio source: either an out-of-the-box performance with a sound module (for instance, Roland’s TD-20X), or an inside-of-the-box job triggering tones from within a computer using drum synthesizing software like BFD or EZdrummer. Prior to getting your mitts dirty with the details of deconstruction, the first order of business is determining the origin of the sound source. While these two electronic tenets are radically different in both purpose and sound, their tones can be captured and treated in much the same way. For example, there’s no need for thousands of dollars worth of microphones, a live room that costs $400 a day (engineer not included), and tones aren’t set in stone when the red light turns on Perks (and pillows aside), the electronic kit serves two functions in the studio: as a substitute for the real thing and as its own entity, capable of sounding like all the things an acoustic kit never could. ![]() But with perks that extend beyond the gates of silent campiness, electronic drums also have amazing advantages in the recording field. ![]()
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