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The EXS-1 MK2 is the most compact model in the EXS series and includes pads for two rack toms, a single floor tom, two cymbals, and a hi-hat cymbal.

Wire-operated pedal-type hi-hat sensor
For the EXS-1 MK2 and EXS-2 MK2, the wire-operated pedal-type sensor is used to control the opening and closing of the hi-hat.

Our high-end models EXS-3 and EXS-5 require a separate hi-hat stand to mount the cymbal.

The newly developed sensors and double
snare snare drums use double-layer mesh skins. The three tom drums of the EXS-2 MK2 are also double-layer mesh skins.

When playing, this pad design can respond to a variety of styles of music, ensuring the dynamic range of each tone, especially the powerful cross-border.


Stable kick drum
In order to deal with various styles of play, the kick drum must be stable and sensitive to triggering.

Our unique structural design optimizes the pad’s balance between damping and sensitivity, providing rock-solid performance and instant response. Although the 8-inch mesh head is compact, it feels comfortable and stable.

Set Includes
Sound Module xD3 Black
Kick Drum 8″
Snare Drum 10″
Tom 8″ x2
Floor Tom 8″
Hi-Hat 12″
Cymbal for Crash 12″
Cymbal for Ride 12″
* Drum key included.
* Kick drum pedal and drum throne are not included.
Designing Realistic Drum Sound
The xD3 sound module enables drummers of all levels to fully express their dynamics and groove.

All performers desire the means to support their freedom of expression when playing an incredible sounding instrument – so they can fully experience the dynamic range of a kick drum, the subtle timbres of a snare, and the natural colored resonances of each cymbal.

When capturing instrument sounds in the studio, we focused on every detail; mic placement, the position of the drummer’s ear, ambient sound that includes room reflections, and imaging – including the positioning of hi-hats on the left and the floor tom on the right of the stereo field; each aspect translates to a sonic detail that combines to support the drummer’s realistic sound experience.

Triggering response that elicits the drummer’s sense of groove
The most important criterion of great playability is hearing the sound at the instant you strike. For drummers, who unconsciously control their timing in milliseconds, any lag in triggering will impair the groove. Also, identical instruments played by different drummers produce contrasting musical expressions. This is because of subtle differences in ‘groove’ (rhythmic feel). So for the xD3, we developed a new process that implements high-speed trigger analysis and low-latency sound production, thereby ensuring an unrivalled performance response and feel sensitivity. By means of proprietary technology, uncompressed audio data containing an enormous amount of sonic information sounds at nearly the same instant as the strike, producing a clear expression of a drummer’s individual groove and touch.
Realizing the true dynamic range of drums
Until now, players have had to accept that the dynamic range of electronic drums will frequently ‘top out’. While this has allowed almost anyone to play electronic drums and produce a stable sounding performance, it has also exposed the electronic character of the drum set and held players back from achieving the natural, richly varied sounds we associate with acoustic drums.

So for the xD3, we developed a new sound engine specifically for drums in order to technically realize a full expression of the complete dynamic range, from delicate pianississimo (ppp) to intense fortississimo (fff). Audio material recorded in the range of ppp through fff is therefore accurately sounded according to the drummer’s striking strength. Even when a roll is played, this sound engine reproduces a naturally-connected roll rather than a mere mechanical succession of sounds.

Cymbal sounds
The xD3’s cymbal sounds fully reproduce the natural signatures of resonance and reverberation patterns captured in hi-definition studio recordings of acoustic cymbals. Our approach fundamentally contrasts the conventional use of data-saving DSP processes used in other modules, which add artificial reverberation and utilize synthesis techniques to sequence, loop and attenuate parts of the envelope of a dry recorded sound. Just listen carefully to a cymbal sound generat