Archive for the ‘Report’ Category

Simmons HiHat Controllers

Friday, November 20th, 2009

Have you ever looked inside a common HiHat controller? The technology inside is just as simple as expected: If you step onto the pedal, a curcuit is being closed and the inner resistance is immediately set from infinite to zero. So the drum brain only needs to messure the remaining current in order to decide whether an open or closed HiHat sound is supposed to be played back. Modern controllers which can even map half open states probaly provide a variable conductance between open and closed, more or less linearly depending on the angle of the plate. And Simmons? Please correct me, but I suppose the SDSV HiHat pedal was the first of its kind. So it should be justified that Dave Simmons is the inventor of it. But it was differnt. It was based on a light barrier. The source of light was permanently powerd by the brain (15V). When the pedal was closed, a metal tongue interrupted the beam of light, the sellenium cell opposite to the source could not send anymore current to the brain which triggered the “decay killer” (this expression comes from the SDS3).

By the way: Always keep in mind that if you connect a HiHat controller other than the original to an SDSV brain: You might damage your pedal!

But Dave Simmons not only invented the open/close Hihat pedal. One of the trailblazing innovations of the SDX was that the first time an electronic HiHat provided more than open/closed/closing but also half open. This was realized by pessure. The pedal had the same FSR foil built in as the pads did have. Depending on how strong you kicked the pedal down the inner resistance could be modulated.

Simmons and the plagiarisms II

Sunday, November 15th, 2009

A couple of posts ago I reported about polish copies of Mark III pads. This time I “found” a pair of russian copies made by a company called LELL:


The playing surface is very much like Mark III type


The surface of the backside has an imitation leather stamping


the tom mount is not Pearl compatible but is similar to the first generation of Dynacord Percuter Pads. The connection is a midi socket

It’s funny to imagine how Simmons fought against those copies coming from western countries while beyond the iron fence the eastern countries unobservedly copied everything. But as I know from my Simmons buddy from eastern Germany: During the cold war a Simmons was a Simmons and everything else was a copy.

SDSV cymbal goes SDS7

Sunday, November 8th, 2009

The sadest aspect of the Simmons company’s collapse is the end of research and great and innovative ideas in Electronic drums, mainly provided by Dave Simmons himself. Really the bitter end? No… My Simmons buddy Michael Buchner (not to forget a handful of other neirds on our planet) still studies, extends and develops this vintage gear in order to make or keep it contemporary and also working in today’s environments. So I am proud that he asked me to share his latest development results with you through my blog. So here is his report:

The digital modules of the SDSV have no triangular oscillator, but a digital sound source. There is an EPROM containing a metallic waveform, a part of a recorded real cymbal.

If this would be played one shot as usual, only a rather short sound would be heard. So Simmons looped the sound, but not one way: It is a real forward/backward loop.
The loop is played all the time inside the SDSVs digital modules; it is not started or stopped by envelopes, only gated out by VCF and VCA. So long decay settings are possible.

This is the original schematic:

The 555 is working as a clock, the 4516 are the counters and the 4013 is changing the readout direction. Because there was no space on the regular PCB, Simmons made an extension called the auxillary or “piggyback” PCB (PCB = printed circuit board).
To be true, the metallic waveform has nothing to do with a real cymbal sound, you can hear its looping, everything is very raw, but:
This is a CULT sound! If you play this with bending up or down while toying around with noise and filter, you get these famous cymbal sweeps!
So here is a description to get this sound into another machine, the SDS7. You can convert any card for the V- Cymbal and the sound is very close to the original!
This is how it was done:
First I had to get the original data bit-by-bit. To read out the original wave data, a simple adaptor was necessary to get the 2732 EPROM into my 2764 reader, because the 2764 has four more legs and the supply voltage has to be connected to another pin of the 2732:

After the readout I had the sample twice in a row. I REVERSED the second half to have the forward/backward effect like in the original. Now I had the data to burn a 2764 EPROM.
I also made a file where this data was doubled by copying it another time for use in 27128 EPROMS.
One real important change has to be made on the SDS7 module (card): The decay kill diode has to be removed. Now the counter loops the EPROM all the time and decay times up to 5 seconds as on the SDSV are possible! Here the position of the diode to desolder or to cut off:

After all this, some cosmetics…

It sounds great! Finally: I have to check out some modifications to get a higher pitch setting (higher than the original) SDSV and a ultra long decay!

And here is the (mp3 encoded) raw wave form, extracted by Michael from the original 8 bit eprom sitting on the SDSV HiHat card: click to listen

The legendary Simmons head kit

Wednesday, November 4th, 2009

When Simmons started producing the SDSV, a sculptor named Coleman Saunders, friend of Dave Simmons, built a handfull of custom shaped drum pads compatible with the SDSV. Basically it was intended to attract the crowd for the whole Simmons product line. It was never intended to become a mass product like the SDSV. A picture of this headkit was printed on the backside of the one and only SDSV catalogue:

This headkit was recently made a subject of a discussion in the Simmons newsgroup. Reason enough for me to sum up the scanty documentation about these kits. Bob Henrit wrote in the Complete Simmons Drum Book:

“…The shapes which epitomise the possibilities of Simmons customising, have to be the ones which resembled ‘human heads’. (They were actually made as a publicity stunt, to sell more than one regular sets.) They were modelled in fibreglass, by an artist friend of Dave’s named Coleman Saunders, and were evidently inspirde by the Presidents heads at Mount Rushmore. Two clay ‘masters’ were made from which a pair of rubber moulds were fashioned which ultimately went on to produce something like ten sets. They were available in red, blue and yellow upon which Dave simmons did a great deal of airbrush work and fitted with cut-glass eyes. Evidently they all turned out to be slightly different. The top of the cranium was sliced through to fit the wood and ‘riot shield’ playing surfaces. These of course needed to be fitted as usual with aluminium edging strip which was no mean feat. (The shape of human head is not particularly regular as I’m sure you’re aware!)…”

At least two music videos are known to feature a Simmons head kit. First is Landscapes ‘Einstein A Gogo’:

Second is Felony’s ‘The Fanatic’ (although the drum sound definetely comes from acoustic drums ;-)):

Finally a small anecdote that Baz Watts, former keyman of Simmons Electronic Drums, told me: When they took the photo of the head kit for the SDSV flyer, they did not have a working fog machine. On the spot they set the paper bin on fire. So what you see in the picture is no fog but real smoke coming from a burning paper bin…

Impressions from Ludwigsburger Trommeltage Part II

Saturday, October 31st, 2009

I just finished editing part II:

By the way: Sibi exactly 25 years ago:

Impressions from Ludwigsburger Trommeltage

Tuesday, October 27th, 2009

The first snippet of my audio and video material is published on youtube

Sibi Siebert, who had the idea for this performance, obviously had a lot of fun…

Ludwigsburger Trommeltage

Monday, October 26th, 2009

The “Ludwigsburger Trommeltage“, famous drum event in Germany, has been a very entertaining event featuring (among others) Mike Terrano, Pete York, Carmine Appice and … last but not least … Sibi Siebert perfoming on a digital/analog hybrid Simmons kit, half SDSV, half SDX. Likely the first SDX live performance after at least 10 years (since Bill Bruford returned to acoustic drums and Danny Carrey changed to Mandala)

9 SDX pads plus 2 SDSV racks with 8 SDSV pads (cymbal included). He did a great show. And everything worked perfect (apart from his kick pedal and a noisy output at his sub mixer).I have a lot of audio and video material but it will take a couple of days to process all the raw material. Stay tuned!

The Complete Simmons Drum Book

Thursday, October 22nd, 2009

I think it is not exeggarated to say that the Complete Simmons Drum Book is the holy bible for every Simmons fan. Even more since this book is not available anymore. It was written around 1987 by professional drummer/editor/tester Bob Henrit. It tells the full story of Dave Simmons and his Companies “Musicaid” and “Simmons” from the very beginning until the announcement of the SDX.

As I am no contemporary witness of this period, I am really glad to possess my very personal copy. It cost something around 50 Euro. Probably today the only source to obtain essential information about at least the first (and better) half of the company’s history.

To get to the heart of this post: I really wanted to provide a PDF version on my site for free, but a book is more than a catalogue or an advertisement and I did not want to hurt anybody’s rights. So I contacted the auther Bob Henrit to discuss the idea of making it puplic domain. Unfortunately he was aversed to this idea what I absolutely respected. He preferred the idea to distribute it with a required fee. But my policy is to keep my site non-commercial, so I refused. In my opinion a fee would have reduced the number of readers (and the expected sales) to a very minimum.

The only thing I can tell is if you have the chance to get your hands on a copy: Take it. It was expensive, but is still worth every cent. Promised.

What's so magic about the SDX?

Tuesday, October 20th, 2009

Whenever I ask somebody which Simmons kit has the most appeal, he will answer “SDX”.

I remember that this was exactly my thought before I had the opportunity to bye my first one in 2003 for pretty much money. My expectations were that I’d get a piece of gear which would sound more extraodinary than I ever heard before. But I anticipate that this was not the case. When I first switched it on, got familiar with the basic functions, I tried all the kit libraries that came with the package and experienced that the SDX sounded like a common sampler. Somehow disappointing, but wait! The SDX was built in 1987, this is (from 2003) 16 years back into the past. In “computer years” this is half of an eternity. Imagine if you buy a personal computer, how long does it do its jobs before it needs to be replaced by a new one? 3 years? 5 years? My longest lasting computer was an Apple PowerMac 6100, bought in 1994, replaced in 2000. Today the SDX is even 22 years old but all of these countless innovations that streamed into this piece of history are still unique and the design is absolutely timeless. It is still good to provide a competitive sound and a few are still in use in recording studios. Bill Bruford and Danny Carey played the SDX even long time after the Simmons company collapsed. This must be love!

Next weekend I am looking forward to the “Ludwigsburger Trommeltage“. My Simmons buddy and former Simmons representative Sibi Siebert will perform on my SDX (which was his original demonstration model for the Frankfurt Music excibition back in 1988). And this is a big portion of the magic of SDX: serial number 19 of 250…

Have I been messed up in the 80s?

Saturday, October 17th, 2009

Today I heard on the radio about the reunion and the upcoming tour of 80s cult band Spandau Ballet. I guess I was 12 when their first chart breaking single “True” has been released. John Keeble sat behind a pure white SDSV kit with even two bassdrums. However I was also wondering why he was always playing acoustic drums on live pictures and videos. 25 years later I heard him say in an interview that the only track they ever used Simmons sounds for was “Chant No. 1”. It was all an illusion! John got his Simmons by Dave Simmons personally. Serial number 3! AND HE ALMOST DIDN’T USE IT FOR RECORDINGS? Unbelievable. A reason to feel messed around? No. Much less artists really used Simmons drums on their recordings as those who affected using Simmons due to pounding on hexagonal pads in front of a camera. The Linn 9000 was used on records much more often. Still I have to state that Simmons drums and the MTV age stimulated each other very much. Both were a stroke of luck for each other.

I must admit that I was (and I am still) one of those who were more blinded by the design than by the sound. I became aware of what the Simmons sound is actually about much later. Still there were enough artists that established the sound also on countless recordings. So what… I think I wouldn’t have hasitated to use Simmons pads on “Top Of The Pops” as this really had the potential to accelerated the record sales. And I am really thinking about getting myself a ticket for a Spandau Ballet show, also in order to ask John Keeble to sign on one of my pure white beauties 😉

Good night