![]() ![]() Double‑ply heads: These have two layers, which create a thicker playing surface, and tend to offer 'warmer' tones.However, they're less robust, and more care is needed in a miked-up situation, as the 'ring' is left unchecked. Single‑ply heads: These are thin and are formed of a single layer, generally resulting in higher resonance, longer sustain, a brighter tone and more projection, retaining most of the natural tone of the drum.Obviously, some players already do this, in an attempt to emulate the sound of a particular drummer, but even if you don't want to mimic the sound exactly, it's a good way to learn.Īs a general rule, I tend to think of drum heads in simple categories: they'll be single‑ply, two‑ply, or pre‑damped heads, and will come in either clear or coated form. It doesn't hurt to try to find out what other drummers are using in their setups, either. ![]() What I would say is that you should take time to think about the style of music, what sticks you use and how you play, before you consider the head types and other materials used in the drums. For the less experienced, an un‑damped head may prove to be the best option, simply because this will allow for more adjustments later. Unfortunately, the differences - especially with pre‑damped heads - can be subtle, which means that trial and error is often the only reliable way to discover what works best for you. This can seem a daunting task for the uninitiated, given the variety of heads now available - and you might even find that a different set of heads performs better in a live situation compared with a recording session. For example, if you're a drummer, fit and tune brand-new heads and use them for a rehearsal the day before your recording session - and if you're an engineer, encourage your drummer to do that! This will help stabilise the heads, and will result in a more consistent sound.įor the best sound, though, before you even reach this stage, your preparation should involve choosing the right drum heads. Personally, I'd recommend using fresh, but 'bedded in' heads. Do bear in mind, though, that if your heads are in a severely worn state, it's likely that they've been overstretched and will sound 'dead'. At the very least, a kit should really have seated heads, ready for final tuning, before a session - because undertaking the tuning process from scratch can take some time. It may be an old cliché that time is money, but whether you're paying for a studio, or just want to spend time making music, time does come at a cost of some sort, so it pays to prepare. Maintain some pressure, and tune until the wrinkles have gone. When fitting a head, don't be scared to stretch it a little to help keep a constant tuning. After all, you wouldn't normally damp guitar strings (except with the fingers or palm of the hand when needed), so why should a drum be any different? Preparation There are numerous external damping devices on the market, from manufacturers like Evans and Protection Racket, but I think it is preferable to minimise the need for such devices - because by damping the sound, you'll tend to reduce the quality of tone, and you may only be masking a problem rather than curing it. What follows is a bit of advice on getting a drum setup right, with suggestions for ways to to tackle the aforementioned problems, to make sure your drums are in tune, and to help them to stay in tune.Īlthough you can pick and choose mics and processors to shape the sound of a drum, my main goal with the setup of the drums themselves is to allow them to retain as much of their 'natural' and intended sound as possible. ![]() So it pays to get things right in the studio, even more than when playing live. All drummers will have battled at some time or another with excessive ring, overtones, snare buzz and sympathetic resonance, but when recording, these problems can prove especially frustrating, because you're going to hear every little mistake again and again and again. Most drummers and engineers have experienced difficulties in getting the right sound from a kit: with all the different heads, snare wires, cymbals and mics around, every action in a drum kit will inevitably create a reaction somewhere else. ![]() So, while the materials used in a drum, the thickness of the shell and its size are all relevant, tuning and controlling the sound from the heads is of vital importance, and is worth special attention. The engineer needs to know as much as the drummer about getting this instrument ready for a session.Īpparently, it has been 'scientifically proven' that drum heads are responsible for 80 percent of the sound of a drum. It's heartbreaking when an otherwise great recording is ruined by a poorly set up drum kit. ![]()
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