The thing with better kits is, they are going to have to be VERY careful to make their volumes and velocities match the current ones, so legacy styles need minimal work (if anything at all) to trigger them instead of the old ones.

TBH, if you have styles going back to much older Yamaha arrangers, a certain amount of tweaking is going to be a must... Here's why.

With older kits, there would be one sample per sound. Kick, snare, hi-hats, you name it. So, in effect, you got the exact same sound from a drum part played with low velocities, and high volume, as you got from the same part with high velocities, but the drums turned down low. Not so with modern drum kits. My Roland has up to four samples on some drums, with the samples being harder and harder hits of the drum (which changes dramatically depending on how hard it is hit).

Now, a low velocity part sounds completely different to a high velocity part, no matter where you set the volume! So, you have to tweak your older styles, and reset where the velocity for each drum sits (or raise or lower the entire part, it just depends). This is where Roland's Makeup Tools really shine. Globally, for each style (in other words, unlike Korg you don't have to do this for each Style division, including the chord variations!) you can go in and raise or lower the velocity of each drum sound individually and alter its volume (or do it globally for the entire kit) to better place the velocity of the part in the range where it hits the samples best.

Sounds like a lot of work, but it is pretty fast and effortless, especially when you look at how hard some other arrangers make this basic edit.

Those multi-velocity drums have one other really cool trick up their sleeves, as far as some Roland's go (sadly, not the new BK's, though). Because they alter their sound considerably, there's a feature on the G and E series where the velocity of each part can be offset, positively or negatively, by how hard you are actually playing! So the drummer follows YOUR dynamics, and not so much by volume, but by timbre too. It is quite amazing in practice. Sounds like you have a drummer that listens to YOU!

More arrangers need this, especially as most have vel-switched drums.