Is Roland’s TD516 the perfect electronic drum kit for the studio?
Roland have long been at the forefront of electronic drum design, and a steady stream of new V‑Drums releases that continue to push the technology forward at pace. At the heart of this latest line‑up is a new and deliberately consistent design approach, centred on three control modules — the V31, V51 and flagship V71 — that all share the same core architecture, sound engine and trigger‑handling technology. The different models in the range are no longer defined by sound quality alone, but primarily by interface connectivity and workflow. This marks a notable shift from Roland’s previous approach, where the flagship control modules such as the TD‑50X offered more hands‑on control, as well as a larger sound library and more in‑depth editing than the units beneath them, such as the TD‑27.
The model under review here is the midrange Roland TD516, which centres around the V51 module and sits at a particularly interesting point in the line‑up. It is the most affordable kit in the range to include the company’s trio of digital pads — the 14‑inch digital snare, 14‑inch digital hi‑hats and 18‑inch digital ride — bringing flagship‑level pad technology into a more accessible package.
Alongside the TD516, I also spent time with its acoustic‑style sibling, the VAD516. While both kits share identical electronics and sound generation, the VAD version packages the technology within full‑depth shells and conventional hardware, adds larger cymbals and introduces an updated digital snare design. The result is a kit aimed squarely at players seeking a traditional look and stage presence.
Get Your Kit On
The Roland Cloud app integrates seamlessly with the V51, making it easy to download and install expansion packs directly to the module.
The TD516 is a pad‑based kit centred around the new MDS‑STD3 four‑post rack, an upgraded version of the MDS‑STD2 rack that shipped with the TD‑27. Although very similar in appearance, the new rack claims to offer enhanced stability, making it more suited to the larger, heavier components included with the V‑Drums 5 Series. It also adds additional clamps for greater versatility when positioning drums, with the three boom cymbal arms having the option of mounting on the crossbar or slotting into the vertical posts. The TD516 does not include a hi‑hat stand, snare stand or bass drum pedal. While this has long been standard practice, the omission feels more noticeable now that Roland own DW (Drum Workshop), particularly given that the VAD kits are supplied with Roland’s tripod hardware.
The tom pads are entirely new designs. Two 10‑inch PD‑10P rack toms and a 12‑inch PD‑12P floor tom offer dual‑zone triggering and feature several structural changes.
Externally, the pads now use die‑cast chrome hoops with a low‑profile rubber protector fitted inside the rim, rather than wrapped over it. This gives the pads a more acoustic appearance, while also making rimshots feel more natural under the stick.
Internally, Roland have replaced the single central trigger cone used in earlier pads with a three‑cone trigger system. This not only helps eliminate hot‑spotting but also introduces positional sensing across the head, along with improved detection of shallow and full rimshots.
The KD‑12 kick pad is another new presence. It is physically larger than the KD‑10 used with the TD‑27 and visually resembles the earlier KD‑140 design. Rather than using a full mesh drumhead, however, the playing surface consists of a mesh‑covered foam trigger pad. This produces a slightly firmer and more controlled feel than a full‑depth mesh kick drum but remains extremely consistent. The substantial spurs keep the pad firmly in place even during aggressive double‑pedal playing, and Roland include a protective patch designed to prevent premature wear of the mesh surface.
Two crash cymbals are included: the 12‑inch CY‑12C‑T and the 14‑inch CY‑14R‑T. Both have been around for a few years and are part of a ‘thin’ series of cymbals that offer a more natural feel and swinging motion. Technically a ride cymbal, in the TD516 configuration the CY‑14R‑T functions as the second crash rather than a ride, meaning that its bell zone is unused.
One of the defining aspects of the TD516 is the inclusion of Roland’s trio of digital pads: the PD‑140DS 14‑inch digital snare, the VH‑14D 14‑inch digital hi‑hats and the CY‑18DR 18‑inch digital ride cymbal. These components have been present in Roland’s higher‑end kits for several years, but their appearance in the mid‑tier TD516 significantly elevates its feel and realism. For readers who haven’t encountered them in my earlier reviews, here’s an overview.
The PD‑140DS 14‑inch digital snare makes a significant contribution to the TD516’s acoustic‑like feel, with its full‑sized metal shell and substantial weight making it look and, more importantly, behave like a real acoustic snare drum. All three digital components connect to the V51 module via USB, which not only powers their onboard processing but also allows them to transmit far more detailed performance data than a conventional analogue connection. Internally, the PD‑140S utilises four cone triggers to supply dynamic and positional information to the module, which not only includes centre to edge position but now also left/right and top/bottom strikes.
Cross‑stick handling is one of its standout features: place your hand on the head (which responds to the static electricity in your hand), and the pad instantly switches to a cross‑stick articulation. There’s no button, no ‘rim‑only zone’. It behaves exactly like an acoustic snare drum should. Brush performance is supported, too — struck brush notes are convincing, and it feels as though support for continuous sweeping has been improved, although this still represents the one area where the technology can show its limits with slightly inconsistent results.
Roland’s VH‑14D digital hi‑hat set the benchmark for e‑drum realism. The two‑piece design mounts to a conventional hi‑hat stand, giving it the movement, mass and physical inertia of acoustic cymbals, with its 14‑inch diameter mirroring that of a typical acoustic hi‑hat, albeit with a little more substance.
Because the control module receives far more detailed positional data via USB, transitions between open, semi‑open and closed states are exceptionally smooth and realistic. Foot splashes are crisp, partial openings sound realistic, and fully squeezing the pedal tightens the pitch naturally, just as an acoustic pair would.
Bow and edge articulations trigger cleanly but, unfortunately, there is no dedicated bell sensor. This is something I noted in my previous review. Although playing towards the inner bow produces a darker tone that could pass as a functional substitute, considering the cost and technical excellence of the hi‑hats I’m still surprised by this omission. Using the same static‑electricity technology as the PD‑14 snare, surface‑muting of the top cymbal with the hand is supported.
The final piece of the digital trio is the CY‑18DR digital ride, an 18‑inch cymbal with a physical presence so close to that of many acoustic counterparts that it genuinely changes the way you play, with its size encouraging natural stick angles and authentic movement. Multiple bow sensors, a dedicated bell sensor and an edge sensor combine to deliver smooth positional changes and consistent articulation from bell to edge, providing an incredibly realistic playing experience. The ride distinguishes shoulder versus tip strokes on the bell convincingly and includes the same touch‑to‑mute feature found on the VH‑14D hi‑hat, which adds another level of realism. For players accustomed to riding on large acoustic cymbals, the CY‑18DR gets unusually close to the experience.
It’s All Under Control
As previously mentioned, the V51 control module is based around the same internal architecture as the V31 and V71, but its physical attributes place it squarely at the centre of the new range. Its commanding presence sports a simple, uncluttered front panel featuring dedicated knobs for many often‑used parameters and controls. Kick, Snare, Toms, Hi‑hat Cymbals and Ambience have their own individual volume faders, along with buttons to instantly access instrument selection, muffling and tuning.
The V51 module sits at the centre of Roland’s new line‑up, combining a streamlined front panel with dedicated faders and a 4.3‑inch colour display for clear, hands‑on control.
The 4.3‑inch colour LCD is a clear step up from previous modules, although Roland’s use of colour within the edit pages is more restrained than you might expect, but this keeps the interface clear and avoids an overly garish appearance.
Along with the page up and down buttons, the four‑way cursor buttons and large data‑entry knob are also used to navigate the display and change parameters. Two large +/‑ buttons can be used to increment through the preset kits or for data entry, and a fully velocity‑sensitive Preview button auditions sounds. Should you get lost in a menu somewhere, a large white Kit button takes you back to the main kit screen and illuminates to confirm its status. The front panel also includes dedicated controls for the master outputs and headphones, alongside a Backing knob that adjusts the level of external audio sources connected to the Mix input, such as a sample pad or MP3 player. This control also governs the click level — a dual role that proved slightly frustrating in practice, as I often use the Mix input of a module for an in‑ear monitor feed and would prefer independent control of the click. Bluetooth support is also included, providing a convenient wireless option for playing along with backing tracks. Three USB ports are provided on the rear of the unit for connection to the digital pads, while the analogue pads connect via a 25‑pin D‑Sub connector on the underside of the module using the supplied loom. Four separate jack trigger inputs are also included for connection to additional auxiliary pads, triggers and cymbals, one of which is used for the second crash cymbal in this configuration. The left and right main outputs are augmented by a second pair of direct outputs, offering a degree of flexibility in sending individual signals to a front‑of‑house desk for live performances.
The V51 Editor offers a structured, software‑based view of the module’s sound engine, allowing detailed editing with greater visual clarity.
The side panel features MIDI in and out sockets, a USB‑C socket for connection to a computer or tablet, and a somewhat retro SDHC card slot to import user samples and new expansion packs, and for saving backups. The V51 also features two headphone sockets — quarter‑inch and 3.5mm — which is a welcome feature for teaching or rehearsal situations.
Sound Crowd
In previous reviews of Roland modules, I have dutifully charted the exact number of kicks, snares and percussion samples, excited when each generation managed to double the tally. With the V51, Roland dispense with the details and simply state: “Instruments — more than 1000”. Which is a quiet acknowledgement of just how far the range has evolved. The number of instruments on the V51 is, indeed, vast and, more importantly, expandable via the Roland Cloud (see box). The Prismatic Sound Modeling technology that was at the heart of the previous generation of modules has been replaced by a new library of high‑resolution, multi‑layer samples, created in collaboration with Drum Workshop (DW), which Roland now own. These samples are deeply multi‑layered, with extensive round‑robin randomisation, multiple articulations and behavioural modelling, giving them an organic feel that has much more in common with a modern sample‑based virtual instrument than a drum module.
The V51 does retain Roland’s familiar V‑Edit parameters — tuning, shell depth, head type, muffling and so on — but they’re now subtly less dramatic than they were under the Prismatic engine, because the raw material is already so deeply sampled and pre‑engineered. One other notable change is the move from two user layers per instrument on the previous modules to three on the V51. In the older Prismatic engine, you had a main instrument and a sub‑layer, primarily used for layering a second sound, enhancing transients and adding textures. Since the V51 engine is built around multi‑layer sampling, all three layers are discrete, assignable and editable, which allows for more detailed multi‑mic combinations, parallel transient layers, additional samples to be added (including user samples) or velocity‑dependent switching between timbres.
The effects engine has also seen a significant upgrade, where every individual instrument has access to its own multi‑stage processing chain, rather than being limited to a single insert effect or a shared block. This includes transient shaping, compression, EQ, saturation and drive effects, ambience and room algorithms, modulation, filtering and bit‑crushing. On top of that, each instrument also has its own ambience/room send, plus a further master section that includes full bus compression, master EQ and limiting.
All of this comes together in the V51’s 70 factory presets (with a further 130 user locations), covering everything from tight, studio‑oriented acoustic sets to larger, more processed rock and metal configurations, alongside a solid selection of electronic and hybrid kits. In truth, it’s difficult to highlight particular presets, as they are all absolutely stunning and, more importantly, very usable. Rather than relying on exaggerated processing or obvious layering tricks, the kits make full use of the multi‑layer sample architecture, subtle V‑Edit shaping and per‑instrument processing to create sounds that are incredibly natural and feel great to play. The result is a collection of presets that require very little adjustment to sit comfortably in a mix, while still offering plenty of scope for further refinement.
Opening DAWs
While the V51 module only offers four individual analogue outputs, the included USB‑C connection offers the option to increase that to 32 outputs, directly into your DAW. What this means in practical terms is that if you connect the V51 to your Mac or PC via USB you’ll be presented with 32 discrete audio channels as 16 stereo pairs, with each pair assigned to an individual pad or instrument. The module also lets you assign the ambience and reverb to its own output. This is obviously a huge benefit when using the TD516 in a studio environment and as MIDI is also supported via USB, with a single connection you can record and play back an entire performance in both MIDI and audio form.
At the back of the V51 module we find quarter‑inch sockets for mix in, main outputs and two direct outputs, a footswitch input and four analogue trigger ins. Alongside these sit three USB‑A ports for the digital trigger inputs.
The high channel count and routing also allows for playback of audio in your DAW to any of the direct outputs, meaning that the V51 can work as a four‑output USB audio interface, as well as being able to monitor playback from your computer via the V51 headphone outputs.
The TD516 occupies what Roland describe as the midrange position in the new V‑Drums line‑up, but in practice it feels far closer to a flagship instrument.
Ending On An Upbeat
The TD516 occupies what Roland describe as the midrange in the new V‑Drums line‑up, but in practice it feels far closer to a flagship instrument. The inclusion of Roland’s digital snare, hi‑hat and ride, along with the redesigned tom pads, immediately elevates the playing experience, delivering a level of articulation and realism that few competing systems currently match.
The V51 module represents a significant evolution, with the move away from the Prismatic modelling engine toward deeply multi‑layered sample libraries resulting in sounds that still retain Roland’s bright, slightly processed quality but feel more organic, dynamic and natural. Combined with Roland’s familiar V‑Edit parameters and an expanded effects architecture, the level of control available over individual instruments is exceptionally deep. Although not offering quite the same level of direct functionality and connectivity as the flagship V71, for me the V51 strikes a perfect balance between hands‑on control and menu‑based editing. Dedicated faders for key kit elements, along with a clear, well‑organised front panel, provide just the right level of instant access and control.
The large LCD colour screen allows an increased amount of detailed information to be displayed and is a welcome addition. Colours are used sparingly but to great effect, especially in the Coach pages. And although the V51 provides only four analogue outputs, the fact that the USB‑C connection supports up to 32 channels of multitrack audio, allowing each pad to be recorded individually into a DAW, makes the V51 an extremely capable recording tool.
There are, however, a few minor frustrations. The lack of a bell zone on the VH‑14D hi‑hat remains surprising, and the absence of snare stand, hi‑hat stand and kick pedal means that additional purchases are required. I was also surprised to find that the new PD‑14DSX is supplied only with the VAD516, with the TD516 retaining the earlier PD‑140DS. That said, the PD‑14DSX’s throw‑off mechanism and real‑time control features arguably lend themselves more to live performance, making their inclusion with the VAD516 a logical fit. Personally, I’m not a big fan of the D‑Sub loom connection between pads and module, as any single cable failure implies the purchase of a completely new loom. As I mentioned earlier, having the click and backing playback volume levels controlled by the same knob can also be a little frustrating. However, I do appreciate that having fewer knobs and connections both cuts costs and differentiates the modules in the line‑up.
Even so, these minor concerns do little to overshadow what Roland have achieved here. The TD516 and VAD516 deliver an outstanding combination of playability, sound quality and editing depth, and the expandable architecture through Roland Cloud ensures that the sonic palette will continue to grow over time.
Cloudbusting
One of the more forward‑looking aspects of the V51 module is its integration with Roland Cloud, Roland’s online ecosystem for sound libraries, instruments and expansion content. While the module already ships with an extensive collection of acoustic and electronic kits, Roland Cloud opens the door to a growing catalogue of additional sounds designed specifically for the current V‑Drums platform.
Because all the V‑series modules share the same internal architecture, any expansion kits remain fully compatible across the entire range, regardless of whether you’re using the V31, V51 or V71.
After creating a Roland Cloud account on a computer or mobile device, you can browse expansion packs through the Roland Cloud Manager application. Registering a Roland product grants six months of complimentary access to the available content, after which packs can be obtained either via subscription or purchased as lifetime licences.
Once downloaded, expansion packs can be transferred to the module in two ways. The first is the traditional method: copying the files to an SD card formatted by the module and importing them via the V51’s data‑management menu. The process is straightforward, with the module installing the kits and associated samples directly into its internal library. A more streamlined alternative is provided by the Roland Connect app available for iOS and Android. The app communicates with the module and guides you through linking the V51 to your Wi‑Fi network. Once configured, expansion packs selected in the app can be downloaded directly to the module, without the need for a computer or SD card.
Expansions are stored in the module’s Rack, a storage area capable of holding up to 100 kit and instrument expansions. From there, kits can be loaded into one of six active slots, allowing them to be assigned to user kit locations within the module. Think of the rack as a library shelf and the slots like books you currently have on your desk.
In practice, this can seem a slightly clunky process. However, with the v2.0 firmware update it becomes less of a hands‑on hassle because of the ‘Auto Slot Load’ feature that automatically loads the required Expansion/Kit Pack into a slot when you switch to a kit that uses it. The distinction between rack and slot still exists under the hood, but you no longer have to manually manage that relationship.
Although the current selection of expansions isn’t huge, the available packs include some excellent DW drum and cymbal collections, each providing several preset kits that integrate seamlessly with the module’s factory sounds. Once installed, these kits behave exactly like the internal presets — they can be edited, combined with user samples and adjusted using the full range of tuning, muffling, ambience and effects parameters.
In practical terms, this means that the V51’s sonic palette isn’t fixed at the point of purchase. Instead, the module becomes a platform that can evolve over time as Roland release additional sounds through the Cloud service.
Softly Does It
Although the V51 module itself now incorporates a generous colour LCD screen and a far more modern user interface than previous drum brains, Roland also provide a dedicated V51 Editor application for Mac and Windows. Connected via the USB‑C port, the software offers a graphical editing environment that mirrors much of the module’s internal structure and allows detailed kit editing to be carried out from a computer screen.
The software provides access to most of the day‑to‑day editing tasks you would expect when building or refining a kit. Instruments can be selected and layered, tuning and envelope parameters adjusted, and effects applied, without the need to scroll through pages on the hardware module. The various mixer views present the entire kit as a set of channel strips, allowing level, pan and send levels to be adjusted quickly, in a format that will feel instantly familiar to anyone accustomed to working in a DAW.
The editor does stop just short of being a complete mirror of the module’s internal architecture. Some settings, such as the click configuration and trigger setup, remain accessible only from the module itself, but in practice this is unlikely to be an issue. The only omission I found surprising was the inability to assign instruments to individual outputs.
Even so, the ability to view an entire kit’s structure at once and make rapid adjustments on a large screen is extremely welcome, and something I found invaluable when using the SPD‑SX Pro. For anyone accustomed to working with software instruments, it makes shaping sounds on the V51 feel far closer to editing a virtual drum instrument than programming a traditional hardware module.
One final feature, which adds nothing in terms of functionality but is surprisingly satisfying, is the ability to drag and drop your own image file (JPEG, PNG or GIF) on to the Kit screen to use as a custom kit image within the module.
The VAD516
As well as the Roland TD516 reviewed here, I also had access to the Roland VAD516. In terms of sounds, editing and overall functionality, the two systems are identical, both being centred around the same V51 module. Where the VAD kit differs is in its physical presentation. As part of Roland’s V‑Drums Acoustic Design series, the VAD516 attempts to bridge the gap between electronic and acoustic drums by housing the electronics within full‑size wooden shells and conventional hardware.
The kit follows a traditional five‑piece configuration, with 10‑ and 12‑inch rack toms and a 14‑inch floor tom. Interestingly, the toms use a slightly different internal trigger arrangement from the pads supplied with the TD516. While the three‑cone system helps reduce hot‑spotting and provides consistent response across the head, these pads do not include the positional sensing found on the smaller TD516 tom pads.
Completing the drum set is the Roland KD‑20‑MS, a 20‑inch acoustic‑style bass‑drum shell that delivers the visual impact of a conventional kick drum. Rather than using a full mesh batter head, the design incorporates a central mesh‑and‑foam trigger pad, similar to that used in the KD‑12. The result is a solid, consistent feel under the beater, though it remains slightly firmer than a full‑depth mesh kick drum.
The flagship VAD716 is offered in a range of colours and finishes whereas the VAD516 takes the Model‑T approach: any colour as long as it’s black. To be fair, the finish is called Midnight Sparkle, and its glittery sheen does add a touch of class over the old plain black wrap of the VAD506.
Cymbal coverage is also expanded slightly, with the inclusion of the larger Roland CY‑14R‑T and Roland CY‑16R‑T thin‑profile cymbals. Their increased diameter improves both visual realism and playing feel compared with the more compact cymbals supplied with the TD516.
The most obvious structural difference, however, lies in the hardware. Instead of the integrated rack used by the TD516, the VAD516 is supplied with double‑braced tripod hardware, including two DCS‑30 tom/cymbal combination stands and a DB‑S30 cymbal boom stand. This allows the kit to be assembled using traditional stand mounting, reinforcing the acoustic appearance while offering greater freedom when positioning drums and cymbals. Previous incarnations of the VAD kit provided a clamp to mount the module to the hi‑hat stand. Fortunately, the increased size and weight of the V51 module has necessitated a separate dedicated hardware stand, which is a welcome addition.
With the Roland VH‑14D and Roland CY‑18DR included, you might initially assume the snare is the familiar Roland PD‑140DS. In fact, the VAD516 introduces an updated version, in the form of the Roland PD‑14DSX.
Externally, the pad is almost identical to the earlier model, though it adopts the updated rim design seen on the new TD516 tom pads, with a chrome triple‑flanged hoop and low‑profile rubber protector mounted inside the rim. The real innovation lies in the addition of a throw‑off mechanism and strainer knob, allowing the virtual snares to be engaged or disengaged just as they would be on an acoustic drum.
Although there are no physical snare wires to tension or release, the V51 module mirrors the behaviour convincingly. Disengaging the throw‑off removes the sympathetic snare buzz that normally occurs when other drums are struck, and even alters the character of the cross‑stick articulation. Roland have gone so far as to include samples of the snare wires engaging when the lever is lifted.
Both the throw‑off lever and strainer knob can also be reassigned to control other parameters within the module, including kit selection, click tempo and effects settings. The top of the tension knob also functions as a push‑button control, expanding the available assignment options further.
Taken as a whole, the VAD516 shifts the emphasis of the kit quite noticeably. While the TD516 feels particularly well suited to studio environments where compactness and quick setup are valuable, the VAD516 offers the visual presence and physical familiarity of an acoustic drum kit, making it the more natural choice for live performance.
Pros
- Digital snare, hi‑hat and ride remain among the most realistic electronic pads available.
- New V‑series sound engine offers deep, organic‑sounding kits.
- Mac and PC editor included.
- Large colour LCD improves navigation and editing workflow.
- Roland Cloud support allows the sound library to grow over time.
Cons
- Hi‑hat still lacks a dedicated bell zone.
- Snare stand, hi‑hat stand and kick pedal not included with kits.
- No positional sensing on VAD516 tom pads.
Summary
Electronic drumming has rarely felt this refined at this level. The TD516 combines flagship pad technology with a modern, expandable sound platform that makes it an exceptionally powerful studio instrument, while the VAD516 brings the same capability to a more performance‑focused format.
Information
TD516 £2999, VAD516 £4499. Prices include VAT.
TD516 $3699.99, VAD 516 $5799.99.
When you purchase via links on our site, SOS may earn an affiliate commission. More info...
When you purchase via links on our site, SOS may earn an affiliate commission. More info...
