They truly are. Thanks for watching Justin!

Word

I recorded this with 4 channel outputs from the EFNOTE (kick, snare, OHL, OHR), 2 bass DI's, and a stereo feed (2 DI's) for keys all into a PreSonus board, dumped and took home to mix. Two crazy facts about this performance, Sekou Bunch came in last minute as a sub with no rehearsal, and Stacey Sydnor literally sat down on the kit for 2 minutes, put his ears in, line checked and just destroyed both songs on a custom kit I made for him. Just absolutely incredible musicians.

Extraterrestres de Mars !

Efnote 7

Thanks for your question, all of our kits, including the 7 have 11 inputs. Here's a link to our EFD7 page artesia-pro.com/products/efnote-7/

@@ArtesiaProNorthAmerica No idea how I missed that on the product comparison page. Very promising mid-sized line-up; thanks for the prompt answer.

@@ArtesiaProNorthAmerica hello i got a question, i just order a efnote 7 kit and order a 10" tom pad for add. Do i need to buy a TRS 6.35 stéréo cable to plug this 10" tom ? Thanks for your return, sorry for my english im french.

@@laurentlanglois3309 Hello Laurent, The cable to expand to the 10" is included in the kit. You will not need to buy extra.

@@ArtesiaProNorthAmerica merci beaucoup ! 😀 I wait it, after my atv exs5. Real size, sound crazy like an acoustic electronified drums.

Thanks for your feedback. Not a fault or personal setting, it's a Zildjian Medium 20" Sizzle Ride and is not made to be crispy, and it's 4 rivets calm the sustain of crashing on it. Stacey also just has jazz in his hands and plays it with so much touch. There are other rides that wash out and can be crashed on louder. This kit was unboxed and NAMM and I did factory resets on all of the kits every morning. Other than picking and changing out a couple kick drums, this kit had zero adjustments, stacey showed up, put his ears in and quickly line-checked and performed. That's our brand approach on these instruments.

@@ArtesiaProNorthAmerica Thank you for detailed explanation but a ride with rivets at natural live scene maybe needs dedicated mic to sounded good so as electronic must has that same setting, i see hits on video that didn't sound nothing, you can easily check what i'm sayin!

@@Drumsholic My pleasure, I mixed this video and know the nature of the actual cymbal that was sampled. I have 2 Sizzle rides from the 70's and they are very transparent when crashed. That's why they're typically used with certain genres. I mixed this as analog-in 4ch Kick, Snare, and Stereo OH. You can't always see velocity when watching a video, height of a stick doesn't always match the weight at which it was hit. And playing the tip of the stick hard on the ride doesn't open it up the way playing with the shoulder of the stick does. A very basic fix to the problem you have with the cymbal is to slightly turn it up in the module and crash with the shoulder. Even that will bring out a dark low end of the cymbal itself, it's a jazz ride. It's where Stacey wanted it and was right out of the box, sorry but it's just not a flaw of the cymbal. Choose one of the other rides that washes more when you crash it. This sample is a close mic'ed recording of the 20" medium sizzle ride. Appreciate your feedback!

Hi Steven, we ran the EFNOTE 7 with 4 channels of analog (KICK, SN, OHL, OHR) into a PreSonus StudioLiveAR12c, then outputted to two QSC K12.2's, but that's not what your hearing. We also multitracked the band into the board, then I dumped multitrack into Logic Pro X and mixed the performance. So the drums went directt into the PA for both the live sound and recorded sound. Michael

This is the EFNOTE 7, the 7X is black oak and has the extra floor tom and 17" FX cymbal added. This is the 7 and we added the splash for this performance. The kick on both 7 series kits is a 20" x 15". all of our "X" kits are black, with a hardware expansion from the original 3, 5 or 7 white sparkle kits.

Thanks for your feedback. These internal sounds are being used on many scores, soundtracks, and commercials, as they are in Netflix A and B studios. This due to both their quality sounds and playability. Some of our artists use it for practice, others for live/recording. I've submitted many keeper tracks with even our entry-level kits, that made it to print with the midi being dumped, but it's easy to use the midi to trigger VSTs when that's the sound you're going for. Everything has It's limits though, for sure. We'll keep evolving!

@@ArtesiaProNorthAmerica I will still argue that machine gunning on snare and toms is a big issue. SD3 used huge amounts of layers with a random triggering within an offset of sounds related to the trigge point, creating hit variations to eliminate it almost 100%.. ok.. maybe 90%. But the principle is just he best out there. I'm curious why new e-drum makers don't use that approach.

@@HR2635 no arguing needed, just discussing. The answer is simply, memory. The trade off of putting budget towards sensing and performance, and in our case with the PRO modules a more efficient form of round robin layering. And for when your player can't play with the needed dynamics to not machine gun, simply open Sd3's almost 300GB and run simultaneously over USB and it will create their musicality very well. PMP has a limited Steven Slate Drums version onboard, and their tradeoff is lesser in the triggering and hardware ecosystem. Great module though, love mine. All of this will improve as we move forward, have to keep selling and improving. Here's a vid of the 3X's internal sounds vs SD3, then both combined. kzfaq.info/get/bejne/j8Bgh7iUnc_XhoU.html