In Part 1 of this series, David Frangioni and I brought the Yamaha EAD50 into Markee Music in Deerfield Beach, Florida, to evaluate its most basic configuration in a professional studio environment. With the DSU50 drum sensor mounted to the bass drum, the system produced a complete enough sound that engineer and producer Marko Ruffolo, listening without context from the control room, assumed he was hearing a more involved set up.  His reaction “One microphone?” became the center of that first session. It was not simply about convenience; it was about credibility. The EAD50 proved that a drummer could begin from a sound that already felt balanced and capable of translating outside the room.  For Part 2, I wanted to take that idea somewhere personal and probably more familiar to most drummers. Home. I set up my drums in the open living area of my two-story house. The space for the drums is roughly a ten-foot square before the room gives way to furniture and family life. The room is far from a treated studio, but the vaulted ceiling, furniture, and all the nooks and crannies help to […]

June 2026 Issue