This is the drum setup I use, including drums, stick, drumheads, cymbals, microphones, and recording equipment.
It represents both the playing and recording environment behind the training system and musical content.
Below you’ll find the equipment and the brands used.
DRUM SET / SNARES / HARDWARE
I often use the Mapex Saturn VI Evolution kit for most of my playing situations.
The Mapex Black Panther Design Lab drums represent one of the most advanced drum series available today, combining modern design, precision, and a very high level of sonic flexibility.
Mapex is also known for its continuous technical innovation, consistently refining and improving the design of its instruments.
You can hear this kit in my performance Africa.
I often use the Metallion snare, which has a very distinct cutting sound unlike any other snare. The choice always depends on the musical context.
Mapex also offers a wide range of Black Panther snares, which allow me to adapt the sound depending on the musical context I’m playing. This series covers a large spectrum of tones, from deep and fat sounds to more dry or vintage-inspired characters, making it very versatile across different styles of music. You can hear several of these snares in my performance Low Blow.
I use Mapex Falcon hardware. The bass drum pedal and hi-hat stand feel extremely light and responsive, giving a real sense of freedom and while playing.
At the same time, despite this light feel, the pedal is designed to keep the bass drum stable without shifting forward, and the hi-hat stand stays firmly in place without needing to constantly pull it back toward you.
Another practical aspect is how easy the cymbal stands are to set up, making the whole setup very efficient and comfortable to work with.
I use a lot of Meinl Byzance cymbals, which allow me to adapt the sound depending on the musical context I’m playing.
Fortunately, Meinl offers a very wide range of cymbal series, making it possible to find the right sonic character for each style of music.
Meinl is consistently at the forefront of innovation when it comes to new cymbal series. Their effect cymbals are particularly inspiring and always spark my creativity.
That's why I really like it.
I use an Evans EMAD 2 on the bass drum, on the snare drum, I switch between UV1, G2, UV1 Heavyweight, or Dry heads depending on the musical context and the amount of control or dampening I need. For toms, I mainly use UV1 for their balance of attack and low-end, or G1 Clear when I want more attack and openness.
For resonant heads, I use the EMAD resonant on the bass drum. On the snare, the choice depends on the sound required—thicker heads provide more control and less vibration. On toms, I use EC resonant heads.
I use Hickory 5A Rebound sticks, which offer a balanced feel between control and rebound, making them versatile for many playing situations.
For brushes, I prefer the TB4 or TB5 models, depending on the musical context and how I intend to use them.
I also use Hot Rods and Broomsticks, and I keep everything in my ProMark stick bag, which has plenty of pockets for drum keys, SlapKlatz dampers, in-ears, and other essentials.
I use the Roland SPD-SX pad extensively to trigger samples and sequences in live situations. It also allows me to route my in-ear mix through the stereo audio input, which helps me keep the click directly in my ears when the sequences are simple and don’t require separate stems or multiple outputs.
I also use V-Drums such as the TD-30 and TD-50 (which are different modules), as well as the VAD306, like in the TV show N’oubliez pas les paroles.
In addition, I’ve created custom kits for the TD-17, which you can find here:
https://www.roland.com/us/products/rc_td-17_artist_kits_03_damien_schmitt/
I use Roland video equipment such as the V-4EX for direct streaming, especially for my weekly online sessions with the community.
For more advanced setups, I use the V-8HD together with the UVC-02, which allows me to stream live with up to eight cameras.
I also use the GO:Mixer Pro-X, which allows me to stream directly from my phone using the audio mix from my mixer or audio interface.
I use Cympad to help control the sustain of the cymbals. For example, it’s especially useful for managing the ride cymbal.
I use SlapKlatz all the time. I always keep a box in my stick bag, and it’s extremely useful when I’m on tour playing different drum kits, or when I need to do a quick soundcheck without having time to fully tune the drums.
It helps me quickly control unwanted harmonics, which is also a big advantage for the front-of-house engineer in live situations.
SlapKlatz comes in different gel sizes, making it easy to control the snare drum overtones without completely muting the sound.
This is all the Hercules gear I use in my studio, along with some guitar stands and phone/tablet stands.
5 x MS120B PRO (Kick - HH - 2 Snare Up)
3 x MS300B PLUS (2 Snare bottom - Kick in)
2 x MS120B (Floor Tom)
3 x MS540B (Rack toms)
2 x MS523B PRO (Overheads)
6 x MS631B PLUS (Room mics + singing etc...)
I use the Galaxy 64 audio interface for its extensive routing capabilities, thanks to its internal patching system and built-in effects. I also use it in standalone mode during rehearsals with the band, which allows me to manage in-ear monitoring, main left/right outputs, and a dedicated output for a phone—making it easy to stream live on Instagram without needing post-editing.
For live situations involving sequences, I use the Zen Tour. Its multiple outputs (up to 8) allow the stems to be separated and sent individually to the front-of-house engineer.
I use Slate Digital, particularly the Virtual Microphone System, which gives me access to a wide range of classic microphone emulations. This makes it possible to work with the sound of legendary mics—such as Neumann, Sony, AKG, or Telefunken—in a very flexible way.
I also rely heavily on their preamps and plugins, which I use for most of my mixing.