How To Combine Sound Modules for more Triggers and Sounds

Upgrading or building a monster dream kit? Combining several drum sound modules together is easy and a great way to expand any electronic drum kit setup. This guide will show you how.

See the Frankenstein Kit Breakdown Here

Contributed by Simon Ayton for Roland Corporation Australia

TWO HEADS ARE BETTER THAN ONE

When it comes to maximising your creativity, two heads are definitely better than one!

Combining modules means more sounds, more triggers, more potential, more fun!

Things can seem complex but by breaking down the setup to the three main connections: audio, midi and triggers, things become exciting.

Start by deciding which module will be your main one. We’ll call this module A (Master).

This will normally be the closest one to you easiest to access and also the one where you will connect your headphones or monitor sound system. You can place the second module anywhere but during the setup stage, keep it close by to make setup smoother.

Follow these easy steps to get multiple drum modules to work as one mega module.

Combining Sounds

To hear the combined audio of multiple sound modules, here are the steps.

Once done, audio of both modules will be heard from the headphone out of module A while each module will have it’s own main audio outputs free to connect to P.A system, recording setup or whatever you like.

Monitoring- Headphones

Choose which module will be the master or main module. We’ll call this module A
Connect the headphone out of module B (Slave) to the MIX-IN of module A (Master) using a TRS to TRS 1/4″ (6.3mm) cable. This is the same type of cable used to connect H&R/dual triggers to modules.
Adjust the fader volumes of both modules to zero sometimes called unity gain. This allows for some headroom on each module for fine adjustments.
Set the MIX-IN volume pot of module A to 50% and the headphone output of module B to 50% as a starting point.
Any sound that module B makes you will now hear out of the headphone out of module A as both stereo signals are effectively mixed together inside the module.
Use the song player or preview trigger button on module B to play a pattern or trigger a drum sound to hear it
Do the same on module A and adjust the headphone out of module B up or down to get an even balance between both modules

If your master module A allows routing options for the MIX-IN, you may decide to just route module B audio to phones only.

Do this when you want to send the audio of modules A and B to a monitoring system, front of house P.A, for control of both modules separately.

MIDI vs Audio: What's the difference?

Read Here

Controlling Sounds

MIDI stands for Musical Instrument Digital Interface. It’s been the electronic drummer’s best friend since 1981!

MIDI does not transmit sound itself but instead allows triggering of sounds from one module to another and remote control of a range of functions.

Connecting the two modules together via a single DIN 5 pin MIDI cable allows the modules to work in tandem and when they are linked/connected via audio too, they work as one giant module.

See these two popular possibilities below.

Remote Switching | Switch module B kit patches automatically when you switch kits on module A

Switching kits or patch changing is done with what’s called a program change sometimes shortened to ‘PC’.

Program changes also allow you to remotely change things like kit reverb settings, start and stop songs or anything that the slave module allows. Here, we’ll use it to switch module B kits whenever module A kits are switched.

See the MIDI implementation page of the manual for your specific module for what’s possible.

Connect MIDI OUT of module A (Master) to MIDI in of module B (Slave)
Turn on MIDI program change transmit and receive (TX/RX) on both module A and B
Switch kits on module A and watch module B also switch. Choosing kit 10 on module A will also choose kit 10 on module B for example.

You can rearrange kits and modify the sounds on each module separately to come up with unique sound combinations.

Depending on the module, you can also modify the program change numbers of each module for your own custom switching. For example, you might decide that kit 10 of module A should select kit 80 on module B. Either copy kit 80 to kit 10 on module B or change the program change number of kit 80 on module B to 10.

Sound Layering | Trigger Sounds From module B from triggers connected to module A

Because MIDI notes triggered from pads connected to module A also trigger sounds on module B, complex sound layering is possible for completely new creative possibilities.

See the MIDI implementation page of the manual for your module for what’s possible.

Connect MIDI OUT of module A (Master) to MIDI in of module B (Slave)
Turn on MIDI transmit and receive (TX/RX) on module A and module B.
Hitting the snare pad on module A now will also trigger the snare sound from module B.

In most MIDI equipped sound modules, you can change the transmit (TX) and receive (RX) MIDI notes triggered from module A and B.

This allows you to choose which instruments trigger which sounds between the modules.

For example, the standard international MIDI mapping protocol uses MIDI note number 36 for kick and 38 for snare.

Roland modules are setup with standard MIDI mapping from the factory so playing the kick on module A will trigger the kick on module B.

Keep in mind, with all this new found power, it’s very easy to turn your dream kit into a nightmare.

While you can easily change the notes numbers to change which sounds are being triggered, you might find it easier to simply change the sound on module B whenever you want a different combination for example, snare on module A triggers a clap sound on module B. Just change the snare sound on module B to a clap sound and off you go!

See More About MIDI note triggering here

Triggering Sounds

Now you have two modules working as one, connect up your pads and go nuts.

Remember you have the added bonus of two hi-hat controllers, two ride bell triggers and all the trigger inputs so have fun experimenting with which pads are connected to which module and all the new options available.

Every kit patch you choose on module A also switches module B so be sure to try different sound combinations on each module.

If your sound module has main and SUB sound layers for example the TD-17, TD-27, TD-50/X and V71 modules, you now have 4 sounds possible at once for each trigger zone of your kit.

If your module allows WAV import, these could be your favourite drum sounds, samples, or loops.

What does a brass piccolo snare, a thunderclap, timpani and a sub drop sound like all at once?

That’s up to you to find out!

Combining modules is a great way to add WAV sample triggering to an older module. See the article here

Built over a day at the Roland Australia HQ Sydney, this kit was affectionately named “Frankenstein”. A bit of everything from the TD and VAD range, Frankenstein uses off the shelf components for a unique and fun playing experience.

6x Digital Triggers available
2x Digital Hi-Hats Possible
2x 3-way Rides possible
2x digital snares possible
28 Trigger Inputs
20 balanced audio outputs
3rd CY-18DR being used as an 18″ dual zone digital crash

Meet
"Frankenstein"

"It is alive!"

Affectionately named “Frankenstein”, this monster kit built from off the shelf V-Drums components, is designed to inspire and encourage you to dream big and create your ultimate kit!