Matroskin

As I remember, on the TD-9 there are three cymbal inputs: Crash 1, Ride and Ride Bell (RDB) (since TD-9 supports 3-zone ride or crash/ride cymbal pads CY-12R/C and CY-15R). In theory there is a possibility to use Ride/Ride Bell jacks as a separate inputs for 2 dual-zone cymbals (like CY-8/CY-14), but I am not sure if the TD-9 module supports such a possibility. You need to check a parameter [Trigger Type] and to check if inputs [RIDE] and [BELL] can be setupped separately to the [CY-8] (e.g.) value. If it works, then you can use an extension 1/4" TRS >> 1/4" TRS cable to split one 3-zone cymbal onto 2 2-zone ones and add a third cymbal to a TD-9 drumset. But, I repeat, I am not sure. Try to talk about that with the dealer in a shop.

Well... A recording - it is a wast land to travel For example, you can load guitar riffs into a multitrack recording software and make some "loops" from them - and later to invent your drum part. Or you can cut guitar riffs into pieces (i.e. "slice" techniques) - then you'll have a possibility to change tempo and get the correct timing (yes, Nate is right, in fact the drummer must be recorded at first!). And do not forget - TD-12 can be recorded not only as audio but as well in MIDI - and when you record some things in MIDI you can later edit them absolutely free, without restrictions. To change a drumset, to change a single drum sound, to change a tempo or a timing and so on and so on and so on So - experiment and enjoy your experiments it is so creative!

Let me add some info (hope it to be useful): A wonderful song how "to feel" 13 pulses rhythm (eeeeeehh.... mweeeeeh.... tridecaplets? - *LOL*) and one of my favorites songs is "Tears of Joy" and Todd Sucherman plays it really wonderful:
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*CRAZY*

In my opinion, the more complex is a time signature, the more hard will be to count it using some numbers. If you play 5/4 or 7/8 it is still possible, but after 13/8 counting becomes a real nightmare. An advice to divide a whole measure on "twos" and "threes" is good, but still requires a hard concentration - it is not so easy to count "1-2-3-1-2-3-1-2-3-1-2-1-2" especially in a quick tempo. I usually recommend to create some phrase with a required number of syllabes and use it as a counter:

"(1)Su-(2)per (3)drum-(4)ming (5)ea-(6)si-(7)ly (8)su-(9)per (10)drum-(11)ming (12)ea-(13)sy"

Try to say it quickly - and you will soon acccept, that it is much easier to remember and to pronounce, than

"(1)One-(2)two-(3)three-(4)one-(5)two-(6)three-(7)one-(8)two-(9)three-(10)one-(11)two-(12)one-(13)two"

*SMILE*

PS You can even use such phrases to remember a hands pattern:

Super (2 syllabes = R+L) drumming (2) easily (3 syllabes = R+L+L) super (2) drumming (2) easy =
R L R L R L L R L R L R L

So we can invite a phrase to remember any pattern for 13/8, another example:

"Anything really easy happening dampening" = R L L R L R L R L L R L L

And so on *SMILE*

A triplet is a strict term. If we divide 1 quarter note onto 3 equal parts, we will get a 8th triplet. If we divide 1 eighth note onto 3 equal parts, we will get a 16th triplet. And so on.

Swing is not a strict term. Swing is a "deviation" from a "classical" even playing of notes. In each pair of basically equal notes (for example 8ths) we make one note a bit longer, and another - a bit shorter to make a "swing" or "lame" or just a bit "jazzy" feeling. In computer sequencing programs swing often is measured in percents - how many percents will be the length of the first note in pair:

If the "swing" = 50%, then in each pair notes are even (50% + 50%), it will be "classical" sound (no swing at all)

If the "swing" = 66%, then in each pair our notes will sound as a triplet with 2 first notes leagued (66% + 34%), it will be "a triplet feel" like in a, well, Jig --
http://upload.wikime..._grey_goose.ogg

If the "swing" = 75%, then we will get a "dotted" feeling, e.g. dotted 8th + 16th (75% + 25%), we will get a "gallop" feel

A typical "jazzy" shuffle is not as even as classical 50%, but not as "triple" as 66%. 55-60% - it creates a free, relaxed feeling (as I feel it)

You think absolutely right. The only variant of a good mixing console for both live and studio work with any types of a signal sources will be a mixer with individual +48V switches in each channel. Like this one: http://www.zzounds.c...em--MACONYX1640 I worked with 32-channel/8-subs Mackie ONYX for several years - and this is a really good-sounding and very comfortable console for any task, from a live show to studio recording session.

P.S. And may be this info will be useful for you as well: http://en.wikipedia....i/Phantom_power
In particular: If it is desired to disconnect phantom power from one channel only, this can be done by using a 1:1 isolation transformer or blocking capacitors.

I don't know what a mixing comsole do you have. Most of mixers use both XLR and TRS inputs on mic channels (depends on the mixer model, sure) - to make possible to switch mics with XLR or TRS plugs. Often such channels have "MIC/LINE" or "MIC/INST" switches in those channels - to make possible to connect guitars or keybs in mono chans.

So, if in your mixer specs or manual there is plainly written that phantom power can be switched on XLR inputs only - that's good. Less headache But on some mixer models TRS inputs on mic channels are phantom-powered as well - to make possible to switch on a condencer mic with a 6.3 mm TRS "stereo jack" cables.

if the mixer board has but one switch that gives power to all the inputs on the board, does this mean that if phantom power is on (to power a few condenser mics) that all instruments in the band, ie guitars, must convert to XLR connectors to avoid the phantom power from entering the instrument?

If THERE IS NO phantom power on Jack INs - just plug your guitars as usual. But if THERE IS a phantom power on jack inputs - NEVER plug there guitars, keybs, CD players and so on. No difference - will it be an XLR plug or a Jack plug - phantom powering can cause equipment malfunction or even damage if certain equipment other than microphones is connected to it.

The only device that can ensure - a multimeter http://en.wikipedia....wiki/Multimeter Take a cable, plug it into a jack in, switch on a phantom power and measure a voltage between a tip and a sleeve (or between a ring and a sleeve). If you see 48 volts on the screen - your jack INs are phantom-powered and MUST NOT be used for other gear except of mics. And MUST NOT be used with instrumental cables.  

Well, first, welcome to the OLD, all we are glad to see you among us!

About your question. You didn't say what a price range you consider as a "low". In my opinion decent e-kits begin from ~ 1000 USD (if to speak about a new kit) or from ~ $500 (if to speak about used one). As for me, I purchased Roland TD-3KV kit 6 years ago for 900 USD. I had some questions about quality of the sound, but they were temporary - 'cause I planned to upgrade my kit to TD-6 as soon as I get next money. In a year I replaced my TD-3 brains to a second-hand TD-6 brains, and thanks to some circumstances this exchange was absolutely free for me. Now I feel myself rather comfortable with my drumset, and the only dream that isn't still fulfilled - to exchange rubber kick & tom pads to mesh ones (rubber pads, alas, are rather loud, especially if to strike 'em good).

As for the brand - I cannot say that some of them are better and other are worse. The best way is to visit shops and musical excibitions and there play different models and make some decision. Some people prefere Alesis, some - Roland (including me), some - Yamaha; tastes differ