Long ignored by drummers who felt like they were turning into drum machines and complained about not finding the real feel of the drums on the more or less successful plastic flying saucers offered to them, the electronic drum kit has nevertheless ended up winning over a wide audience of musicians playing in all styles.
Features to know before getting started
It is practical to carry and fit into a corner of your room, quiet enough to spare the neighbors, and offers a much wider sound palette than its big acoustic sister, while establishing an easy connection with DAW. These electronic drum kit models also offer very effective educational functions to improve your timing and play alone but with music. It therefore has many advantages, not only for practicing at home, but also for recording without hassle, or even for making demos with your band.
Despite everything, although today manufacturers equip most of their models with all these appealing features, whatever their price, you need to be careful about certain particularities of the different types of kits if you want to orient yourself correctly and address your own needs as precisely as possible. Response type, pedal response, sound banks, hybrid kits, sampling, module power... The market today is full of more or less compact solutions that easily allow you to find a groove to your taste to know which electronic drum kit to choose.
Rubber, mesh or silicone?
Rubber
The pads that act as drums on electronic kits are made from three different families of materials. Rubber, first of all, which generally equips the most economical models. Of varying densities and thicknesses, it can be more or less quiet. However, it offers a very correct response for toms as well as cymbals, in the making of which, by the way, it is almost exclusively chosen.
Let's specify here that there are cymbals offering a full striking surface covered with rubber, while others only offer part of their circumference, usually about a third. Although often very good in terms of sensitivity, they can however be less practical to play. It all depends here on your playing style (do you have Keith Moon's gestures, or rather Steve Smith's?), and, of course, your budget.
Mesh heads
In a more sophisticated register, and for more finesse, especially in reproducing all the nuances of the snare drum, you would rather choose mesh heads, which are made from a nylon mesh mounted on a hoop. Developed by Roland, this system is now widely democratized among many brands, even on compact kits.
Very tactile and close to real models, these heads have the advantage of being easily tensioned to perfectly adapt to your touch like a traditional head, but also to be changed in case of wear. Let's specify here that many kits use them for all drums, even in economical price ranges, like the Alesis Turbo Mesh, or the Woodbrass DDX10-MESH drum kit whose three toms and snare are mesh.
The DDX10-Mesh is the most direct entry point to the mesh feel: snare and three 6" toms with mesh heads, with the natural rebound and silent play that go with it. Around, three 9" cymbals with choke function, bass drum and hi-hat pedals, and a module that goes straight to the point: 12 kits, metronome, USB MIDI, 3.5 mm mini-jack inputs and outputs. The pack is delivered ready to play, adjustable stool, sticks and headphones included, on a compact 100 x 60 cm rack that fits in a room. A real apartment kit, without compromise on feel.
Pros
• Mesh heads on the snare and three toms
• Complete pack: stool, sticks, headphones and pedals
• Compact 100 x 60 cm rack, ideal for apartments
• USB MIDI to record directly into a DAW
Cons
• Intentionally simple module: 12 kits, little editing
Bubble silicone
Finally, let's note the pads equipped with a bubble silicone striking surface, an exclusive technology developed by Yamaha, which has the advantage of providing a touch that is both very quiet, highly precise, and highly comfortable. Indeed, microbubbles, inserted into the core of the material with more or less density depending on the type of drum, allow you to find the true feel of percussion on skin. And, good news: even if this type of pads was originally reserved for high-end models of the DTX series, it is now available, at least for the snare, on very affordable configurations like the DTX482K.
The DTX482K is the most economical shortcut to Yamaha silicone: its three-zone XP80 snare offers a touch and expressiveness previously found only on much more expensive DTX models. On the cymbal side, the configuration is enriched with a 10" PCY95AT pad plugged into the KP65 bass drum pad input, immediately usable as an additional crash or assignable to other sounds. The DTX402 module provides acoustic sounds, percussion, modern rock kits and electronic textures, with interactive training functions. All on a really stable four-legged metal rack.
Pros
• Three-zone silicone XP80 snare
• Standard 10" PCY95AT cymbal
• Interactive training functions of the DTX402 module
• Very stable 4-legged metal rack
Cons
• Rubber toms, only the snare uses silicone
What kind of pedals should you use?
This is the area where electronic kits differ the most from each other, and it’s also the one that determines your daily playing comfort. Between the heel controller, the kick pad paired with a real pedal, and the hi-hat stand systems, each solution has its logic, budget, and level of silence.
First of all, many compact and affordable kit models opt for heel controller pedals, which plug into the module and look more like synth footswitches than real pedals. Often identical for the kick and hi-hat, they allow, for the first, to trigger the sound without needing to hit a pad, and for the second, to control the opening, with more or less sensitivity. Generally quite easy to play because they offer little resistance (on most models, you can’t adjust the heel tension), they are ideal for beginners discovering foot technique and who haven’t yet developed virtuosity. Kits like the Yamaha DTX402K use this type of pedal, as do the TD-02K and TD-02KV models.
Note, however, that there are very high-quality models in this category, and Roland even offers an option, the KT-10, which almost matches, in terms of sensitivity because it’s fully adjustable in response, the best traditional pedals. Plus, it’s particularly quiet: a must-have!
The DTX402K is the archetype of an entry-level kit designed for learning. Its four-legged rack is more stable than average and its ergonomics have been revised to better position the hi-hat and snare. The DTX402 module includes dynamic acoustic drum sounds, percussion, modern rock kits, and electronic textures, with a built-in audio interface. The free apps DTX402 Touch and Rec'n'Share complete the package for editing kits from a smartphone and recording yourself playing. The quieter PCY95 cymbals make it an excellent choice for practicing at home.
Pros
• Stable 4-legged rack and revised ergonomics
• Built-in audio interface
• Free DTX402 Touch and Rec'n'Share apps
• Quiet PCY95 cymbals
Cons
• Heel controllers with non-adjustable tension
The TD-02K is the modern entry point into the V-Drums universe. The new-generation TD-02 module carries over the feel and some sounds from higher-end models, with 16 immediately playable musical kits. Its pedals and architecture were designed to limit vibrations transmitted to the floor, which makes all the difference when playing in an apartment with headphones on. Roland’s Coach functions and a full metronome support work on coordination, consistency, and timing. The sturdy, adjustable three-legged rack moves without disassembly.
Pros
• TD-02 module from the V-Drums ecosystem
• Floor vibrations genuinely controlled
• Very effective Roland Coach functions
• Compact 3-legged rack, movable without disassembly
Cons
• Rubber pads only at this price level
The TD-02KV is the TD-02K with the most important addition for working technique: a PDX-8 mesh snare. Natural rebound, feel very close to an acoustic snare, tension adjustable to the drummer’s taste. The TD-02 module provides the same 16 kits inspired by high-end V-Drums, immediately usable, and the same Coach and metronome tools to progress without boredom. Playing with headphones and pedals designed to limit vibration transmission make it a perfectly apartment-friendly kit, even at questionable hours.
Pros
• PDX-8 mesh snare with adjustable tension
• 16 kits derived from higher-end V-Drums
• Excellent compromise between silence and feel
• Integrated Coach educational tools
Cons
• Only the snare uses mesh
The KT-10 is the all-in-one kick pedal that settles the debate between size and feel. Its inverted sensor, a Roland proprietary technology, provides a smooth and natural feel, very close to a classic kick pedal. Above all, it’s incredibly quiet: Roland claims about 75 % less sound in the room compared to a KD-9 pad played with a traditional pedal. Spring and cams are finely adjustable, and it’s even possible to go double pedal via the Mix In input with a second KT-10. For apartment or shared rehearsal, it’s a must-have.
Pros
• About 75 % less noise than a classic pad + pedal
• Feel very close to a real pedal
• Spring and cam adjustments
• Double pedal possible via Mix In input
Cons
• Price of a good pedal, yet no pad is struck
Next come the kick systems based on using a kick pad and a real pedal, identical to those found on acoustic kits. Here, once you’ve chosen a pedal that suits your foot, the quality of the pad matters. As with toms, the three materials already mentioned appear here: rubber, mesh, and silicone, with different shell diameters and stabilization ergonomics depending on budget categories.
Note however that there are also very compact rubber pads, which offer a diameter barely larger than that of the pedal beater. Very economical, very space-saving and perfectly reliable, they often represent the most rational solution when space is tight, like this Yamaha KP65, designed for the DTX series but perfectly usable elsewhere. Their only limitation: depending on the model, the striking surface and base can be a bit tight to comfortably accommodate a double pedal.
Finally, note that there is a realistic solution for hi-hats, which also uses a real hi-hat pedal and offers a hi-hat pad that fits it. Two concepts are used here: the first has a single moving cymbal, where the pedal acts on a pressure sensor, as is the case with Yamaha's RHH135. The second opts for two cymbals, like in real life. In this vein, you find the excellent Roland VH-10.
The KP65 is Yamaha's reference compact bass drum pad: a minimal format, a rubber surface and a triggering with exemplary consistency, on which you place the pedal of your choice. It naturally fits into the DTX ecosystem, as a complement to an existing kit, as a replacement for a worn-out element, or to switch from a controller with a flat pedal to a real pedal without changing your drum set. Its surface is calibrated to limit unwanted rebounds and gain control, including with double pedals. At this price, it's one of the best investments to improve your footwork.
Pros
• Minimal footprint, very easy to fit
• Reliable and consistent triggering
• Allows switching to a real bass drum pedal
• Unbeatable price / feel ratio
Cons
• Rubber: less silent and less realistic than a mesh pad
The VH-10 is the hi-hat that shifts an electronic kit towards real feel. Its floating cymbal mounts on a standard hi-hat stand and regains the rocker and rebound of a real hi-hat. The opening control is continuous, from fully closed to wide open, with semi-open, chick and splash properly handled, and two distinct edge and bow zones to differentiate nuances. The pad is light and responsive, designed for fast footwork, while its rubber surface reduces acoustic volume without sacrificing attack precision.
Pros
• Mounts on a real hi-hat stand
• Continuous opening control, chick and splash included
• Two edge / bow zones
• Light and very responsive pad for the foot
Cons
• Hi-hat stand not included
I choose my sound module
The brain of the electronic drum kit, the module is obviously crucial, since it not only provides the audio engine necessary for synthesizing the sounds played by the kit, but also interprets the playing information transmitted by the pads with more or less finesse and parameters. It also acts as a coach and must prove expert in offering effective educational options.
In this area, obviously, much more than for pads, the differences depending on price are huge, and the gap is considerable between Alesis's Turbo Mesh with its 10 drum kits and the high-end modules from Alesis, Roland, Yamaha or Efnote. But without going into a functional detail that would require a whole month of reading, let's just set a few markers to get oriented quickly, and start right away with some good news: the most expensive module won't necessarily be the best fit.
First, regarding the quantity of sounds, you need to measure your needs precisely depending on use. Indeed, for practicing at home, there is no need for a multitude of sounds, since generally, entry-level electronic drum kits offer some presets quite suitable for basic use in most mainstream musical genres. Let's not forget that the most expensive acoustic drum set only offers one preset, admittedly with some adjustments! Moreover, if you want to develop a more sophisticated sound palette later, to compose demos in more diverse styles, you can always connect your module to a computer via the MIDI protocol and use the huge sound banks offered by major publishers like Toontrack, Steinberg or FXpansion. So you will primarily look for dynamic internal kits and a MIDI interface offering enough precision to record properly, then edit sounds and possibly timing. Cheap kits like the Alesis Nitro Mesh offer modules that will do the job well in this category.
This function also allows you to have entire loops that you can trigger with a pad, to use them for effective practice on short grooves, or to play recorded instrumental parts live on stage, recorded in the studio or at home. Very popular with pros, this trick is ideal for adding a violin layer or a synth bass live, on all or part of a song, without hiring an additional musician: very practical, even if a bit harsh for session musicians! Think here of Yamaha's DTX6K drums or Roland's impressive TD-17, featured on several configurations like the TD-17 KVX equipped with mesh heads. Moreover, some high-end modules, like Alesis's Strike, even allow sampling and editing audio directly in their internal memory, so you can completely do without a computer.
The Nitro Max is the kit that proves an entry-level module can be generous: 440 sounds and 48 kits, including some from the famous BFD library, enough to cover rock, funk, pop and more modern styles without ever getting repetitive. The Alesis mesh head pads provide natural rebound and relative silence that make a difference at home. On the practical side, Bluetooth lets you stream your music to play along with, and the module includes a metronome, recorder and backing tracks. The four-post aluminum rack remains stable and compact.
Pros
• 440 sounds and 48 kits, with BFD content
• Mesh heads on all drums
• Bluetooth to play along with your tracks
• Built-in metronome, recorder and playbacks
Cons
• Rubber cymbals, mostly single-zone
On the teaching side, we’re generally well served now, as the big trend for training functions has pushed manufacturers to equip all modules, even the most basic ones. So you won’t have much to worry about there, although, of course, the offerings and capabilities vary a lot depending on the electronic drum brands and price ranges. Also, like operating systems, each publisher’s style will appeal more or less to each musician, and those used to Roland’s coaching will swear by it, while Yamaha fans will be devoted to its exercises…
In any case, you’ll find metronome functions, tempo management and timing calculation relative to a click on most modules, with some algorithms even generating a note at the end of a performance, like the Roland TD-17.
Note that most teaching functions revolve around more or less successful musical sequences, usually in MIDI format, but sometimes also in audio. Thanks to their variable tempo, these sequences, which are sometimes entire songs, are very effective for practicing without boredom, while developing your knowledge of different musical styles. So it’s worth checking out the styles each publisher and module offers to get a clear idea of the quality of the playbacks you’ll be accompanying. Also note that Roland, on its TD-17 module, offers Bluetooth compatibility, allowing you to connect your smartphone to play your entire playlist without restrictions or extra connections: handy, especially since you can record yourself in real time and listen to your drumming exploits right after!
What about connectivity needs?
Very often basic, the connectivity of drum modules is usually limited to the essentials: a stereo audio output coupled with a headphone output, a USB connection to link to a computer, and a (sometimes complemented by an input!) classic MIDI DIN output. Note that the latter is very useful if you want to control sounds from hardware drum machines, or even vintage synths. In most cases, these three areas are more than enough.
However, if you want to go further, you’ll mainly check two things: the presence of additional trigger inputs and separate audio outputs. The first will allow you to add pads or cymbals if you want to expand your kit later, and the second will be useful for recording or detailed sound reinforcement of grooves on any mixing desk, on stage or in the studio.
Big or small drums: which is better?
Regarding the look and size of the drums, many manufacturers develop ranges of kits with wooden or fiber shells, much more massive, even if relatively short compared to real ones, giving the drum set a look closer to a real acoustic kit. For example, Efnote offers models 3 and 3X with short shells and models 5, 5X, 7 and 7X with real drum shells, or Alesis has the excellent STRATA PRIME, and Roland the configurations called VAD716 from the V-Drums Acoustic Design range.
The Crimson III is the balance point between an apartment kit and a stage setup. Its shells have a real visual presence, its new generation mesh heads are adjustable, quiet and very responsive, and the setup is complete: five dual-zone pads, a 14" triple-zone ride, two crashes with choke and a 12" hi-hat with control pedal. The module keeps up with 80 kits, 470 sounds including BFD content, six mixing faders and sample import via SD card. Bluetooth audio, USB-MIDI and extra trigger inputs leave the door open for expansion.
Pros
• 14" triple-zone ride and 5 dual-zone pads
• 80 kits, 470 sounds and sample import via SD card
• 6 mixing faders to adjust the kit by hand
• Extra trigger inputs for growth
Cons
• Increased size and weight: less portable
Often much more expensive, these kits are mainly for those who want to perform on stage with an electronic setup, without looking like they’re playing on flying saucers. So if you’re investing only to practice at home or in the studio, these solutions have no advantage, and it’s better to choose a cheaper kit with the same sound performance and, as a bonus, much less bulky.
You just need to watch out for the stability of the racks, especially if you tend to hit hard, because the more compact and lightweight the kits are, the less stable they can be. So, if you get carried away by the energy of a wild groove, you can easily end a break with a tom on your lap! That said, many improvements have been made in recent years in rack hardware, and most kits, even inexpensive ones, offer satisfactory guarantees in this area, especially regarding the clamps responsible for positioning toms and cymbals. Just make sure they tighten well and that the adjustment wings are comfortable enough.
A headset for electronic drums
An essential accessory to fully enjoy your electronic kit, the headset must handle enough dynamics to fully reproduce the wide frequency range of drum instruments and their relentless attack. You will want to choose a fairly professional model, preferably closed, for a more intimate monitoring. Woodbrass offers an excellent model of this type, the HP1000, at a very reasonable price.
Note also that Vic Firth offers a model highly appreciated by studio drummers, the SIH series. It has the advantage of significantly reducing external noise, which is particularly recommended for electronic drums, which, although relatively quiet, still generate some noise, and, incidentally, a noise that is not musical at all, although... With this headset, you can play at very low volume while enjoying the module sounds without interference.
If you are looking for the ultimate headsets developed for both acoustic and electronic drummers, the historic brand Zildjian offers the pinnacle in this area with the ALCHEM-E range. A little gem combining comfort, technology, sound quality and autonomy.
The HP1000 is the closed circum-aural monitoring headset that ticks all the boxes for electronic drums without blowing the budget. Its 45 mm drivers and wide frequency response from 10 Hz to 26 kHz handle the bass of the kick drum as well as the cymbals' transients, with a deliberately neutral reproduction. The closed design limits leakage and ambient noise, the padded headband and enveloping ear pads hold up over sessions lasting several hours. Its 32-ohm impedance allows it to be powered effortlessly by the headphone output of a module, interface or laptop.
Pros
• Neutral and wideband reproduction 10 Hz - 26 kHz
• Effective isolation thanks to the closed design
• 32 ohms: easy to power from a module
• 2.80 m cable with 6.35 mm adapter
Cons
• Non-detachable cable
The SIH3 is the headset drummers use when external silence becomes a working condition. Its closed design offers a 25 dB noise reduction, enough to hear the details of a playback or click without ever raising the volume beyond reasonable levels. The listening is balanced, with generous bass, clear mids and precise highs, which suits module sounds perfectly. Padded headband and ear pads designed for long sessions: you forget it’s on your head after ten minutes. An obvious choice to protect your hearing while maintaining a stable sound reference.
Pros
• 25 dB noise reduction claimed
• Allows playing at very low volume
• Balanced listening, generous bass
• Long-lasting comfort
Cons
• Passive isolation: no active noise reduction
I need amplification!
For those who don’t have neighbor issues or who want to rehearse with their electronic kit, there are dedicated amps specially adapted to the sharp transients of percussion. Roland offers a classic stage monitor, the PM-200, which delivers a comfortable 180 watts. There is also an excellent model from Alesis, slightly more economical but also very punchy, the Strike Amp 12 MK2. And for more compact setups or classrooms, the Laney DrumHub 80 does the job without taking up half the room.
The DH80 packs 80 watts in a format you can move with one hand. Its bass-reflex cabinet, custom 10-inch speaker and 3-inch coaxial tweeter deliver solid lows and precise cymbals, exactly what you expect from an electronic drum amp. Daily, the Bluetooth and auxiliary input let you play along with your tracks, and the headphone output lets you switch to discreet mode at any time. On stage or in the classroom, you have two channels, jack and mini-jack inputs, and a balanced XLR D.I. output for immediate sound system connection.
Pros
• 80 W in a truly portable format
• Bluetooth, aux input and headphone output
• Balanced XLR D.I. output
• Coaxial tweeter: clear cymbals
Cons
• 80 W: a bit light for a noisy stage
The PM-200 is the classic electronic drum monitor, designed as the natural complement to V-Drums. Its 180 watts, 30 cm woofer and horn tweeter project a wideband image: solid lows, intact drum attack, precise highs on cymbals. Its angled front panel is designed for drummers, placed on the floor: the sound is immediately clear from the playing position, without multiplying speakers. It includes a mixer with dedicated V-Drums input and Line input, independent volumes and two-band EQ, plus direct XLR outputs for recording and stage.
Pros
• 180 W and 30 cm woofer: realistic impact
• Angled front panel, designed for the playing position
• Built-in mixer with dedicated V-Drums input
• Direct XLR outputs for stage and studio
Cons
• Size and weight of a real stage monitor
The Strike Amp 12 MK2 is the beefiest option in the bunch: a 12-inch speaker with a 1-inch HF driver and a huge power reserve, designed for electronic drums and hybrid setups that don’t forgive compression. The attack stays precise, the cymbals detailed, even when you push it. The MK2 version adds Bluetooth on a dedicated channel to send your playbacks wirelessly. On stage, two combo XLR / 6.35 mm jack inputs with independent volumes and an XLR Link output let you chain a second speaker or send a mix to the front of house.
Pros
• Considerable power reserve
• Bluetooth on a dedicated channel
• 2 combo inputs with independent volumes
• XLR Link output to chain or send a mix
Cons
• Oversized for strictly home use
Because, often, none of this comes with your electronic drum kit, and well, we think of you…
It’s not uncommon that the instrument you chose, the one that tipped your heart and credit card to the dark side, ends up missing everything it didn’t promise 😉. In a word: the accessories not included. Rest assured, there are ready-made solutions with us. Bundles that in most cases offer you ready-to-play kits… “Missing sticks?” = check; “Missing the seat?” = check; “Missing the headphones?” = check; “Missing the bass drum pedal?” = check… etc. We try to think of everything so your “beat” never suffers from any tempo delay.
