Yamaha EAD10

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bored at work
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Re: Yamaha EAD10

Postby bored at work » Thu Mar 15, 2018 5:05 am

Paul Marangoni wrote:
Pocketplayer wrote:LOL...fair enough! Glad you are diggin' it...


FYI, there are MANY videos of other people reviewing and showing the ins-and-outs of the EAD on YouTube, and more being published each day. This thing is a hit. I wonder what they'll add for the EAD-20?


I'm sort of thinking about waiting a year for the next version.
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Odd-Arne Oseberg
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Re: Yamaha EAD10

Postby Odd-Arne Oseberg » Thu Mar 15, 2018 9:25 am

Though it's made to be as simple as possible a couple of mic inputs probably wouldn't hurt.
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Paul Marangoni
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Re: Yamaha EAD10

Postby Paul Marangoni » Thu Mar 15, 2018 11:57 am

That would require adding mixing/balancing capabilities. It's kind of perfect as is, in that it mimics the old Rudy Van Gelder micing approach somewhat.
Image

It works best with a small drum set, but I guess you could also use two of them if you have two bass drums.
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thewikiman
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Re: Yamaha EAD10

Postby thewikiman » Mon Mar 19, 2018 1:54 am

I am getting one of these in May and I wondered Paul if you use it without an additional trigger? In a lot of the try-out / review vids they have the snare trigger on.

I know it works without one, but presumably better with. Have you added a trigger?
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Matthijs Ament
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Re: Yamaha EAD10

Postby Matthijs Ament » Mon Mar 19, 2018 9:58 am

I've been working with the EAD10 for two days. Took me a while to get it working the way I want to. I use it with IE , sequencer and Porter&Davis tactile monitor system. It does improve the overall situation, especially the replacement of mics and reverb unit. You might want additional OH and a close mic for the floor tom. But it is good enough for IE.
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langmick
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Re: Yamaha EAD10

Postby langmick » Mon Mar 19, 2018 11:03 am

Would I use something like this for a small gig where the drums aren't miked up but could use some reinforcement?
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Matthijs Ament
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Re: Yamaha EAD10

Postby Matthijs Ament » Mon Mar 19, 2018 11:44 am

I think that should be possible. The trigger (kick) is really well blend in with the mic's. If it sounds OK on the IE it should be working with a small PA. Be aware off sympathetic snare buzz , it sounds a bit like you'r using a bottom mic for the snare. Also, the mix is off balance. I use two rack-toms and they are 'louder' then the floor. So, slight reinforcement is about it. I think it is useful that the cymbals and hihat are not picked up by the mic's. They don't need amplification in a smaller 'rock' setting. For Jazz this system will need additional overheads. The reverb and effects are useful too.
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Paul Marangoni
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Re: Yamaha EAD10

Postby Paul Marangoni » Mon Mar 19, 2018 3:11 pm

thewikiman wrote:I am getting one of these in May and I wondered Paul if you use it without an additional trigger? In a lot of the try-out / review vids they have the snare trigger on.

I know it works without one, but presumably better with. Have you added a trigger?


I do not use a trigger and don't expect to. If I were using it with a rock or pop band, I definitely would add triggers (or pads) in order to really tackle processed sounds and pizzazz.
Last edited by Paul Marangoni on Mon Mar 19, 2018 3:23 pm, edited 1 time in total.
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Paul Marangoni
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Re: Yamaha EAD10

Postby Paul Marangoni » Mon Mar 19, 2018 3:13 pm

langmick wrote:Would I use something like this for a small gig where the drums aren't miked up but could use some reinforcement?


Yes, but you would have to take the positioning of other musicians' amps into consideration, as well as monitors. Some of the effects/processing are more prone to feedback than others. I have yet to try it myself.
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Paul Marangoni
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Re: Yamaha EAD10

Postby Paul Marangoni » Mon Mar 19, 2018 3:21 pm

Matthijs Ament wrote:I think it is useful that the cymbals and hihat are not picked up by the mic's.

Everything is picked up by the mics, but your experience is subject to your individual setup and positioning. In my case, the hi-hats and ride sound wonderful in my headphones. I have two mounted toms and two floor toms, and the only drum that is noticeably lower in the mix is my last floor tom, and that is simply due to the fact that it is furthest away from the mics. The sound pressure in a free field is inversely proportional to the distance from the microphone to the source (I actually studied recording engineering back in the 80s and one of our Acoustics class textbooks was focused entirely on microphones).

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