Hybrid drumming fuses the traditional acoustic drum set with the latest digital percussion technology, enabling players to perform with the electronic sounds and processed textures that drive modern music styles. Since 2003, Roland sampling pads and acoustic triggers have revolutionized this style, and they’re regularly used everywhere from indie gigs to arena stages.
Instruments like the SPD-SX PRO make powerful partners for hybrid drummers, allowing them to incorporate loops, one-shot sounds, and melodic phrases into their musical universes. Every drummer has a unique story about their approach to blending traditional and electronic elements. On the eve of his performance with Rihanna at Super Bowl LVII, Mike Reid discusses his drumming history, lessons from artists he’s playing with, and the power of hybrid drumming.
The Backbeat
Where does your story begin?
“I started in my home church. My mom is a singer, and my granddad was the pastor. I gravitated to the drums growing up. As early as age three, you couldn’t take the drumsticks out of my hands. I even have videos of me playing for the choir at seven when I could barely reach the cymbals. In middle school, they would put the drum set in the middle of the auditorium and let me play with the band. They gave me solos. This was before YouTube.
At 13, my dad took me to the Gospel Music Workshop, and I saw another level to this. Through that, I started playing with an artist named Vivian Greene and met bassist Adam Blackstone. It was natural, man. They would call me a computer because I was good at seeing things one time and replicating them. That applied to me playing pop.”
The Mashup
What does hybrid drumming mean to you?
“It means you’re integrating electronics and all the parts from the record. You’re playing those original sounds on the song. The artists hear what they recorded in the studio, coming from a new light. Hybrid drumming is being able to do that and still have your own emotion. How do you incorporate your expression while being close to what the record is doing? That’s where the hybrid thing comes in.”
Spotlight: SPD-SX, PD Pads, TD-50
How do Roland instruments shape your hybrid style?
“I’m using Roland PD pads—there are triggers on the snare drum and kick. I also have a specially wrapped SPD-SX for the game that matches the kit’s color. The TD-50 is the brain because, sonically, the 24-bit rate is just so powerful.
Take the Alicia Keys world tour for an example of how I use electronics. There was a phone ringing sound on ‘You Don’t Know My Name.’ We’re in rehearsal, and she’s like, “Hey, I need somebody to do the phone.” I figured it would come from Pro Tools or the keyboard. They said, ‘No, give it to Mike.’ The phone ring is on the pad.”
Halftime Magic
What's it like preparing for a performance like the Rihanna Super Bowl Halftime Show?
“It’s like riding a bike. But it feels great, and this year is going to be amazing. Rihanna’s catalog is so long. I have to hand it to the people putting the set together. It’s an impossible task because she has so many smashes. How do you fit 17 years into 13 minutes?
At this level, there’s a lot of minute detail. That’s where the collaboration with Roland electronics comes in. They are essential to pop music because artists want to hear those sounds. And it’s impossible if you cannot integrate the electronics with the thing you’re doing.”
@espn #Rihanna performing Umbrella at the Super Bowl halftime show 🔥 (via @nfl ♬ original sound - ESPN
Hitlist Highlights
What have you learned from the artists you've worked with over the years?
“Every artist is going to be different, so the best thing is to do your homework. When you get into rehearsals, be conscious of what the artist is reacting to. Playing with Alicia Keys, she likes dynamics. I learned a lot working with Demi Lovato—how to have fun and jam. Working with Charlie Puth, you learn to stay close to the record because he knows every snare. You can’t do a Charlie Puth gig without having the electronics down.”
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