Drummers often provide volume-obsessed guitar players with an excuse for their decibel shindigs. Whenever a venue manager asks a guitarist to turn down, they usually point to the drummer and say, “I can’t play any softer than the drums.”

Do you like being thrown under the bus?

Well, you don’t have to take it, um, sitting down. By adopting a few dynamic-control techniques and acquiring a drum mute trick bag, you can prevent guitarists from using you as a volume scapegoat. 

Pictured: Gretsch Catalina Club Jazz 4-Piece Drum Kit

In addition, you’ll be able to expand your capability to perform in a number of intimate, low-level environments, such as restaurants, wineries and singer-songwriter shows. A bonus if you practice with an acoustic kit at home is that you’ll suddenly be less “disquieting” to housemates and neighbors.

Obviously, it can be a bummer—especially for some rock, blues, R&B and dance band drummers—to cut back on the percussive impact. However, devotees of John Bonham, Travis Barker and Dave Grohl can take heart, as this article endeavors to suggest ways you can reduce the heavy hitting and still have fun.

Table of Contents

Low-Volume Drum Dynamics
Bring a Smaller Drum Kit
Use Brushes or "Alternative" Sticks
Explore Low-Volume Cymbal Packs
Drum Dampening
Mesh Drum Heads
Get Creative
Go Electronic
A Quiet Place

Low-Volume Drum Dynamics

Okay, let’s get the foul-tasting medicine out of the way first. Play softer. It’s certainly a viable option, and café jazz and wedding band drummers are typically experts at driving songs without upping decibels. Here are some quieting methods you can try to calm the bombast.

Pictured: Zildjian Low-Volume Cymbals

Hit softer and control your strokes. So obvious, and so effective. Everyone has their own method for decreasing attack, but a concept from a long-forgotten YouTube lesson might be helpful if a temptation to be fierce bedevils you. Visualize holding a stick straight up as 12 o’clock, and hovering at 90 degrees as 3 o’clock. The idea is the 12 o’clock position designates a serious thwack, while 3 o’clock represents a soft hit or even a ghost note. Section this “quarter clock face” further to 1 o’clock and 2 o’clock wrist/stick positions. If you can consider any position between 12 and 1 o’clock as the rock concert attack zone, and from 2 to 3 o’clock as the intimate-venue area, you’ll have a kind of safeguard against going full cowabunga when you should be bunny-rabbit soft.

Loosen your grip on the sticks. Whether you play traditional or matched grip, squeezing the life out of your drum sticks can spark muscle tightness, diminish rebound, lead to inconsistent playing and, yes, increase volume. On the other hand, a loose and comfy grip can make it easier to lightly tap your snare and toms—hopefully producing a full sound with less volume.

Pictured: Zildjian DIP Drum Sticks

Simplify parts. Many of the things drummers do require a certain amount of oomph and attack that ain’t exactly in the quiet zone. However, if you rearrange your performance to delete big fills, go easy on the crash cymbals and avoid drum solos, simply sticking to a very basic groove—performed at low volume, of course—can move the band without knocking down the walls. “If I play ‘Take Five’ at a restaurant, there’s no way I’m doing the drum solo,” says San Francisco Bay Area drummer and educator Terry Carleton. “Some parts just need to be loud.”

Deploy side sticking. Big, meaty snare swacks have driven a stratospheric number of hit songs and thrilled countless live concert audiences. Unfortunately, a rich yet cutting snare might be too much of a good thing for an intimate winery gig. Instead, perform your snare hits with side sticking. The “clack” makes a good accent while keeping the volume under control. If you’re concerned about relying on your side-stick technique for an entire three-set gig, the Gruv-X X-Click attaches to the rim of your snare, providing a surface you can “click” using your usual stick routine.

Pictured: RTOM Moongel Drum Dampers

Bring a Smaller Drum Kit

Reducing the volume without compromising your technique—and joy—too much may be accomplished by showing up to the gig with a petite kit. While the smaller shells typically generate less volume and produce a more controlled rumble, heavy hitters can easily obliterate the benefits of playing a less-than-full-sized drum set. So, in essence, the success of going small will depend on playing small.

Pearl Compact Traveler 2-Piece Drum Kit

Why It’s Cool: It’s a lightweight, super portable and fairly quiet kit that’s small enough to fit near the front window of a pizza joint.

Things to Consider:

• Uses standard drum heads

• Super quick setup and breakdown

• Folds down flat

Pictured: Pearl Compact Traveler 2-Piece Drum Kit

The Pearl Compact Traveler is a go-anywhere kit that’s perfect for buskers, and its two, thin tunable shells—a 10" snare and 18" bass drum—also make it a great choice for low-volume situations. The whole apparatus folds flat, and all you need is a kick pedal, hi-hat and whatever cymbals and stands you want.

TAMA Club-JAM 4-Piece Pancake Kit

Why It’s Cool: A portable shell pack that includes two toms, kick and snare.

Things to Consider:

• 6-ply poplar shells

• Heavy-duty lugs

• Carry-in-one bag

Pictured: TAMA Club-JAM 4-Piece Pancake Kit

The TAMA Club-JAM Pancake offers very shallow, 8 mm, 6-ply poplar shells—hence the “pancake” designation. The 4-piece kit includes an 18"x4" bass drum, 10"x3.5" rack tom, 13"x3.5" floor tom and 12"x4" snare drum. While its portability makes it a “taxi kit” for big city drummers, the sound can still get huge. In other words, the TAMA Club-JAM can be an excellent downsized kit for quiet gigs if you take care not to unleash your inner Animal Muppet.

Ludwig Breakbeats by Questlove

Why It’s Cool: Questlove’s Breakbeats is a conventional 4-piece kit shrunken down to coffeehouse size.

Things to Consider:

• 7-ply hardwood shells

• Sturdy, triple-flanged hoops

• Included velvet carry bags can do double duty as dampeners

Pictured: Ludwig Breakbeats by Questlove

Now, we’re getting into more conventional, but still small acoustic drum kits. The Ludwig Breakbeats by Questlove is an outstanding small-venue rig with a 16"x14" bass drum, 13"x13" floor tom, 10"x7" rack tom and 14"x5" snare. This portable kit is more than capable of unleashing the volume beast if you’re not careful, but the included velvet carry bags can be draped over the drums to keep things under control.

PDP by DW New Yorker

Why It’s Cool: The compact New Yorker can be coaxed into producing low-volume grooves or hit hard to drive a band at rock club levels.

Things to Consider:

• Multi-ply poplar shells

• Triple-flange hoops

• Created in California at DW Custom Shop

Pictured: PDP by DW New Yorker

The PDP by DW New Yorker is another more conventional kit that has been blasted by a shrink ray. The 4-piece kit was crafted at DW’s Custom Shop in California, with shells of multi-ply poplar, triple-flange hoops and mini-turret lugs. The shell sizes are 16"x14" (bass drum), 10"x8" (rack tom), 13"x12" (floor tom) and 14"x5" (snare). While the New Yorker is going to sound somewhat less robust and loud compared to a full-sized kit, PDP—along with other portable drum makers—has cracked the code to create small drums with big sounds. A restaurant owner might smile when viewing the “cute little drums” being set up in a corner, but smack the New Yorker too aggressively and the grin will likely turn into a grimace.

Gretsch Drums Catalina Club Jazz

Why It’s Cool: This gorgeous-looking traditional bebop kit is great for keeping the sound smooth and the volume somewhat subdued.

Things to Consider:

• Mahogany shells deliver rich, warm tones

• Triple-flanged hoops

• Comes with Gretsch heads by Remo

Pictured: Gretsch Drums Catalina Club Jazz 4-Piece Drum Kit

Those looking for a “bigger/smaller” kit, should check out the Gretsch Catalina Club Jazz. The Catalina Club Jazz features an 18"x14" bass drum, 14"x14" floor tom, 12"x8" rack tom and 14"x5" snare. Although this is a compact kit that can easily fit into tight spaces, you’re drifting into the louder side of things, so care needs to be taken to play peacefully rather than powerfully. However, the mahogany shells help keep the overall attack of the Catalina Club Jazz nice and smooth, as the tonewood produces silky mids, lush lows and soft, gentle (and slightly muted) highs.

Use Brushes or "Alternative" Sticks

Your usual showcase gig sticks may be much too mighty for intimate shows—especially if you’re one of those drummers who really digs in and hits hard. Having a couple of lighter alternatives in your stick bag—such as brushes or rods—will provide you with workable options if the club, band mates or audience wants you to back off on the volume.

Vic Firth Steve Gadd Wire Brushes

Why It’s Cool: A great option for brush newbies.

Things to Consider:

• Top of the playing end angled to avoid catching on coated heads

• Produces smooth sweep and swish sound

• Larger surface contact produces more volume when you want it

Pictured: Vic Firth Steve Gadd Wire Brushes

Vic Firth Steve Gadd Wire Brushes represent a traditional approach to soft, delicate and supportive playing. Think of comping behind a jazz vocalist in a smoky, basement-level nightclub and you’ll get the idea. The Steve Gadd brushes are also a good choice for anyone who doesn’t have a lot of experience playing with wire brushes, as the ends are angled to avoid getting snagged on coated drum heads.

Promark Hot Rod Sticks

Why It’s Cool: Hot Rods reduce volume with minimal effect on rebound.

Things to Consider:

• Bundled birch dowels produce lighter attack

• Opens up dynamic options

• Made in the USA

Pictured: Promark Hot Rod Drum Sticks

Promark Hot Rod Sticks feature 19 birch dowels bundled together, producing a lighter sound than drum sticks while still retaining a brisk yet dampened attack. Drummers worried about getting that familiar stick rebound from their drum heads—and therefore not fans of brushes—should be more comfortable using Hot Rods. Even in a tiny coffeehouse, you can do many of your usual fills and rolls at reduced volume and with minimal change in feel. You can also explore diverse dynamic vibes by striking using different areas of the Hot Rod.

Vater Little Monster Brush

Why It’s Cool: Good for drummers who desire a little more heft to their brush.

Things to Consider:

• Polymer strands

• Comfy grip

• Lightweight

Pictured: Vater Little Monster Brush

The Vater Little Monster Brush looks like a stick alternative you’d use on a cajon (Vater makes those, as well), but it works brilliantly for reducing volume and producing unique tones on a drum kit. The meaty splat produced by the Little Monster Brush drives grooves without the sharp midrange attack—and increased volume levels—you’d hear if you were using wood drum sticks.

MEINL Stick and Brush Nylon Super Flex Multi-Rods

Why It’s Cool: For those reluctant to abandon their favorite sticks, this slim, multi-rod brush offers a very familiar drum stick feel.

Things to Consider:

• Nylon dowels

• Wooden handle

• Thick, adjustable rings

Pictured: MEINL Stick and Brush Nylon Super Flex Multi-Rods

MEINL Super Flex Multi-Rods are slimmer than traditional cajon brushes, so if you are willing to try brushes to reduce volume, but would appreciate a grip closer to a conventional drum stick, these rods may be your jam. To that end, the handle is wood—so that’s a familiar feel, as well. In addition, while many brushes include a ring to adjust dowel rigidity or slack, they are often as thin as the banding on a cluster of asparagus. The Super Flex Multi-Rod rings, however, are as thick as Super Bowl rings.

Zildjian DIP Drum Sticks 7A

Why It’s Cool: For those who must use sticks, the Zildjian 7A is light enough to help control attack and volume.

Things to Consider:

• Made from light, durable hickory

• Weighted and paired for optimum balance

• DIP coating helps with grip

Pictured: Zildjian DIP Drum Sticks 7A

So, you’re probably asking, “What is a standard drum stick doing in a section on stick alternatives?” Well, if you just have to grasp wood sticks—which are typically louder than the alternatives discussed in this section—at least try to go lighter and thinner. The Zildjian DIP 7A is a lean stick made from hickory. (Admittedly, maple is lighter, but hickory isn’t all that dense, and it’s durable.) An added benefit is Zildjian’s DIP coating, which provides a secure grip—no more sticks slipping out of your hands and threatening bandmates and audience members.

Bonus hack: If you’re playing softer and quieter—and not battering your sticks with intense attacks—significantly lighter toy, children’s and student drum sticks can help reduce volume.

Explore Low-Volume Cymbal Packs

Cymbals are one of the main reasons intimate venues fear drums. It’s difficult to hit a crash cymbal gently, ride cymbals tend to ring out with bright harmonics and hi-hats can be sharp and brittle sounding. Some of the sizzle and volume can be tamed by playing cymbals with brushes rather than drum sticks, of course, but some drummers might still be tempted to hit the bronze too hard. While low-volume cymbals are far from noiseless, they are quieter and less brash than conventional cymbals, and they also allow drummers to play without significantly changing their technique.

EVANS dB One Cymbal Pack

Why It’s Cool: Drops up to 80 percent of the volume—even if you hit them hard.

Things to Consider:

• Made with a nano-plated stainless steel alloy

• Spiral-perforated dB-reduction system

• Pack includes 14" hi-hats, 16" and 18" crashes, 20" ride

Pictured: EVANS dB One Low-Volume Cymbals Pack

EVANS dB One cymbals reduce noise by approximately 80 percent without sacrificing chime, articulation and resonance—thanks to a spiral-perforated volume-reduction system and a nano-plated stainless steel alloy. The cymbal pack doesn’t shrink the sizes, either, offering 14" hi-hats, 16" and 18" crashes and a 20" ride.

Zildjian L80 Series LV468 Low-Volume Cymbal Pack

Why It’s Cool: Play like you want to play, but with 80-percent less volume.

Things to Consider:

• Perforated pattern and propriety alloy reduces overall volume

• Matte finish restrains overtones and high frequencies

• Pack includes 14" hi-hats, 16" crash and 20" ride

Pictured: Zildjian L80 LV468 Low-Volume Cymbal Pack

Zildjian L80 Series LV468 cymbals also deploy a perforated pattern and a propriety alloy to reduce volume by 80 percent. The L80 Series LV468 pack includes 14" hi-hats, a 16" crash and a 20" ride. Although volume is diminished, these low-volume Zildjians produce a natural tone, good decay and dynamic response to sticking intensity.

SABIAN QTPC503 Quiet Tone Practice Cymbal Set

Why It’s Cool: Designed to reduce the cymbals’ sonic footprint without sounding muffled or dead.

Things to Consider:

• Machine hammered and fully lathed

• True-to-life tone and decay

• Pack includes 14" hi-hats, 16" crash and 20" ride

Pictured: SABIAN QTPC503 Quiet Tone Practice Cymbal Set

SABIAN Quiet Tone cymbals aren’t just for practice. These machine-hammered, fully lathed cymbals are crafted from a cast alloy to minimize volume while simultaneously providing familiar response, tone and sustain. The Quiet Tone pack includes 14" hi-hats, a 16" crash and 20" ride.

On-Stage LVCP5000 Low-Volume Cymbals

Why It’s Cool: A complete, low-volume cymbal pack at an excellent value.

Things to Consider:

• Volume reduction is 70 percent

• Crafted from stainless steel

• Pack includes 14" hi-hats, 16" and 18" crashes and 20" ride

Pictured: On-Stage LVCP5000 Low-Volume Cymbals

The On-Stage Low-Volume Cymbal Pack includes 14" hi-hats, 16" and 18" crashes and a 20" ride for a very sweet price. Compared to standard models, these polished silver, perforated stainless steel cymbals reduce volume by approximately 70 percent.

MEINL HCS Practice Cymbal Set

Why It’s Cool: Brass alloy cymbals designed to sound and feel great without the typical volume.

Things to Consider:

• Crafted from standard HCS brass alloy

• Hole pattern reduces weight, vibration and volume

• Pack includes 14" hi-hats, 16" crash and 20" ride

Pictured: MEINL HCS Practice Cymbal Set

Grab them while you can. The MEINL HCS Practice Cymbal Set is currently on clearance for a very nice price. Crafted from the same brass alloy as standard HCS cymbals, this quiet variety provides familiar tone, feel and response at a fraction of the volume. The hole pattern in the brass HCS practice cymbals reduces weight and inhibits vibration to achieve the desired decibel reduction. The set includes 14" hi-hats, a 16" crash and 20" ride.

Drum Dampening

Drummers have dropped wallets atop snares and gaffer’s taped tom heads for ages to diminish ringing and resonance. In addition, Ringo Starr may have unconsciously popularized the use of tea towels to manage tone and volume when photos of Beatles sessions at Abbey Road Studios, London, revealed the cotton serviettes wrapped around his snare and/or toms. While all of those methods worked—to varying degrees—drum dampening has evolved over the years to provide more control (and less mess).

Ahead Silencer Pack

Why It’s Cool: The Silencer Pack is a comprehensive tactic for dampening drums and cymbals.

Things to Consider:

• Lightweight pads don’t drastically impede rebound

• Includes pads for three cymbals

• Pack includes pads for typical 5-piece drum sets

Pictured: Ahead Drum Silencer Pack

The Ahead Silencer Pack includes muting pads for most 5-piece drum configurations—including the bass drum and three cymbals (hi-hat, crash, ride). The lightweight pads do the job of muffling acoustic-drum sounds without significantly hampering stick and kick pedal rebound.

Sound Percussion Labs Drum Mute

Why It’s Cool: If just a particular snare or tom is a volume offender, you can purchase just the right size to dampen it, rather than buying an entire set of mutes.

Things to Consider:

• Ultrathin material doesn’t significantly hamper stick rebound

• Easy on and off

• Available for most drum sizes

Pictured: Sound Percussion Labs Drum Mutes

If you just want to dampen one or two drums, Sound Percussion Labs drum mutes are your à la carte solution. These mutes are constructed from an ultrathin material, so stick rebound is relatively uncompromised. They are also sized to match your drums, so all you need to do is plop them atop the head to reduce volume (although if you’re a basher, you may want to tape them to the rim of your drums).

Remo Muff L Ring Control

Why It’s Cool: The perfect solution for drummers who don’t dig drastic muting.

Things to Consider:

• Plastic “O-ring” dampens near rim, allowing normal rebound from drum head

• Good for managing ringing and moderate volume reduction

• Available for most drum sizes

Pictured: Remo Muff L Ring Control

Remo Muff L Ring Control solutions are available in a number of sizes to accommodate most drums. These plastic “O-ring” mutes are not as vigilant for volume as other dampening devices, but they also don’t cover the entire drum head, allowing a good measure of stick rebound.

EVANS SoundOff Universal Bass Drum Mute

Why It’s Cool: Reduces the volume of your bass drum by 95 percent.

Things to Consider:

• Simple to attach and remove from bass drum

• Doesn’t drastically alter feel

• Durable neoprene construction

Pictured: EVANS SoundOff Universal Bass Drum Mute

While much angst usually revolves around quieting snares and toms for low-volume gigs, the bass drum can be just as much of a calm killer. Bass frequencies are, after all, omnidirectional, so they can radiate throughout a small winery space and annoy those who want to concentrate on assessing a pinot noir with friends. The EVANS SoundOff bass drum mute promises a whopping 95-percent volume reduction, easily attaches (and detaches) to most bass drums, and its neoprene construction can stand up to drummers with a heavy foot.

RTOM Moongel Damper Pads

Why It’s Cool: A brilliant little “gummy” strip with a lot of power for managing resonance and ring.

Things to Consider:

• Self-adhesive

• Can be cut to size

• Reusable and washable

Pictured: RTOM Clear Moongel

RTOM Moongel damper pads are better for controlling resonance and ring than diminishing volume, but if you’re already nearly there by using alternate sticks or other means of muting attack, these little gel strips can seal the noise-reduction deal. Moongel self-adhesive pads are super easy to position, move and remove, and you can place them on drum heads and cymbals. They can also be cut to a desired size if the full-gel treatment is a bit too much of a good thing.

Bonus Drum Dampening Hack

To deploy an old-school trick to calm loud and boisterous snares and toms, simply take a “retired” battered head, turn it upside down, and place it atop the current head. This app works best on drums that are pretty flat—such as the snare and floor tom—but if you angle your rack toms, just find a way to elegantly tape the upside-down head to the drums. Some drummers claim the upside-down head hack not only reduces volume and attack, but also adds a subtle and rich resonance to the drum. So, don’t throw those old heads away, and give this hack a try.

Mesh Drum Heads

Changing out your conventional drum heads to replace them with mesh heads is a bit of an invasive move. But if you play a lot of low-volume shows, using mesh heads may allow you to play the way you normally do—without having to deploy alternate sticks, mutes and other devices every time you head out to a café gig. We know some drummers with multiple kits who have a dedicated “shush setup” with smaller drum sizes (18" bass drum and so on), mesh heads and low-volume cymbals.

RTOM Low-Volume Mesh Head Pack

Why It’s Cool: Mesh heads make it possible for low-volume playing in a more natural way, without using other means, such as mutes and alternate sticks.

Things to Consider:

• Center sound patch allows familiar stick feel and response

• Durable

• Pack includes 10", 12", 14", 16" and 22" mesh heads

Pictured: RTOM Low-Volume Mesh Head Pack

The RTOM Low-Volume Mesh Head Pack eases a lot of the tension some drummers may feel when attempting to play quietly by reducing volume, but not requiring any significant adjustments to performance style or technique. Simply pop these heads on your kit and hit it like you always do. (Well, maybe a little less John Bonham would help.) This RTOM Pack includes 10", 12", 14", 16" and 22" mesh heads. If you’re still a bit uneasy about switching out your normal heads, the RTOM Black Hole Practice System offers similar volume reduction in a snap-on/snap-off configuration.

EVANS dB One Rock Pack

Why It’s Cool: Avoids the need to compromise your playing technique in order to play softly.

Things to Consider:

• Constructed from 1-ply Evans ShockWeave mesh

• Kinetic Transfer Foam technology reduces volume

• Impact patches ensure familiar rebound and feel

Pictured: EVANS dB One Rock Pack

EVANS dB One Rock heads utilize a single ply of the company’s ShockWeave mesh along with its Kinetic Transfer Foam technology to provide a natural yet quiet playing experience. Multiple sizes are available, but the package includes mesh heads for a snare batter-head replacement, 22" bass drum and 10", 12" and 16" toms. Impact patches on the dB One mesh heads reinforce the striking surface and offer a familiar stick rebound feel.

Remo Silentstroke Drum Head

Why It’s Cool: You can pick and choose from individual mesh heads to quash the “volume offenders” on your kit, or switch out all of your heads.

Things to Consider:

• Approximately 70-percent volume reduction compared to standard heads

• Authentic feel and rebound

• Constructed from single-ply mesh material

Pictured: Remo Silentstroke Drum Head

Remo Silentstroke drum heads can be purchased individually—in sizes from 8" to 18"—so you can choose which drums to switch out for low-volume performances. Perhaps your toms are just fine, but your brass snare is as loud as a cannon. Or you want your snare and rack toms to quiet down, but your floor tom isn’t particularly booming. Of course, a more consistent sound across the kit would be achieved if you changed all of your heads to Silentstrokes, but, hey, everyone takes different paths to percussive joy. Silentstroke single-ply mesh heads can reduce volume by up to 70 percent.

Get Creative

We’re aware that most drummers probably want to stick with their favorite kits—even in situations where a show is all about quiet drums or nothing. But if you don’t want to amend your normal playing style just to take down the volume, consider adopting a whole new setup—one tailored to propelling grooves at more relaxed volumes. An excellent benefit—if you accept the challenge of leaving your kit at home—is that you’ll pick up some new techniques to add to your percussive toolbox.

MEINL Cajon Drum Set

Why It’s Cool: A complete, ready-to-go cajon kit designed for intimate environments.

Things to Consider:

• Set contains cajon, snare, hi-hat, kick pedal and hardware

• Can be set up for right- or left-handed player

• Cajon case included

Pictured: MEINL Cajon Drum Set

The MEINL Cajon Drum Set offers a fairly relaxed and comfy transition from a trap set to playing cajon. You still sit atop the cajon—just like a world music percussionist—but the Cajon Drum Set provides conventional kit players with a snare (albeit a tiny one), a hi-hat and a kick pedal with remote treadle. As long as you can handle the absence of rack and floor toms, the MEINL Cajon Drum Set can ably “sit in” for quiet gigs and acoustic-music shows where your usual kit might be too loud and brash.

TAMA Cocktail-JAM 4-Piece Shell Pack

Why It’s Cool: This unique and eye-catching system puts the focus on drummers as they stand up to get the grooves going.

Things to Consider:

• All birch 6-ply, 6mm shells

• Sound Arc hoops and Low-Mass lugs

• Drum and hardware bags included

Pictured: TAMA Cocktail-JAM 4-Piece Shell Pack with Hardware

Perhaps you’re a bit gloomy about the possibility of not bringing your kit to a show that demands peaceful percussion. But what better way to turn that frown upside down than by showing up with a stunning, orange sparkle (or indigo or midnight-gold sparkle) TAMA Cocktail-JAM that makes you the star of the band by having you play standing up? The Cocktail-JAM is an ingenious, rack-based system that includes a 16"x6" bass drum (with pedal), 12"x5" snare, 10"x5" rack tom, 14"x5.5" floor tom and connecting pipes for your cymbals (not included with kit). The Cocktail-JAM’s 6-ply birch shells produce full, rich tones, and the included Sound Focus Pad gives the bass drum a tighter, focused sound (which is a benefit for gigs where too much bass can be problematic). The TAMA Cocktail-JAM is easy to transport, and drum and hardware gig bags are included to keep the system neat and ready to assemble.

Toca Kickboxx Suitcase

Why It’s Cool: Possibly the easiest, most compact cartage system ever for a small drum kit.

Things to Consider:

• The suitcase is your bass drum and transport case

• Includes snare and rack tom

• Works with your favorite kick pedal (not included)

Pictured: Toca Kickboxx Suitcase

Not only is the TOCA Kickboxx Suitcase a remarkable, small-footprint “drum set” that’s perfect for intimate shows, it’s one of the hippest travel kits of all time, as most airlines allow it onboard as carry-on luggage. The “suitcase” does double duty as a 14" bass drum and the transport case for the system—which also includes a 10"x2.5" snare, 10"x2.5" tom and two retractable accessory posts.

Roland ELCajon EC-10 Electronic Layered Cajon

Why It’s Cool: It looks—and plays—like a conventional cajon, but its digital engine expands the sound variations to a mind-blowing 30 layered-percussion options.

Things to Consider:

• Built-in speaker and power amp

• Sapele playing surface and fiberboard (MDF) resonance box

• Battery power lasts up to 12 hours

Pictured: Roland ELCajon EC-10 Electronic Layered Cajon

If you’re envisioning an even simpler low-volume solution, but aren’t sure if a conventional acoustic cajon will give you the sonic variety you need for certain gigs, the Roland ELCajon incorporates digital models and signal-processing effects. What does that mean? Well, you can access up to 30 layered kits—one sound triggered by hitting the cajon head and another by slapping the edge—such as tambourine, timbales, roto tom, wah guitar (!), clave, shaker and ambient snare. The self-contained EC-10 has a built-in 3-watt power amp and onboard 6.5" speaker, and for larger shows, the Electronic Sound Out jack sends the digital kits to a mixing board or house PA system. (If you want some of the natural sound of the cajon blended with the digital effects, ask the soundperson to mic the EC-10 along with the direct output.) The EC-10 can be plugged in or run on battery power—a lifesaver if your other band members hog all of the outlets for a wine cellar gig, and, of course, no one thought to bring a spare power strip. A handy Mix In lets you play audio through the EC-10’s speaker.

LP Prism Snare Cajon

Why It’s Cool: A conventional wood cajon is a very simple and extremely portable way to bring soft grooves to low-volume gigs.

Things to Consider:

• Birch and poplar soundboard with Eco-Board body

• Foam seat pad at top for comfort during long shows

• Available in bright, festive colors

Pictured: LP Prism Cajon

The LP Prism Snare Cajon is a good value for drummers curious to see if a cajon is something they should add to their setup, but who don’t want to start out with a high-end model. But this doesn’t mean the Prism is simply a cajon for beginners. It’s tough even to handle a brutal gig schedule, and it delivers a balanced soundscape of resonant lows, articulate mids and a nice, high-end snap from its internal snare wires. The Prism features a birch/poplar soundboard, an Eco-Board body and a very thoughtful padded seat.

Go Electronic

Of course, you don’t have to figure out ways to quiet down acoustic drum sets or trade your kit for percussion instruments. You can deploy your technique without fear of overwhelming small performance spaces by bringing an electronic kit. These kits do need a sound system to be heard, but that can be a benefit, because now a drummer finally has a volume knob. (Go team!) While the very “up” upside is that you can adjust the output to whatever level makes an event manager happy, the hitch is having to cart some extra hardware to the gig (powered speakers, cables, etc.). Drummers who hit super hard may also compromise an e-kit’s low-volume advantage somewhat, because the sound system will need to be louder than the clackity-clacks of drum sticks hitting mesh pads.

Alesis Nitro Max Electronic Drum Kit

Why It’s Cool: A value-packed, 8-piece e-kit with a variety of drums sounds to cover just about any style you’ll be asked to play.

Things to Consider:

• 440 drum, cymbal and percussion sounds

• Four-post aluminum rack

• Includes kick drum pad, 10" snare, three 8" toms, 10" hi-hats, 10" crash cymbal and 10" ride.

Pictured: Alesis Nitro Max 8-Piece Electronic Drum Kit

The Alesis Nitro Max is a marvelous introduction into the world of electronic drum kits. It’s not solely a nicely priced, low-volume gig solution, either. The Nitro Max is a full-featured drum workstation with natural-feeling mesh heads, 440 onboard sounds, 32 drum kit patches (with 16 user kits), 60 play-along tracks, Bluetooth audio streaming and USB/MIDI connectivity.

Alesis Strata Prime Electronic Drum Kit

Why It’s Cool: It looks more like real drums—or a super-cool electronic/acoustic hybrid—and offers enough toms and cymbals to handle just every part or fill you could dream up.

Things to Consider:

• BDF3 sound engine with 75 factory kits

• 10-piece kit includes kick, snare, four toms, hi-hat and three cymbals

• Four-post steel rack

Pictured: Alesis Strata Prime 10-Piece Electronic Drum Kit

The Alesis Strata Prime doesn’t look exactly like an acoustic kit, but with its 20" bass drum, it’s pretty close to the kind of electronic drums that won’t frighten an Americana act or singer-songwriters. It also offers drummers a lot of sonic power and performance options. For those who like to play big kits, the Strata Prime features a 20" bass drum, dual-zone 14" snare, four dual-zone toms (8", 10", 12", 14"), 14" hi-hat, two 16" crash cymbals and an 18" ride. Sounds are abundant with 40GB of onboard content that translates to 75 factory kits, models of 440 drum and cymbal parts, and 215,000 individual samples.

Roland TD-07KV V-Drums

Why It’s Cool: A compact V-Drum system with deep customization and signal-processing tools.

Things to Consider:

• 25 factory kits and 143 instrument sounds

• Bluetooth audio

• Includes kick pad, 8" snare, three 6" toms, 10" hi-hat, and 12" crash and ride

Pictured: Roland TD-07KV V-Drums Electronic Drum Kit

The Roland TD-07KV offers 25 factory kits (with 25 user slots set aside for your own creations), 143 onboard instruments, Bluetooth audio and USB/MIDI connectivity. The double-ply, tension-adjustable mesh pads provide a natural feel and realistic stick rebound, and a four-post metal rack keeps the TD-07KV system compact and easy to set up.

Roland RD-17KVX2 V-Drums

Why It’s Cool: A bigger V-Drum kit for those who need a few more things to hit, and a more varied sound palette.

Things to Consider:

• 70 factory kits

• Bluetooth audio

• Includes kick pad, 12" snare, three 8" toms, 12" hi-hat, two 12" crash cymbals and one 14" ride.

Pictured: Roland TD-17KVX2 V-Drums Electronic Drum Kit

The Roland TD-17KVX2 increases the performance options of the TD-07KV by offering 70 drum kits, upgraded mesh pads and an additional crash cymbal. You can also import your own samples into the sound mix to construct kits that are individual, unique and truly yours.

Simmons Titan 70 Electronic Drum Kit

Why It’s Cool: A no-compromise percussion factory for creators who demand great sound, excellent playability, comprehensive editing and seamless integration with DAWs and drum-sample software.

Things to Consider:

• 75 drum kits and 314 sounds

• Full-bandwidth stereo samples

• Bluetooth audio and MIDI

Pictured: Simmons Titan 70 Electronic Drum Kit

To add more realism, new samples for the Simmons Titan 70 sound library were recorded in full-spectrum stereo, and blended with the ambient qualities of the studio environment. The result is an extremely natural representation of a great drum kit miked up in a professional studio space with all the expertise of engineers who consistently track hit sounds. When bringing the Titan 70 e-kit into a small and intimate performance venue, it’s certainly a benefit to have lovely and organic drum timbres reach the ears of the audience. The Titan 70 features a generous 7" kick pad, 10" snare, four 8" toms, hi-hat with pedal, two 10" crash cymbals and a 12" ride.

A Quiet Place

The big challenge for drummers who are asked to “turn it down” is that, unlike our guitar, bass and keyboard bandmates, we don’t have a volume knob. Whenever a drummer reduces the volume, that activity is also affecting the physical technique of playing drums. It’s annoying. A guitarist, for example, may not dig their tone if they are compelled to turn down their amp, but they can play the guitar with exactly the same gestures whether they are cranked up or reduced to whisper volume. Drummers—not so much.

Pictured: Alesis Strata Prime Electronic Drum Kit

And while you can make the argument—and it’s a good one—that drummers should be able to manage their dynamic range because it’s part of the job, that doesn’t make it fun or inspiring or easy. To that end, we hope these low-volume maneuvers help you approach quiet shows more prepared and less bummed out. If you want to discuss which low-volume products might work best for your specific situation, please contact one of our Gear Advisers. They are knowledgeable and always happy to help.