Drum Lessonsprof Sound's Drum Tuning Bible PDF

Prof. Sound's Drum Tuning Bible...
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Prof. Sound's Drum Tuning Bible

Scott Johnson (a.k.a. Prof. Sound): Now 45 residing in Indianapolis, IN.
USA, played since 13. Raised in the Chicago, IL USA area, owned/operated
first studio at 17. Focus was on Rock, Progressive Rock and Country music.
Had brief personal involvement with Jazz great Louis Bellson. Moved to
Nashville TN at about 20 years of age. Designed and managed the
manufacturing of recording studio electronics for Harrison systems, premier
company for music, film and production studios electronics. Designed and
built wiring systems for touring sound companies as well as speakers and
monitors. Worked with and in a variety of recording studios along with a
number of top country writers that have multiple platinum and gold hits to
their credit. Engineered and did live/studio drumming until 29 at which
time left music started a company which is today recognized as one of the
most technologically advanced recycler's of electronics and plastic in the
world. In '98 start playing again (no live work) and is currently recording
and building a new project/drum studio specifically for drum tracks and
own enjoyment with a focus on Light Jazz and Country.
Any questions, write to me in care of Prof.Sound@butlermacdonald.

com.
file:///C|/EMYR_Documents/Guitar/Drum%20Tuning%20Bible/Prof_%20Sound's%20Drum%20Tuning%20Bible__.htm (1 of 55)08/05/2004 12:31:07

Disclaimer: The drum is an acoustic instrument that has few if any

boundaries to the type tone and expression it produces. The text that
follows reflects my personal experiences with drums and the tuning of the
drum. The knowledge comes from many different engineers, musicians and
technique's learned over a period of some 30 years. The Manufacturers
products listed and trade names referenced herein are not an endorsement
of the company, nor is it an attempt to have you refrain from or
discontinue use of a product. To the contrary, it is an attempt to get you to
think outside the box and in so doing, encourage you to experiment with as
many products as possible. The failure to mention a product does not mean
it's in any way inferior or should not be purchased. Working with sound at
different levels always brings me back to one concept that always holds
true, we all hear things differently. In other words, your idea of acceptable
results may differ from mine, and although I've attempted to demystify the
art of tuning and drum selection, there are no guarantees. Hopefully the
text that follows will be fun and educate you along the way to what's
happening and how to achieve the result you desire.
Table Of Contents
Motivation behind the Drum Tuning Bible Snare Drum
Forward Snare, Construction Brief
Truths of Drums Snare, Drumheads - Batter side
Fundamentals of Tuning Snare, Drumheads - Resonant side
Construction Guidelines, All Drums Snare Unit, General Guidelines
Bearing Edges Snare Drum, Inspection and How to Issues
Shell Depth versus Diameter Snare Drum, Tuning - Method 1 (Fat and
Wet)
Hoops/Rims
Snare Drum, Tuning - Method 2 (Suitable for
Drum Gauges/Dials as opposed to keys Pop top 40 drumming, Not Choked,
Preferred by many studio Drummers):
When to Replace Drumheads

Snare Drum, Tuning - Method 3 (Highly
Resonant, brings the most out of the shell)
Tuning and Seating the Heads, All Drums
Snare Drum, Extra Tuning Guidelines

Learning How, Resonant Side Tuning - The

beginning
Snare Unit, Installation of
Batter Side Tuning

Snare Unit, Sound and The 5 Stages of
Time to Zone
Snare Drum, Tips and Tricks
Results – What They Mean

Snare Unit, Buzz Issues or Sympathetic
Vibrations
Toms, Drumheads - Batter side
Tuning Sequences, Suggested

Toms, Drumheads - Resonant side
Interval and Drum Sizing

Toms, General Head Guidelines
Musical Notes for Tuning, Suggested

Toms, Some selections and characteristic
sounds
How to Tune – Once You Know the Basics
Toms, Tuning Procedure

Microphone Use, In Brief – How they can
affect the sound
Kick Drum, Drumheads - Batter side
Kick Drum Microphone Tricks

Kick Drum, Drumheads - Resonant side
Snare Mic Tricks

Kick Drum, Holes in Your Head or Not
Conclusion
Kick Drum, Pads and/or Pillows
Links of Interest
Kick Drum, Sound of Characteristic Pairing of
Drumheads
Equipment Used by The Author
Kick Drum, Tuning Procedure and Tricks

Motivation behind the Drum Tuning Bible

The musical ability of someone playing drums is not
synonymous with an ability to technically understand it. You don't
have to play at all to know how to tune a drum. Because you are
musically proficient, does not mean you can or know how to explain
how to make a drum sound the way you want it. I felt I could
explain it in a way, which was understandable, and with the detail
missing from other articles and the typical responses on the
subject. I don't know everything, but having been in the market for
a new set and experiencing misinformation at all levels, I felt I
could help transmit accurate knowledge on the art and science of
the technical side of the drum, head selection and tuning issues.
The DT Bible is my attempt to make it readily available, all in one
place to everyone for the price it should be, FREE!
Forward
Admittedly, the guide that follows is geared more toward the
player who is professional or inspires to be professional and wants
to know how to achieve control over the drum and drum set sound
generated. I feel whether you're a beginner or have played 20 years
or more, you'll gain something from it. This is not the type of guide,
which states, "Put 2 turns on one side and then a few more on the
other side". This goes into great detail in an attempt to teach those
who really want to understand what their entire drum set can do
and may have been lost for years wondering why or how certain
things work. It requires time, patience, thinking and work.
If you're looking for a shortcut to great sound, you just may

find it in the knowledge you gain from this article, once you apply it.
Finally, if you read the entire "bible", it should also aid you in
choosing a drum set to fulfill your dreams.
These are some of the issues covered within various sections

of the bible:
● Difference between heads, when to use what.

● How to make drums resonant, fat, punchy, open, less/more
ring.
● How microphones affect the choice of heads.

● The fundamental note of a drum versus pitch and timbre.

● The difference material and construction make in the tuning
and overall drum sound.
● Example head setups and results.
● Snare buzz or sympathetic vibration issues.
● Snare replacement, tension and choice issues.
● How to get more articulation, volume, crack, sensitivity and
warmth from a snare drum.
● Example of tuning sequences and tuning to notes.
● Kick drum muffling and choice of heads.
● Hoops or Rims.
● Bearing Edges.
Truths of Drums
1. The interval between drums is more important than many

realize and size is the key to get even resonance and the
incremental notes between drums. Diameter has a greater impact
on tuning that does depth. See "Shell Depth versus Diameter"
2. The tiniest of movements on the tuning lug "can" make huge

differences and raise pitch drastically, more so with a rigid hoop,
such as cast. Moreover, tweaks of the lugs on the resonant side are
more prone to raising pitch than are ones on the batter side.
3. A sound or tuning, which works for a small venue will not

work as well for a large venue. You have to consider what
component of your sound will carry through to the audience. For
example head selection for microphones will likely be different than
without. A highly resonant kit may be your sound tech's worst
nightmare. While the drummer can be inspired by this tone, a large
venue or recording may result in a very muddy sound due to the
overtones and lingering decay of the drum mixed with all the other
instruments or acoustics. In large venues under close micing
techniques, its typical for drummers to use 2-ply heads because the
sound is more muffled or controlled. You get a shorter burst of
energy, which by virtue of the hall or venue, reverberates or
becomes delayed to the audience. Much the same as large venues
require a more selective or simplistic placement of notes and fills
because the audience does not hear the detail.
4. Get to know the utilization of microphones well if you're going

to use them, even slight alterations in placement make a huge

difference. For example, placing a mic near the outside edge of a
drum can bring out the high-pitched overtones. But move it in just
a ½" and those diminish dramatically.
5. All drums sound different at 0, 15, 50, 150 foot or differing

distances. So what sounds good to the drummer while playing may
be terrible to the audience, in whatever forms the audience takes.
Its important to go out and listen to what your kit sounds like while
the other instruments are playing. Move around and make head
selections and tunings accordingly. A higher pitch enables the drum
to carry more, lower pitches less so.
6. The sound heard from a CD at home is not what a drum really

sounds like but on few occasions. What you hear is usually an
altered version recorded according to what the producer and the
artist wants it to sound like through alterations and to fit the
recording at hand. Sometimes you just cannot duplicate your drum
gods sound without the electronics.
7. This tuning method works for ALL DRUMS.
8. Less expensive does not mean inferior, in some cases, it may

be far superior to achieve the desired end-result. For example a
birch shell or beech shell with flanged hoops, while less expensive
than a maple shell with cast hoops, may provide the feel and
penetrating sound you need on a snare drum.
9. The air hole or vent in the shell is to allow the shell to breath
when two heads are used and atmospheric changes occur, thereby
helping to eliminate moisture build-up. This is a typical problem
moving from cold to hot environments much the same as glass
windows can sweat in your house. The vents have little effect on
tone.
10. Yes, you should stretch heads (within reason) on all drums;
it's called "seating" and is the most important and often most
overlooked step in getting quality sound and consistency out of a
drum.

Fundamentals of Tuning
1. The batter head controls attack and ring while the resonant
head produces "resonance" and aids in sustain, it has a major effect
in the overtones and enhances the timbre of the drum. While the
drummer focuses on the sound coming from the batter side, an
audience hears something completely different and many times,
something inferior to what the drummer hears. If using
microphones, this problem is lessened to some extent because the
microphone is usually placed on the top. But without mic's, the
audience hears a reflection of what the resonant head produces,
more so if you are sitting above the audience, such as on stage.
2. When the drum is hit, the ear hears mostly the attack and the
fundamental pitch of the drum, overtones are washed out at a
distance. Overtones are also an essential component to making the
drum sound carry through other instruments and to the audience.
The drummer should focus on the sound they create, as the
audience would hear it rather than how they hear it in an otherwise
quiet and stale environment. High-pitched overtones are essential
to making a dull drum come to life in the audience.
3. A drum placed upon a soft surface, such as carpet, and tapped

very lightly allows you to hear the point of clarity in a drum and
isolate the overtones and point of resonance.
4. The most inherent sound created from any given head will be
heard by placing a head of identical specifications on the resonance
side. This is due to the ability for polymers of equal thickness
(specification) to vibrate reasonably equal to each other, thus
eliminating phase cancellations, which can cause a tight head to
sound dead or lifeless.
5. As you tune the drum with one side either higher or lower,
you go through "zones" producing one of either clear pitch, phase
cancellation, no sound or a Doppler effect. "Doppler" is where the
drum when hit, descends in pitch from the point of initial attack to a
lower pitch. This also becomes more pronounced when the head is
of a different specification (weight/thickness) and the batter head is
higher/lower in pitch than the bottom head.
6. If the drum is tuned wrong or "seated" incorrectly the first

time a head is mounted, you will likely ruin the head beyond its use
or it will never sound its best. Seating wrong does not always mean

uneven tuning, such as one side tighter than the other. It can also
mean the utilization of bent or distorted hoops and/or poor bearing
edges. Even though the drum has been equally tensioned (such as
that of using tension devises, which measure lug torque or head
tension), inferior hardware and shells problems cause unequal
stretch of the head polymer and/or force the head out of round.
7. Generally, you do not use anything other than single ply on

the resonant side, but there are exceptions.
8. Coated heads are considered "warm" or "mellow" sounding

meaning generally void of the real bright overtone associated with
the "clear" version of equal brand and specification. Clear heads are
considered "bright" or "clear" sounding meaning they bring out as
much of the high-pitched tones of the stick attack and resonance of
the drum. In between these two coated and clear heads in tone
quality is the "ebony" series of heads and is often described as
being a "thicker" or "darker" sound than that of a clear head of
equal specification. Ebony colored heads, while usually chosen due
to aesthetics, has the virtue of being both warm in the overtone
area, yet bright in the stick attack. Coated is probably required if
doing brushwork.
9. Even if you know how to tune, you may not be able to achieve
the pitch and/or resonance desired due to drum sizing and shell
weight. Any given shell has a fundamental pitch and timbre
associated with it and you cannot change that without major
alterations. Head selection can only make the most of the natural
character in the drum. Your job when tuning, is to find that
"fundamental" shell pitch and enhance or detract all the inherent
sounds of that particular drum, it's character.
10. Timbre and note/pitch are not the same. Timbre refers to the
overall character of the drum vs. the fundamental note, which is the
point at which the drum is likely to be most "open" or "resonant" in
tone quality. Know that pitch can be raised or lowered in reference
to say a note on the piano, but the shell resonance doesn't really
change. So a 12" drum of a given material and depth may produce
a note of G up to say a D-sharp ("pitch"), but it may really stand
out around an A-flat ("fundamental" note of shell). The fact that
one drum is "brighter" vs. "warm" is the Timbre.
11. Most Important step in tuning is seating the head. When the
head is first mounted, the objective is to get the head to seat itself
in the hoop and form that all-important bond between the bearing
edge of the drum and the head itself; this is called seating the head

(explained in great detail below). If the head is pulled tighter on

side or is forced out of round, it is no longer centered and will not
vibrate correctly, meaning evenly in tune at all points around the
shell ("in-tune with itself").
12. Bearing edges are hidden from view, little understood by

most drummers and are, without a doubt, the single most
important aspect of the ability (or lack thereof) for the drum to
produce a clear, resonant tone. Even cheaper drums can produce
acceptable tone, provided the bearing edge is true, flat and properly
formed. The most expensive, high-tech set available will produce
poor tone is a bearing edge has been damaged or poorly tooled.
Construction Guidelines, All Drums
To pick the right head to achieve desired sound, you

should consider the inherent character of your drum. All of
what I consider the important aspects of construction is
covered in greater detail as you read through the bible. Here
are some simple rules to know:
1. The rougher the interior, the less resonant the drum. Just like
putting carpet on a wall, rough interiors break-up and absorb
reflections.
2. Thinner shells are more resonant. Because there is less mass,

they are easier to excite, much the same as bending thin wood is
easier than thick lumber.
3. Sharp bearing edges means more overtone and resonance.
4. If the drum is void of obstructions inside, that is, no

reinforcing hoop adhered to the inside; the drum will be more open
and vibrate more freely. Conversely, if the drum has reinforcing
hoops inside, it will have a shorter decay/sustain and a more mid-
ranged presence or attack than unobstructed shells. The reinforcing
or counter-hoop stifles the ability for the drum to resonate, thus
decreasing the low-end along with the very high-end response to a
small degree. Therefore, the unobstructed shell is usually brighter
or with more high frequencies, while the thin unobstructed shell
increases low-end resonance as well.

5. A "better" sound is what you want the drum to sound like and
despite the marketing propaganda; less expensive does not mean
an inferior sound. Low cost drums are usually a "punchy" type
sound due to wood grades used. If recording, this may be exactly
what you want in a drum.
6. Mainstream Material, Wood Sound Explained: First, these are

general guidelines, which are greatly enhanced by the thickness of
the wood used. So if you apply the rules given above, and some
common sense, the following will hold true or aid in choosing a
drum. Maple compared to African Mahogany: Mahogany will have
an approximate 20% increase in low frequency resonance over the
Maple drum, mid and high frequencies will be the same from a
reproduction point of view. Maple compared to Birch: Birch will have
about a 10% loss in reproduction of low end compared to Maple and
about a 20% increase in the high end, with the mid range
remaining about the same. So the Birch kit will definitely be a
"harder" and "brighter" sounding kit. Beech is in between Maple and
Birch. All other Maple colored woods used in laminated shells are
basically there for either structural integrity or looks and do not
have the desired qualities (meaning density and grain structure) of
the above. Mahogany has earned an undeserved bad reputation due
to the use of inferior grades such as Luann on low cost drums for
appearance reasons.
Bearing Edges
For many reasons, this is a very misunderstood area of the

drum. The bearing edge is the part of the drum that the head
should be in contact with at all times and is the essential element to
gaining resonance, or the lack thereof. The problem is, they are
hidden from view most of the time.
If you are using a "vintage" set of drums, or any set of drums

for that matter, first take into account the era or how they were
manufactured and realize that the set was designed to produce a
sound that reflects the designer or that, which may have been
popular with the times.
Anyone can very quickly determine whether his or her set will
be able to be tuned to a point where it can be very resonant,
excluding the abilities of the tuner and head used. If upon further

investigation you determine that your set has been constructed so

that a built-in problem or construction technique exists, rethink
your desire to put new heads on your drums in hopes it will sound
like something in your head because it simply may not be able to be
achieved by changing heads, in other cases certainly changing
heads may work.
By simply removing the drumhead on any given drum, the

answer will be visually right there, staring you in the face. Many
older sets were manufactured with a bearing edge that has
anywhere between a 35 to 60 degree chamfer cut on the interior
side of the shell. On the outer side of the shell, in many cases the
bearing edge is rounded over on the outside and crown area as
opposed to that of the newer manufacturing techniques. Now add a
bent or deformed hoop to this and I don't care what head you pick,
it will always have a "thud" element to the sound. The closer you
move to flatter bearing edge or a bearing edge of 35 degrees on the
outside or inside, or rounded as the case may be, the drum will
exhibit more of the "thud/cardboard" sound. With newer drums,
which usually are a 45 with a very small radius of less than 1/16 of
an inch (some kicks very as do snares), resonance is easy to
achieve and the head selections I have given will hold true. It is the
designers tool to get the drum to produce it's signature sound.
The key is not the shape of the cut as much as it is what

interacts with the head under tension. It's that fine line of an area
right after the head breaks towards the inside of the shell and what
remains in contact or can contact the head underneath and interfere
with the tone around the circumference.
If you take your finger and lay it lightly on the surface it has an
impact on muffling the sound. If the bearing edge has a contact
patch of say .03125" or 1/32nd of an inch, the contact area on a
12" drum head is 1.17 square inches, or the same thing as taking
the tip of your first index finger to the first joint and laying it on the
drumhead. Now if you double that to what seems to be an
insignificant 1/16" (twice my 1/32nd example) can imagine how
little a change in the contact of the bearing edge surface has on the
impact of the sound. In our example, it would be like laying two
fingers on the drum. These kinds of differences can make big
changes in the tone of the head. So again, its not so much the
angle or being double cut (although this can determine where the
bearing edge falls on the head), its what contacts the surface at
tension and the treatment of the crown of the edge. A 35-degree
cut allows greater contact thus a drier sound vs. a 45, which can be
a more resonant sound. Many snares purposefully use a 35-degree
cut. Sharper or steep is not always better; it depends upon what

you want.
Then you have the limitations of what the wood and how it will
tool to consider, which ply it falls on, etc. I leave any tooling of a
bearing edge up to a professional because it's easy to get flat spots
or inconsistent angles without proper tools or fixtures.
So my advice is that before you spend, spend, spend on new

heads, take 10 minutes and really observe what you have in the
bearing edge department. It will not be enough to see 2-45's
degree angles on the drum. They must be even, very even. The
drum must be round, very round. They must be consistent in that
the profile is the same all around. For example, a round over of
1/16 in one area and a round over of 1/8th in another is a sure sign
of trouble. If one of the chamfer cuts looks wavy, the round over
will not be consistent nor will it be truly round. The drum must also
sit flat on a hard surface. Lay black paper on a flat hard surface and
shine a light from the inside to check. If everything is consistent,
this is the mark of a good candidate to get tone from the shell. If
not, before you spend money on heads, consider spending the $30
to $60 per drum to have the edges re-cut. It's money well worth it..
Shell Depth versus Diameter
Note this Correction: The recent version of the Drum Tuning

Bible that appeared here prior to January 23rd, 2000, under this
section, inadvertently stated the value for square inch of shell area
as a value equal to cubic inches. I apologize for the error and this
section is now correct. (Prof.Sound)
The shell depth while having an impact on the warmth or

resonance of the drum has a greater impact on volume and
articulation. The diameter has a far greater impact on creating
lower pitch. Greater depth increases volume or power by having an
impact on resonance of the fundamental note of the shell. A
shallower shell creates a shorter burst of tone and makes a drum
more articulate by virtue of the fact that the quantity of surface
area of the parent material (i.e. the shell) is lessened and therefore
cannot resonate as much as large surface area. Less distance
between heads means the opposite head (i.e. Resonant head)
reacts quicker, or gets excited faster when striking the batter head,
it responds better to softer playing. For instance, a 22" diameter

kick drum of 16" in depth has a shell area of approximately 1,106

square inches. A 22" diameter kick drum of 18" in depth has a shell
area of approximately 1,244 square inches, or a 12.5% increase in
area to resonate. Take that same thought to a 10" tom with a 9"
depth. This results in a shell area of approximately 282 square
inches versus one with an 11" depth, which results in a shell area of
346 sq. in. That 2" increase in depth is now a 22% gain. The deeper
the shell, the more likely they are to produce a deeper or warmer
sound because of resonance ability, but this should not be confused
with a low tuning.
As for diameter, you have to think about your approach to

tuning and overall sound desired. This further explained in the
sections "Musical Notes for Tuning, Suggested" and "Interval and
Drum Sizing".
Hoops/Rims
1. Die Cast Hoops: Thicker and stronger then triple flanged

stamped hoops with an ability to allow more even tuning of the
head and as a result, the head is usually more responsive
throughout the tuning range with less varied overtones. As such,
may create a slightly drier sound on thin shell, small sized drums
due the weight of the rim causing the drum to vibrate less freely.
They can also be made out of differing materials such as nickel or
aluminum and all aid in changing the sound of the drum.
2. Triple Flanged or "stamped" hoops come in a variety of

metals, which affect the tone of the drum. The thinner they are the
more difficult they'll be to tune with. Many drummers prefer these
on toms because of the ability to tune "fatter" or "warmer" than
with cast. Aluminum makes for a higher pitched tone than does
steel and as a result is used on snares quite a bit for a great
"crack". Brass makes the drum more musical and aids in the
presence or high-pitched overtones.
3. Wood Hoops have the virtue of being either rigid or flexible,

depending upon the manufacturer's thickness of the hoop. As a
result, they can take on the tuning characteristics of a cast hoop if
rigid or flanged hoops if thin in construction. However, the rimshot
sound is considerably different and acts like an extension of the
shell so the drum is usually both more resonant and brighter.

4. Less lugs means fatter tuning and more complex overtones.

The longer the interval between lugs the less likely you are to get
the head tuned evenly between lugs.
5. A hoop of "rigid" nature results in a head, which can be tuned

more evenly between lugs and will accentuate the imperfection in
your drum if out of round or bad bearing edges. Sometimes, this
causes a drier or more muffled sound as a result of inferior bearing
edges.
Drum Gauges/Dials as opposed to keys
These are essentially tension or torque measuring devices that

do have their place in the scheme of things. But the best gauge on
the market comes packaged on each side of your head, which are
your ears (god forbid your missing one).
Some of the best drums on the market are being intentionally

manufactured with lugs that cause resistance. The resistance
induced by the lug itself can fool a gauge that measures torque.
Further, devices that measure tension can and are fooled by thicker
versus thinner heads. Especially when you consider the film used is
not always exact in thickness from edge to edge, due to
manufacturing issues. And, finally, if you've spent much time tuning
by ear, you know that it's not uncommon to have a few lugs feel
loose compared to others, it's the pitch at each lug, NOT THE
TENSION OR TORQUE that counts. So where do the gauges fit in?
Gauges can cut several minutes to hours off of tuning time,

and here's how. The seating of the head cannot be effectively
accomplished by the use of a gauge; it must be done manually, and
then detuned. At this point you should find the tuning of the desired
drum without a gauge and use you ears. Place the gauge on the
drum and record the settings created at tension and pitch. When
replacing heads, you can seat by had, detune, place the gauge of
your choice on the drum and very quickly get the drum reasonably
in tune. Tweak by hand and even the head out to itself so that pitch
is the same lug to lug.
Know that anytime you change brand of head, drum, thickness

of head, or the manufacturer changes it's manufacturing technique,
you should start over by hand and record the settings. And

remember, the bigger the venue, play less and tune higher, so you
might have several gauge settings.
When to Replace Drumheads
There are several indicators that determine when a

drumhead should be replaced. Now keep in mind, I'm talking
a "purist" and "practical" point of view here. Outside of the
obvious, when there's a hole in the head, most heads will
always produce a sound. The question is, what sound? So in
some cases, you'll have to be the judge of when, enough-is-
enough. But here are some simple guidelines:
1. When the coating begins to wear off. If you have used the
head to the point the coating wears, it's very likely that you are
tuning to a very high-pitch, are a very heavy hitter or the head has
just been on the drum a long time. As a result, point 2 (below) now
comes into play.
2. When the head is removed from the drum, it exhibits a dished-

out or dented appearance. This is the indicator that the head has
been stretched beyond its limits, tuned to the point where not much
elasticity is left, or it's just been abused. Without a doubt, it's time
to replace that head.
3. When attempting a low-pitched tuning (assuming you have

properly seated the heads as described in the section "Learning
How, Resonant Side Tuning – The Beginning") the drum will not
give the desired pitch due to a distorted sound or buzz. This is an
indicator that the head has begun to stretch and as such, is no
longer capable of remaining in constant contact with the shell. On 2-
ply heads, this can occur sooner due to the upper ply stretching at a
different rate than the bottom ply. The head may not be completely
spent, but you may have to use a higher tuning from this point
forward or as an alternative, you might try reseating the head while
using the hair dryer as explained in the procedures.
4. When you have changed venues such as now playing either a

smaller, larger, less or more reverberant venue. A sound or tuning,
which works for a small venue will not work as well for a large
venue. You have to consider what component of your sound will
carry through to the audience. For example head selection for

microphones will likely be different than without. A highly resonant

kit may be your sound tech's worst nightmare. While the drummer
can be inspired by this tone, a large venue or recording may result
in a very muddy sound due to the overtones and lingering decay of
the drum mixed with all the other instruments or acoustics. In large
venues under close micing techniques, its typical for drummers to
use 2-ply heads because the sound is more muffled or controlled.
You get a shorter burst of energy, which by virtue of the hall or
venue, reverberates or becomes delayed to the audience. Much the
same as large venues require a more selective or simplistic
placement of notes and fills because the audience does not hear the
detail.
5. When you just want to experiment.
Tuning and Seating the Heads, All Drums
This tuning procedure works on all drums, toms, snare and

kick. Below, after this Tuning and Seating the Heads section, are
specifics related to each drum. That is, a section for toms, kick and
snare that gives specifics about the tuning tricks and head
selection.
To get to know how this procedure works, I recommend you

typically start with a 12" drum. Do not get learning how to tune
confused with the tuning of the set. When tuning a whole set, you
may want to begin differently and that is covered below under
"Tuning Sequences, Suggested", but first you need to understand
how to get the most out of your drum. That is the focus.

Learning How, Resonant Side Tuning - The

beginning
Assuming you have inspected your bearing edges as

described under of all things the section entitled "Bearing
Edges", you can begin as follows:
1. Pick the heads you wish to use from the section related to
Toms, Kick or Snare Drum.
2. Read that section completely, then return to this section and

apply any specifics you wish from the respective Tom, Kick or Snare
Drum section.
3. Remove both old heads completely, it's important for this

procedure to work. Once you know the relative tuning capability of
the drum, you will not always have to remove both reads.
Remember, the objective is to find the true capability and tuning
range of each drum.
4. With heads off, thump on the shell with your hand or butt end
of a stick and trace down any abnormal vibrations. If the lugs buzz,
you can remove them and see if stuffing cotton (backed by some
felt if the spring or lug threads are exposed) into the lug retainer
will help stop the buzz. You can also look at putting some thin sheet
rubber or felt and placing it between the lug casing and the shell.
5. Set the drum on a carpeted surface, batter side down and

either put the bottom head on or proceed as follows.
6. It's important to tighten all rods just to the point where

contact is made with the washer or rim. If your lugs move freely,
you can use your fingers here or in the case where the lug is
manufactured where there is resistance in the turning of the lug
beyond a few turns, you'll have to use a key. In any event, once
contact is made with the washer/rim, back-off 1/4 turns.
7. Next, take two keys 180 degrees apart and tighten in half turn
increments together until you've put 3 complete turns on all rods of
the drum. We are now "Seating" the head, the musical note is not
important.
8. Lift the drum up a few inches and hit the head once and see if

it is a distortion free sound. If not give each lug another 1/2 turn
and repeat until the drum is distortion free. Do not be afraid to
really tighten the head above a normal playing pitch, it is essential
that the head produce a clear undistorted tone before proceeding.
9. Next, with the drum back down on the carpet, tap with the
drum key, lightly, about 1 to 1-1/2" from the edge, in the same
place at each lug. LISTEN to the resonance of the tap and even out
the lugs so the head will be "in tune with itself", the order is not
very important here. DO NOT EVER TUNE DOWN TO A NOTE, TUNE
UP. By this I mean, if a lug is too high detune below what you are
trying to achieve and then bring it back up to pitch.
10. If your heads are not made by REMO, go to the next step. If
you are using glued heads such as the REMO heads, remember the
current pitch the head is currently at. Now push down with light
force directly in the center of the head to crack the glue joint. You
aren't trying to push the head through the drum, so ease up. We're
talking about maybe a ¼" depression here. Then tune back up to
that pitch you so willingly remembered and even out the head so
it's in tune with itself again.
11. Next, either let the drum sit 12 hours or take a hair dryer
and warm (not real hot) the perimeter of the skin. Go around 2 to 3
revolutions with the dryer on high with the dryer about 2-3" off the
surface. It should take maybe 8 seconds to go around a 12" drum
one time with an average hair dryer. This sets the skin/hoop/collar
and finishes the "seating" process. Note this makes a difference,
especially on 2-ply or thicker heads, try one with and one without
and I think you will agree.
12. Once set and cool, with the drum still on the floor, loosen as
you tightened with 2 keys in ¼ turn increments just to the point of
no resonance.
13. Place the drum up in/on its stand or hold by the rim. Begin
tightening evenly and successively on each lug in 1/4 turn
increments. Go around once, even out by tapping and then strike
once in the center. Don't be afraid to use 1/8 or 1/16 turns either.
We're looking for the point where you tune just until you get a low
and clear tone. STOP AT THIS POINT. For the head you selected,
this is the lowest pitch this drum will ever go. If you haven't got a
clear tone, go back to step 5 and tighten it up higher and reseat the
head. If you've gone around several times and the head is moving
up in pitch but the tone is distorted, something is wrong. Either it's
a bad head, bearing edges or the head didn't seat. I'd leave the

head under tension for 24 hours and try again. I have found that
the problem goes away many times overnight, I don't know why. If
you can't wait, try another head or try taking the pitch way up and
use the heat again before you tune it back down. In any event, if
you achieved to lowest clear note, STOP! I suggest you not tune
any higher than this lowest note at this time.
Go to "Batter Side Tuning".
Batter Side Tuning
Assuming you have inspected your bearing edges as

described under of all things the section entitled "Bearing
Edges", you can begin as follows:
1. Pick the heads you wish to use from the section for the Toms,
Kick or Snare Drum.
2. Read that section completely, then return to this section and

apply any specifics you wish from the respective Tom, Kick or Snare
Drum section. Remove the drum from its stand and set it (now the
resonant head) down against a carpet to void the drum of the newly
installed resonant head from what else, resonating.
3. Seat the Head: Install the top head in the same fashion as
you did the resonant head and seat the head. Remember to push
on glued heads.
4. Detuning procedure: Loosen as you tightened with 2 keys just

to the point of no resonance.
5. Set the drum on a carpeted surface, batter side down and

either put the bottom head on or proceed as follows.
6. Hold the drum by the rim and hit it, ideally, it should sound
the same once back on the holder. If it doesn't, try extending the
position of the tom out a little more on the holder. If this doesn't
help, you might be a good candidate for something like the
aftermarket R.I.M.M.'s mounting system if it sounded better by
holding in your hand.

Go to "Time to Zone".
Time to Zone
It's time to proceed up through the tuning zones to get

the most out of the drum. Focusing on the batter or top
head, proceed and tune, never go in larger increments than
1/4 turn on the way up, 1/8 turn per lug preferred. Always
stop and hit between a full round of lug tightening and make
sure the heads in tune with itself. You will go through
phases where the drum sounds good then sounds bad for a
couple of turns and then suddenly the sound opens up again.
You can usually do this for 2 zones and then the top head
will go dead and have a high overtone/ring. While pitch may
continue to change, the drum continues to have no real life
to it. At this point you've gone too far with the top head,
back off 1/4 to 1/2 turn (again make sure you tune up to the
pitch not down).
1. If you want a pitch higher than this "high" pitch you achieved,
go to the bottom head and tighten each lug 1/8 to 1/4 turn each
lug. After this you can increase the pitch of the top head again for
another 1-2 steps. When tuning in this manner, you'll experience
the "Doppler" effect at certain phases in the tuning meaning the
drum when struck will have a descending pitch. This tells the
drummer/tuner that the effective pitch for that drum has yet to be
achieved, but some like this sound and stop here. As you move up
out of that phase of the zone, you'll reach a point where the drum
evens out, the Doppler is gone and the drum becomes open and
even in sound. This is the point where both heads are or are close
to being identical in pitch.
2. Beyond this point, the drum will go dead again and you have
to repeat with the 1/16, 1/8 or 1/4 turns on the bottom or resonant
head to effectively raise the pitch of the drum and move up again to
another zone and repeat the procedure.
Go to "Results – What They Mean".

Results – What They Mean
1. Somewhere in the tuning there is a point where each drum

will sound most resonant – when everything is related. At this point,
that's the fundamental frequency of the shell, the sweet spot. Each
drum will have one of these. If two different sized drums are close
in this fundamental pitch, you'll likely better understand the
importance of the increment sizing from one drum to another. You'll
likely have to compromise and change the tuning of both drums +/-
in pitch as a result to make them the same in character.
2. By applying the correct heads and methods, the text that

follows can teach you how to tune to intentionally make the most
resonant drum less resonant thereby eliminating most if not all
muffling devices that are applied to the interior and exterior of the
drum heads surface. For example you might lower the batter and
raise the resonant (or visa versus) causing a phase shift and the
drum may go either dead or more open depending upon where you
are in the zone. People often accomplish this same thing by
loosening one lug. Although I find it is better to move all the lugs by
a certain amount. This way you don't run the risk of destroying the
head. The best way to achieve a good tone from a drum is through
tuning. Many, albeit less experienced players, tend to rely on
damping devices as a cure all, rather than proper tuning.
Nonetheless, plastic rings, felt, rubber, gelatin devices (dampening
devices) all can be excellent products used wisely, such as when
you don't have time to tune properly, or are having trouble tuning.
3. Taking the resonant head and tuning to the lowest note, and
then detuning a slight amount (1/16 to 1/8 of a turn) creates a "fat,
loose or dark" drum sound. The batter head is then used to alter
the pitch. Note that the pitch for a "fat" tuning can be somewhat
limited.
4. For more "punch or attack", the resonant head is raised in

pitch by a small degree (1-3 notes) over the pitch the batter head is
at.
5. To create an "open, resonant" sound, both heads should be of

equal pitch. Use of a clear head will result in a more "open" tone.

Toms, Drumheads - Batter side
I have, for simplicity, categorized the drumheads into 5

different categories. Certainly within each category there are
differences in the timbre of the head used. Most are subtle to very
subtle tonal differences within each category, and usually can be
used interchangeably. For example, a REMO Ambassador coated will
sound very similar to an Evan's G1 or Aquarian Satin Texture
coated. However, there are differences in the wear factor of the
coatings. It is widely accepted that the coating on the Aquarian
heads does last longer than those of the others, but keep an open
mind because manufacturers are improving their lines all the time.
Coated heads are considered "warm" or "mellow" sounding

meaning generally void of the real bright overtone associated with
the "clear" version of equal brand and specification. Coatings vary
depending upon manufacturer, and some manufacturers have
created heads which give then a very unique characteristic. For
example, REMO offers the Renaissance series which gives the head
sort of a less resonant but midrange presence to the sound whereas
the FiberSkyn heads have a much more mellow tone to them.
Coating vary from brand to brand so much that they not only offer
a sound that separates one brand from another, but wear
characteristics are effected as well. In most cases, REMO will be a
warmer coating at the expense of faster wear. Aquarian is on the
brighter end of the scale, but their coating will outlast most
everyone else's. Evans sort of strikes a medium balance between
REMO and Aquarian. So these are just general rules and you should
try them all to see if you hear any differences?
Clear heads are considered "bright" or "clear" sounding

meaning they bring out the high-pitched tones of the stick attack
and resonance of the drum. "Ebony" or black heads are in between
the sound of coated and clear heads in tone. They are often
described as being a "thicker" or "darker" in sound than that of a
clear head of equal specification. Ebony colored heads, while usually
chosen due to aesthetics, have the virtue of being both warm in the
overtone area, yet bright in the stick attack. Coated is probably
required if doing brushwork. Hazy heads are generally both "bright"
and have a stronger "midrange presence" to the sound. "Glass"
heads are both brighter and drier than Hazy or other pigmented
heads. In all cases thicker heads will be mellower and less sensitive
than that of the exact same thinner counterpart. For example, a
REMO Diplomat Clear will be brighter and more sensitive than a
REMO Ambassador Clear, the Ambassador being thicker than the

Diplomat and both being single ply.
Category 1 – Sensitive, good stick feel, open sound with good

sustain and resonance. Single ply, unmuffled medium weight such
as REMO Ambassador, Renaissance and FiberSkyn FA, Aquarian
Satin Texture Coated, Classic Clear and the Evans G1 series, to
name a few.
Category 2 – A more mellow tone compared to single ply with

overtones becoming less prevalent on the initial attack, stick feel
and sustain are reduced slightly; A sound similar to placing an "O"
ring around the head. Comprised of either single and 2-ply muffled
or heavy weight heads, these can help warm up or round out the
tone, yet retain an element of sustain with minimal high-pitched
overtones. This would include heads such as the REMO Emperor (2-
ply), Evans G2, Aquarian Response and Double Thin, PowerStroke,
FiberSkyn F1 and the Aquarian Studio-X series. All of these have
slightly different characteristics. For example, the Aquarian Double
Thin will be a bit more sensitive than will the Response series.
Category 3 – Muffled and suitable for heavy wear concerns.

This category is sort of a mixed bag, which I was tempted to
separate. But everyone has their idea of what "muffled" means, and
these are all muffled to some degree. Two-ply muffled or wear
resistant heads like REMO PinStripe, or Performance II or in most
cases, anything with a "Power dot" on it, these produce a very short
initial attack coupled with a very short sustain.
Characteristics can be quite different in this category due to

the application of control rings (or the lack thereof) around the
outer circumference. For example a REMO "CS" or Control Sound
head can have a thick sounding attack and be wear resistant, but
still contain high-pitched overtones due to the applied dot but no
other control rings. Whereas an Aquarian Signature series Carmine
Appice tom and bass drumheads feature an extremely thin Power
Dot on top and a Studio-X style muffling ring underneath, which
gives both a thick sound and choke high-pitched overtones. Both
are suitable for heavy hitters who need wear resistance but the
resulting sound is quite different.
Category 4 – Very dry heavy muffled. Heads with an oil barrier

such as the Evans hydraulic or the REMO PowerStroke4. These
heads are the most inherently "boxy" or "dull" of any. Almost void
of much inherent sustain on their own. However, with higher
tuning, can exhibit some form of sustain and resonance, depending
upon the type of bearing edge you may have on the drum?

Category 5 - Single ply, unmuffled and thin in weight. The

REMO Diplomat pretty much locks up this category for tom batter
heads. These are usually only suitable for a light touch or Jazz type
situation where feel and sensitivity are of the utmost importance.
See the section "Toms, Some selections and

characteristic sounds".
Toms, Drumheads - Resonant side
Note, you can obviously use any head but it is usually

preferred to use a single ply head.
1. Thin resonant heads: Heads like REMO Diplomat batter,

FiberSkyn 3 FT/FD, Aquarian High Frequency and Evan's Genera
Resonant or Glass Resonant heads.
2. Medium weigh heads: Heads such as REMO Ambassador,

Ambassador Ebony and FiberSkyn FA, Aquarian Classic Clear or
Satin Texture Coated and the Evans G1 series. These will have less
sustain than the thinner counterparts such as the REMO Diplomat or
Evans Glass or Genera Resonant. Knowing the inherent sound of
each head and how to combine the heads and tune makes the
batter head all that much more adequate when trying to achieve a
sound.


Toms, General Head Guidelines
1. To get the volume and as much sustain back as possible when

using muffled, two-ply or hydraulic heads, use thin heads on the
resonant side.
2. For a warmer sound use texture coated versions of the above

and warmer still, move into the single ply medium weight heads
such as the Ambassador, Evan's or Aquarian Coated heads.
3. Use a muffled head on the resonant side to kill sustain and

overtones yet retain the stick response and attack of a single ply
head on the batter.
4. The sound of the ebony series of heads is between clear and

coated. It is usually described as "darker", which to my ear means
not quite as prevalent in high pitched overtones as a clear head, but
more prevalent in overtones than texture coated.
5. The more coating without muffling the warmer the sound will
get.

Toms, Some selections and characteristic sounds
1. Medium weight, single ply such as REMO Ambassador,

Aquarian or EVANS G1 coated top/same on bottom. Very resonant,
high ring can be very prominent, very good sustain, excellent stick
response. Clear on top even more open. This is what a large portion
of jazz, country and light rock guy's use. Tuning can control ring
easily. Popular recording choice. Coated provides a nice sibilance to
the stick attack while clear provides predominate midrange attack.
2. REMO PowerStroke 3, FiberSkyn FA or Emperor, Aquarian

Studio X; Coated or Clear on top with REMO Diplomat Batter Clear
or EVANS Genera Resonant Clear bottom. Very resonant, almost
void of high ring but very good sustain excellent stick response. A

classic light jazz studio sound without mics. For a little warmer
sound, use a medium weight coated head on the bottom or Ebony
series. Used with some lower end bass heavy mic's in close mic
situations, the sound can be almost too round due to "proximity
effect (see "Microphone Use, In Brief – How they can effect the
sound:" below).
3. Emperor, FiberSkyn F1 or Aquarian Double Thin on top with a

medium weight single ply on the bottom. Good combination that
sort of bridges the gap between medium hitters and hard hitters
without much of a sacrifice in sound and stick response. Warm
sound yet can be resonant with some high pitch character.
4. Pinstripe, Aquarian Performance II or EVANS G2 top and a

thin single ply like REMO Diplomat or EVANS Genera Resonant Clear
bottom. Less resonant than above, much more stick attack sound,
some light to no high ring but very good sustain and attack with
good stick response. For a fatter/wetter sound, try keeping the
bottom head at or slightly below it's lowest fundamental note. This
combination or the one below is a very good selection for fat
sounding drums. Again, for a little warmer sound, use a medium
weight coated head on the bottom such as an Ambassador or
equivalent. Another good recording choice for a more isolated
sound.
5. REMO Ambassador, Aquarian or EVANS G1 coated top and a 2-

ply head on the bottom such as EVANS G2. Longer fundamental
note than the above combination and almost completely void of
high ring with short sustain and excellent stick response.
6. Evan's G2 or any other 2-ply muffled head on top and bottom,

close to the dead sound of late 60's early 70's, a very short tone
and not real great stick response. Tuned high in pitch, overtones
can come back with a vengeance.
7. Hydraulic heads top/bottom, like throwing a towel over the

drum, "boxy" sounding, thud. Using a highly resonant head such as
the Evan's Glass or Genera Resonant adds back some life. Some
report this works good in high pitched tuning situations although I
have no personal experience with drums tuned this way. I have
however, used them in the low tuning ranges and the sound is as I
have described.

Toms, Tuning Procedure
Follow that listed above under "Tuning and Seating the

Heads, All Drums". Specifically you should proceed in this
order:
1. Learning How, Resonant Side Tuning - The beginning:
2. Batter Side Tuning:
3. Time to Zone:
4. Then follow-up with Results – What They Mean:
Kick Drum, Drumheads - Batter side
Coatings and material type are as described in the

section "Tom, Drumheads - Batter side". There are some
similarities here to that which is used for a tom. But there
are also some real differences such as the Evan's EQ and
Aquarian Regulator series.
1. Single Ply – No muffling: Any head on par with the likes of

REMO Ambassador, Ebony series, FiberSkyn 3 FA, Aquarian Classic,
Aquarian Signature Series Jack DeJohnette, Evans EQ1, EQ4, etc.
2. Muffled head, 1-ply: Any head on par with the likes of REMO
Ambassador, Ebony series, FiberSkyn 3 FA, Aquarian Classic,
Aquarian Signature Series Carmine or Vinny Appice, Studio X,
Impact I, SuperKick I, Evans EQ1, EQ4, etc.
3. Muffled head, 2-ply: Any head on par with the likes of REMO
Pinstripe, Evan's EQ2, EQ3 or hydraulic, Aquarian SuperKick II
See the section "Sounds, Kick Drum Characteristic

Pairing".

Kick Drum, Drumheads - Resonant side
1. Single Ply – No muffling: Any head on par with the likes of

REMO Ambassador, Ebony series, FiberSkyn 3 FA, Aquarian Classic,
Ported Bass Drum Head, Evans EQ1, UNO 58 1000, etc.
2. Single Ply – With muffling: Any head on par with the likes of
REMO PowerStroke 3, Aquarian Regulator, Evans EQ2, EQ3, etc.
Note that most of these come with a choice of a 4-1/2", 5", 7" or no
hole.
See the section "Sounds, Kick Drum Characteristic

Pairing".
Kick Drum, Holes in Your Head or Not
1. Any hole larger than 7" is like having no head at all on the
drum.
2. A 7" hole creates the feel of a one-headed kick drum, feeds

more beater attack direct to an audience and provides some of the
tone of the resonant head. Further, it's easy to position a mic and
change internal muffling devices, if used.
3. A 4-1/2" or 5" hole, or even 2 such holes, offset, allows some

relief for rebound control of the kick beater, contains more of the
drums resonance so that the resonant head is more pronounced in
the tuning of the drum. A 4-1/2" hole is difficult to get large mic's
positioned within (but can be done) and/or internal muffling altered.
4. No hole, very resonant, creates more bounce or rebound from

the kick beater. It can become difficult to get the "slap" of the
beater and resonance of the drum both when miced with one
microphone. The muffling remains inside. The resonant head is very
predominant in the overall sound.

Kick Drum, Pads and/or Pillows
1. One pad or pillow, or anything that cover a calculated 15-20%

coverage against Batter head only: Beater attack accentuated, tone
and sustain linger.
2. One pad or pillow, 15-20% coverage against resonant head

only: Beater attack will be lessened, tone and sustain develop as a
short burst of energy followed by some bright overtones.
2. One pad or pillow, 15-20% coverage against Batter head and

Resonant: Beater attack accentuated, overall volume diminished a
bit, tone and sustain become focused, overtones diminished.
2. One pad or pillow, 25-30% coverage against Batter head and

15-20% coverage of Resonant: Beater attack becomes much
sharper and accentuated, overall volume does not diminished much
more than the above, tone and sustain become even more focused,
overtones all but gone. When used with a single ply muffled batter
head, easy to get very sharp sound. Good choice for mic use.
2. One pad or pillow, 25-30% coverage against Batter and

Resonant: A very focused sound, which becomes ideal for close
micing of a kick drum. Beater attack becomes as sharp as it gets,
overall volume does not diminished much more than the above,
tone and sustain become short bursts of energy that when listened
to without a mic, seem lifeless. A distinct "punch" sound.
Kick Drum, Sound of Characteristic Pairing of

Drumheads
Note all tone and muffling characteristics from the

following heads can be altered by the use of pillows/pads
described in the section "Pads and/or Pillows" or the use of
a hole in the drum head described under the section "Holes
in Your Head or Not". Coatings and material type are as
described in the section "Tom, Drumheads - Batter side".
There are some similarities here to that which is used for a
tom. But there are also some real differences such as the
Evan's EQ and Aquarian Regulator series.

1. Single ply unmuffled Batter and Resonant: Open tone, bouncy

feeling, highly resonant, ringy,
2. Single ply muffled Batter, Single ply unmuffled Resonant:

Attack of the beater pops out, open tone, highly resonant,
overtones diminished a bit on the initial attack but linger on the
sustain
3. Single ply muffled Batter and Resonant: Attack of the beater

is heard more, a dense but not quite a focused sound, overtones
controlled but still there. Typical combination is the REMO
PowerStroke 3 batter and resonant, or for a bit more low end try
Evans EQ4 Batter paired with REMO PowerStroke 3, Evans EQ2 or
Aquarian Regulator Resonant.
4. Single ply muffled Batter and 2-ply muffled Resonant: Attack

of the beater pops out, wide focused sound, overtones controlled.
Typical combination is the REMO PowerStroke 3 batter with
Pinstripe, Evans EQ3 or Aquarian SuperKick II Resonant.
5. 2-ply muffled Batter and 2-ply muffled Resonant: Very

focused and punchy attack, narrow focused sound, overtones very
controlled (may need no pillows/pads). Typical combination on both
the batter and resonant would be REMO Pinstripe, or Evans EQ3 or
Aquarian SuperKick II.
Kick Drum, Tuning Procedure and Tricks
1. The same tuning procedure works on the kick drum as well.

Simply follow the procedure listed above under "Tuning and Seating
the Heads, All Drums" and take into account the following points as
well.
2. A Typical tuning method is to have the batter head control the

attack portion of the sound and the resonant head to control the
"sustain" portion of the sound.
3. For more punch, tune the resonant side up in pitch 1-2 notes
from the batter. Tune entire drum up in pitch.

4. For a "plastic" sound, use single ply batter heads tuned just to
a point of the lowest note and detune ½ turn on each lug. A hard
felt beater without a patch works well. If you go to wood or plastic
beaters, use the patch.
5. A fat kick drum is achieved the same way a "fat" tom sound is
achieved. Taking the resonant head and tuning to the lowest note,
and then detuning a slight amount (1/16 to 1/8 of a turn) creates a
"fat, loose or dark" drum sound. The batter head is then used to
alter the pitch. Note that the pitch for a "fat" tuning can be
somewhat limited.
6. For a short "open" burst of resonant tone, followed by a

muted overtone, try using one of the EQ pads placed loosely against
either head so that when the beater strikes the head, the upper
portion of the pad (the "hinged" section) floats away from the head
yet returns quickly. You can effect the duration of the sound by the
positioning of the pad. This also works when using 2 pads where
one remains firm against the head while the other on top or against
the other head provided the "hinged" sound.
7. Don't have a pillow or pad? Try using strips of felt or cotton

sheet material of varying inches in width placed near the center of
the drumhead, these get held on by the head, stretch them tight.
As a guide try 4.5" on a 20"; 5" on a 22"; 5.5" on a 24". Used on 1
head, this is the equivalent of 25-30% coverage or like two EQ pads
per head. Also, a towel rolled up and taped to the inside bottom of
one or both heads works. An old feather pillow or folded blanket
works equally well. Be creative! Anything that "lightly" touches the
head will work, if done in the same percentage of cover given above
in "Pads and/or Pillows". For that "hinged" sound, try a towel or
cloth taped to the head on just the upper edge so that it floats on
and off the head with the beater strike.
8. Get the drum up off the floor as much as your pedal and spurs
will allow for more resonance.

Snare Drum
Tuning the snare is not different than with any drum, it's
just complicated or enhanced by the shell choice and snare
wires. Lets start with what the shell tone is because from
this you better understand the enhancements and limitations
inherent in the drum shell tone prior to head choice.
Snare, Construction Brief
1. Brass: A very sharp edge to the sound and very rich with
mellow overtones.
2. Steel: A step more towards bright with a very pronounced

ring, allot of body and longer decay than brass.
3. Aluminum: Clear, open sounds with bright, crisp overtones

and is capable of incredibly loud rimshots.
4. Bronze: A close cousin to brass with the overall character of

woods, can be loud, a good all around drum.
5. Copper: A close cousin to the Aluminum drum only slightly

warmer.
6. Anything Hammered: Same overall characteristics as the

parent material, only slightly less resonance to varying degrees.
7. Metal Thickness: The 1mm shells are not as low to mid range
resonant as thicker shells such as 3mm plus.
8. Metal Cast Drums: Very Loud and Resonant due to special

cymbal alloys used in the casting process.
9. Wood drums, see "Construction Guidelines" above in the

"Tom" section, they apply here too.
10. Small diameter means higher pitch.

11. Longer shell length means more power and shell resonance,
longer decay.
12. Shallow depth means more articulate, less power due to

decreased shell area.
13. Snare bed: A slight depression in the resonant side bearing

edge to allow the snare to ride closer to the head.
14. Bearing edges of less than 45 degrees are not inferior, they
simply make for a different sound, usually less resonant and darker
in character the less the angle, 35 degree is popular on Birch
Drums. Drums get brighter if the crown of the bearing edge is a
tighter radius (sharper) than if the radius is flatter (may be desired
on the toms and kick).
Snare, Drumheads - Batter side
Coatings and material type are as described in the

section "Tom, Drumheads - Batter side". There are some
similarities here to that which is used for a tom. But there
are also some real differences such as the Evan's Genera
Snare and Genera Dry vented series.
1. Single ply Thin Weight such as REMO Diplomat, Renaissance,

FiberSkyn FD (FD extra thin), Evan's Genera Concert Snare, all are
coated and are great for very articulate, extremely sensitive, bright,
open overtones (FiberSkyn warmer), not very durable. Special
mention - Evan's Genera Concert Staccato Snare, a drier very
articulate version of the "thin" group.
2. Single ply unmuffled/unvented medium weight such as REMO

Ambassador, Renaissance and FiberSkyn FA, Aquarian Satin
Texture Coated and the Evans G1 series, UNO 58 1000. Uno 58 is
brightest, FiberSkyn warmest. All-purpose head, accentuated
overtones, articulate, takes punishment from all but very heavy
hitters. Aquarian coating most durable. Special mention – Evan's
PowerCenter, all the virtues of a single ply head but has a
perforated 5" coated thin dot that will withstand high tunings and
severe abuse without the dot coming off (only 14").
3. Single ply muffled or Heavy Weight such as the REMO

Emperor, Renaissance, PowerStroke, FiberSkyn F1 and the Aquarian

Studio X series, Evan's Genera Batter. The sound here goes more
mellow compared to single ply with overtones becoming less
prevalent on the initial attack and less or minimal sustain. There is
still an element of ring to the drum.
4. Single ply muffled and very "Dry" or "Vented". Evan's has the
most in the market for this category with the Genera Dry, Uno 58
1000 Dry, The sound has a sharper, quicker attack and is almost
void of overtones. This head requires careful attention to tuning and
generally will make the midrange tone of the shell material standout
while limiting the low frequencies of the drum.
5. 2 ply muffled or wear resistant heads like REMO Pinstripe,

Aquarian Performance II or Double Thins and the classic Evans G2,
or anything with a "Power dot" on it, these produce a very short
initial attack coupled with a very short sustain.
6. Heavily muffled with an oil barrier such as the Evans

hydraulic. These heads are the most inherently "boxy" or "dull" of
any. Almost void of any inherent sustain on their own.
Snare, Drumheads - Resonant side
Note: Obviously you can use any head, but it is correct to

use a "Snare Side" head. If you use any head other than a
"Snare Side" Head, it will be the equivalent of using a
"Heavy" weight or thicker head and the result will be the
lack of or absence of snare sound, buzzing, no sensitivity or
all of the above.
1. Thin resonant heads: Heads like REMO Diplomat Snare Side

and Evan's Genera Hazy 200. These heads are great to increase
snare response, sensitivity and crack while allowing ghost notes and
rolls to become more articulate.
2. Medium weight heads: Heads such as REMO Ambassador,

Renaissance, Aquarian Classic Clear Snare Side or Evan's Hazy 300.
These will have less sustain than the thinner counterparts such as
the REMO Diplomat or Evans 200, the sound becomes more focused
and not as bright and articulate. The Evan's Genera 300 and Genera
Glass 300 go drier in tone yet retain very good snare response

while the Renaissance goes warmer.
3. Heavy Weight resonant heads: REMO Emperor, Evan's 500

Hazy are both very dry heads and not real articulate. Clear/glass
versions of these heads are a bit drier yet. Aquarian Hi-Performance
Snare Side is built to counteract wear yet give response
characteristics of the medium weight heads.
Snare Unit, General Guidelines
1. It is important to have the actual snare bed itself ride flat

against the resonant head. If a drummer has used an inferior brand
or replacement snare in the past, the place where the wires are
held or soldered to the clip can be uneven or have sharp
protrusions. This may have left the drummer feeling the thinner
heads are not satisfactory because the poor condition of the snare
itself actually caused the premature failure of the head. This is
where the so called "Heavy Weight heads are usually employed.
However, you might want to try the Aquarian Hi-Performance series
here due to it's unique construction, it gives protection where you
"need" it yet retains some response of a medium weight Snare Side
head.
2. Snare count, length and material have to be considered. While

you can retrofit another snare to change the drum, be sure it really
is the correct length and attaches to the strainer throw-off correctly.
3. Carbon steel is going to be brighter than stainless steel with

cable, gut or a synthetic being much less bright.
4. Less curl to the wire equals less volume and more articulate (i.
e. Cable snare units).
5. Wider snare units will be louder and potentially so sensitive

that you won't be able to control the sympathetic vibration buzz. So
if you bought the wide one and tighten the heck out of it to
eliminate the buzz, you just as well stay with the original one.
6. Snare units with a wider surface coupled with a second

smaller set inside will provide a "fatter/wetter" sound.

7. If you hit a drum hard, there is a point at which you do not

increase the overall snare drum volume and in fact the drum will
sound as though it has less "crack" than at moderate volumes. This
is because you now hear more of the "tom" or "timbales" sound of
the drum by virtue of the fact that you're hitting only the batter
side.
8. The snare side is the excited side and it will only move so
much when hit. So changing snares may or may not get you more
volume or crack from the snare wire its self, depending upon how
you hit.
9. To keep the tone of the drum yet get a warmer less powering
snare sound, reduce the snare count to 10 strands, carbon steel.
For less metallic, stainless, etc.
Snare Drum, Inspection and How to Issues
1. Drum has an intermittent buzz during play: Remove heads

and thump on the shell with your hand or butt end of a stick. If the
lugs buzz, isolate the offending lug and first try to remove it or
them and see if stuffing cotton into the lug retainer helps stop the
buzz. You can also look at taking some thin sheet rubber and
placing it between the lug casing and the shell, be careful you do
not move the lug too far away from the shell, the lugs must align
freely with the hoop. If you put the rubber in do it on all the lugs,
not just the trouble lugs. If nothing buzzes without the heads, it is
possible that the head itself is spent or seated wrong and this too
can cause a buzz or distortion during play. The solution is to either
replace the head or apply higher tension and try reseating the head.
Look for loose bolts, etc. as well.
2. How to check snares wire units: Lay the snares, unrestrained

on a flat surface. See if all the wires look very uniform, make sure 1
or 2 of the strands are not over stretched or curving out (this can
happen on new units as well). If they are in doubt, go buy or
choose another snare wire unit, otherwise control over the "buzz"
and "crack" of the drum may be very difficult. Check that portion of
the unit where the wire of the snare couples with the clip and look
for less than uniform joints. No sharp protrusions, lumps, etc.
should be present. If you observe protrusions or unevenness,
sometimes filing them off works, but don't remove too much or

your likely to cause the wires to pull off the clip.
3. How to determine if a head is too old to use? Outside of an

obvious split, make sure they're not overly worn where the snare
bed rides on the head (sometimes there's a tiny hole or a milky
color). Make sure the head is not warped or dished out from age or
being over tensioned. If either of these conditions exists, replace
the heads.
4. How to check hoops? Place them on a kitchen counter or other

very flat surface (not glass or plastic, these are inherently
unleveled) and see if they sit flat. If the hoop is stamped or a triple
flanged hoop, push down on them to straighten, fix or replace. If
the hoop is cast or wood, you run the risk of breaking the hoop if
you push hard enough to actually cause a movement. Your only
solution other than live with it will be to replace it. Check for round
by measuring in a "+" pattern with a simple ruler at 90 degrees
apart across the hoop. If the measurement is not the same, they
are out of round.
Snare Drum, Tuning - Method 1 (Fat and Wet)
The following suggests any choice of head from the

single ply medium weight muffled category such as the
Evan's Genera Batter, REMO PowerStroke or Aquarian Studio
X, all Texture Coated coupled with the Genera Hazy 200
Snare or REMO Diplomat Clear resonant side. Objective, a
controlled ring, focused sound, very good resonance with
excellent articulation and stick response. For more "open",
resonant big band type sound, go with either a REMO
Ambassador coated, EVANS G1 coated or Aquarian Satin
Texture Coated.
Note: We are working for the drum sound without the

snare wires installed.
1. Start by placing the bottom or resonant head on the drum, we

want to tune the bottom without the top to the lowest clear tone
exactly the same as described above under "Learning How,
Resonant Side Tuning - The beginning" in the section "Tuning and
Seating the Heads, All Drums".

2. Once you have achieved the lowest pitch for this drum on the
resonant head, now the procedure changes just a bit. On the
resonant head, bring each lug up one half of one turn to one full
turn on each lug and even out again. This is a good starting point.
3. On the batter head, continue to follow the tuning directions

under "Batter Side Tuning" under the tom section, including
installing and tuning the batter side as described under "Batter Side
Tuning".
4. Once you have achieved the lowest pitch for this drum on the
batter head, now listen for the pitch and feel of the drum. I suggest
you tune this head fairly high or 3 to 5 notes higher than your
highest tom.
5. This gives excellent stick and brush response and even though
the batter is now much higher in pitch than the resonant, it will still
have that complex resonance produced by the resonant head being
low. This overall feel or resonance of the pitch can be controlled by
snare tension (discussed below).
6. If it's too low in resonance after tuning the batter and

applying the snares, you then crank the snare side up 1/4 to ½ turn
per lug. Again, I suggest you do this after applying the snares.
Once you get the desired resonance, stick response, etc. without
the snare wires installed, its time to replace the snare bed.
7. Jump to "General Snare Tuning Guidelines" and then to

"Installing The Snares" section.
Snare Drum, Tuning - Method 2 (Suitable for Pop

top 40 drumming, Not Choked, Preferred by
many studio Drummers):
Note: Proceed without snares installed
1. Replace the heads exactly as described in Method 1.
2. Rather than tuning the batter/top head higher in pitch, tune it

identically in pitch to the resonant/snare side head.

3. Now move just the bottom snare side head up in pitch about 3
notes higher than the batter head.

Snare Drum, Tuning - Method 3 (Highly

Resonant, brings the most out of the shell)
Note: Proceed without snares installed
1. Replace the heads exactly as described in Method 1 and use

single ply medium weight unmuffled texture coated heads on the
batter and either Diplomat Clear or Evans Hazy 200 snare side. For
warmer but more focused and a bit softer while resonant, use the
Ambassador, Aquarian Classic, or Evan's Hazy 300.
2. Rather than tuning the batter/top head higher in pitch, tune it

identically in pitch to the resonant/snare side head.
3. Now move just the bottom snare side head up in pitch just
ever so slightly and listen carefully to the tone of the zone you are
in. Move tiny amounts and listen for that point of most resonance.


Snare Drum, Extra Tuning Guidelines
1. Work your way up through the tuning zones as you would a

tom but rather than tuning the top head up in pitch, your tuning the
bottom head up in pitch.
2. Work in a typical "X" fashion as best you can or better yet,

use 2 keys 180 degrees apart. The thin snare side heads are easy
to knock out of whack if you pull one side tighter than the other, so
move up in small ¼ turn increments for best results.
3. Once you get the differential relationship be it for a "fat" or

"pop" tuning, then you can move the entire drum up in pitch for a
higher overall pitch. By this I mean that both heads must maintain
the 2-3-note differential in tuning at all times. Minute changes in
this relationship cause phase cancellations (or should) and as a
result, usually by moving one head or the other minuscule amounts,
you can cause the drum to kill allot of the overtones or accentuate
them making the need for muffled heads less desirable.
4. If you want a fat wet sound, keep the resonant head low
pitched regardless of the pitch of the batter.
5. If you want a more articulated, cutting sound, tune the

bottom head up in pitch and keep the batter head lower in pitch
than the resonant head.
6. The tension of the snare bed also controls that punch you can
feel in your stomach. If the head is too tight, the snare can't seat
itself as well into the snare beds.

Snare Unit, Installation of
1. Place the snares a little off center towards the opposite side of
the release side.
2. Tighten down the strings or strap paying close attention to the

snare making sure its square to the hoop, not askew.
3. With the retainer in the on position but with the tension

control screwed down (as if loosening the snares), pull the strings
or straps again square to the hoop to moderate tension.
4. With the strainer now on, start to tighten while hitting the
head, you'll get to a sweet spot where the buzz of the snare and
feel of the drum come together. If you tighten more, the drum
becomes more articulate. The slightest adjustment here can make
huge differences. I'm talking 1/16 of a turn or less on the tension
adjustment for the strainer. If you are blessed with an adjustment
on both side of the drum, move up equally, very important!
5. Experiment; at some point in the process you'll hear the

bottom or that feeling in your stomach suddenly jump out at you if
that's what you want. Don't over tighten; it really doesn't add much
other than choking off the tone of the drum and killing stick
response.
6. Even the slightest adjustments will make the tone/overtones

come alive or die. See "The 5 Stages of Snare Sound" section.
Snare Unit, Sound and The 5 Stages of
Working from loose to tighter:
1. Contact with buzz and sounding a little sloppy,
2. Fewer buzzes and a little dry sounding. Almost like over

tightening.
3. Warmth starts to come out with a nice sort of "slap" of the

snares,
4. Becomes more articulate and the warmth goes away, and
5. The garbage stage, extremely tight, choked, void of character,

little to no response on the outside 3 inches of the batter head at
low volumes, you've gone too far.
Snare Drum, Tips and Tricks
1. The stand affects the sound. With the drum sitting in your
stand, don't have the stand basket tight against the hoop of the
drum, this restrains the inherent sound of the drum, it keeps the
hoop and shell from vibrating freely.
2. As a drummer hits harder, the crack of the drum or volume of

the snare does not rise but the pitch can change or the perception
exists because more of the inherent tone of the batter head is now
coming out. Therefore you might want to resort to micing the
bottom if you cannot get that high-end crack you otherwise hear in
the room.
3. If using a mic on both top and bottom you should be

conscious of phase problems associated with the bottom mic, you
might have to wire the resonant mic "out of phase". Remember the
heads ideally are moving in phase with each other, therefore when
the batter is moving away from the upper mic, its moving towards
the lower mic causing a phase change making a electrical phase
reversal needed.

Snare Unit, Buzz Issues or Sympathetic

Vibrations
There are many instances where the sympathetic

resonances of the snare drum snares are problematic.
Usually the tuning of nearby drums or the bass guitar, etc
causes these. The cause of the problem is that the tuning of
the snare is at or close to the frequency of the sympathetic
vibration, that is, they're too close in pitch. Retuning the
snare may be the last thing you want to do now that you've
found this incredible sound. But as is everything in sound,
there may have to be compromises. It can be quite complex
to solve this problem because of the inherent overtones
found in the snare. In doing some background research on
this issue I found a site which I have linked below which
explores this issue. But I will attempt to summarize what
others have offered for solutions. I have found the first two
tips work very well, but many have become overly concerned
by this and really shouldn't be. The buzz in many cases is the
essential ingredient to getting the drum sound, such as a
"fat" tuning and does not appear in the recording or the
audience, as a buzz.
1. On the snare side of a ten-lug snare, detune both lugs on

either side of the snare where it attaches to the shell until the head
ripples. Then tune it back up until the ripple just disappears. This
means you will have detuned 4 lugs. Now, compensate by over-
tightening the remaining 6 lugs (3 on either side of the snares).
2. Find the offending instruments and retune it. Usually it's one
of the toms and the tuning of the tom is usually not as critical in the
mix. Others report that if the toms are tuned a 5th away from the
snare and then from each other, this can eliminate the problem. But
this is only partly a solution, as the snare drum itself is very rich in
overtones (independent of tuning) and removing one overtone (by
retuning) is likely to introduce a new one!
3. A completely different approach put some very thin piece of

paper or duct tape between the snare and the bottom head near the
place where the snares attach to the retaining clip. You have to
experiment a bit with thickness and placement, but it is possible to
reduce the problem a lot.
4. Different heads. Calfskin heads were rather insensitive to this

phenomenon. It is thinkable that the use of calfskin-like heads (e.g.

REMO Renaissance or FiberSkyn 3) may reduce the effect.
5. Drape a towel or other heavy cloth from the bottom of the

snare drum between the drum and the offending source if it is a
nearby drum.
6. Wire snares are the most problematic. Try using cable snares
such as those made by Grover, Patterson or Hinger. Traditional gut
snares are also less likely to buzz. However, the sound may likely
change to the drier as a result.
Tuning Sequences, Suggested
You have to know the center of your universe for playing

and/or which drum is most important in the way of sound.
1. Lowest, fattest sound: Start with your biggest, meanest floor

tom and do a fat tuning as described above under "Results – What
They Mean". No point in starting with the smallest drum because
when you get to the low end of the range on the larger drums, the
incremental tuning ability of the drums involved may make tuning
the large drums impossible for the required interval. In other words,
the floor tom won't go that low and you'll end up with a mismatched
interval, so start low and work up in pitch to the small drum(s).
2. Punchy, top 40, rock, etc., your rack toms are what usually
drives the sound. If you play 2 or 3 rack toms, pick the 2nd or 1st
tom and get it where you want it, these are the center of your
work. From here everything else will fall into place. Keep it melodic,
play pairs of drums. If you move in 5 note intervals you'll find all
drums sound bigger, fuller, sympathetic tones are complementary.
Move in 3 note increments, they'll sound a little thinner and drier;
you might want this especially for a close mic situation. Tip: Don't
make the kick drum too low in pitch, keep it in the same 5-note
relationship to the lowest floor tom.
3. Funk, the kick drives the groove: Start with the kick, snare
and move on down from the snare sound again doing some grooves
and a few top fills.

Interval and Drum Sizing
Here's my thought's on this subject, there are no rules

other than the first 2.
1. Diameter means more for pitch change than does shell depth.
2. Shell depth equates to resonance and volume, it gives the

drum its character. A 12" x 10" (as in Diameter x Depth) gives you
a shell surface area of 370 sq. in. as opposed to the 12" x 9" which
has 333 sq. in. So depending upon how you look at it, the 10"
depth has 11% increase in the ability to produce resonance (hence
"power"), or the 9" has 10% less. The tone of the 10" depth is ever
so slightly deeper, but it's the volume that's the drum can create is
the real difference. Regardless of diameter, a one-inch change in
shell length, for a drum of identical diameter, generally translates
into the same increase of 11% or decrease of 10%. So a 12" x 8"
will be 20% less in surface area than a 12" x 10". Simply put, the
depth of the "punch" will be more evident on the 12" x 10" than
that of a 12" x 8" drum.
3. I find if you have a 12" drum, its wise not to pair it with a 13"
unless you have a 14" and really desire something in-between for
pitch. Likewise, a 11" drum is better paired with a 13" with a 12" as
the in-between size. The common belief is that even sized drums
produce better tuning qualities. I don't know why this belief is out
there, I find they can all be tuned if tuned as the shell/diameter
allows. If you try to make a 13" sound like a 14" while pairing it
with a 12", you're setting yourself up for trouble unless you want a
small incremental note difference.
4. It's more melodic to skip 1 or 2 sizes in diameter in between

drums (see the section "Musical Notes for Tuning, Suggested"). For
example the use of a 13" or 14" with a 16" will likely be more
satisfying than will be the use of a 15" with a 16". That is unless
you have 14" and want something in-between again.
5. Use a "Power Tom" as rack/mounted toms if the mounted

toms are central to the sound you're creating (i.e. Top 40), if you're
a "light" hitter or like big floor toms.
6. Use Fundamentally Accurate Sized Toms ("FAST") if playing

small venues, when size is a concern or when you just want less

"power".
7. Small drums tune "low" fairly well, large diameter drums don't
always tune "high" well.
8. I find any combination of drums in the following sizes tune

well and allow room to add: (Expressed in Diameter x Depth) 8x8,
10x9, 12x10, 14x12, 16x14, 18x16, 20x16, 20x18, 22x16, 22x18,
24x18.
Musical Notes for Tuning, Suggested
I'm going to make an attempt to describe this in very

elementary terms to make it easy. If you do not know what middle
"C" is on a piano, take any keyboard (61 note, 76 note or 88 note)
and walk up to it (or you can always take the short cut and ask the
keyboard player). Right in the middle there are always 2 black keys
surrounded by 3 black keys on either side of the 2 black keys. Pick
the left black key of the black 2 key pair. Slide your finger just to
the left on to the white key sitting just to the left of the left black
key. That's it, middle "C"! Here's why we found that key. Whether
you know it or not, your typical 10" or 12" drum is usually tuned
within 3 to 4 notes either side of that middle "C". Your job is to find
the note of your prized drum and tune the others around it in 3 or 5
note sequences. Why? Because if you go to the trouble of finding
that note, you'll also see that from a musical standpoint, playing 2
notes together directly next to each other on a keyboard sounds
pretty bad, for the most part. But play any combination of notes by
counting 3 or 5 notes apart and it becomes very melodic. Hence
your drums will sound better and can also sound bigger due to
complementary vibration from drums, which are sympathetic to the
one being struck. This is not an absolute rule. But in general, you
should try playing your drums in combinations of 2 and try to make
them melodic so they produce kind of a 2 or 3 finger cord when
struck. Make notes of these types of things when tuning for
different venues.
I need to stress that the idea here is not to try and match
cords used for songs so much as keeping the whole of the drum set
from clashing. Although, if you have the time when recording, try
tuning for the song and you may find that the result is far superior.
Somewhere along the way, you'll find a sequence that fits your

style and model of drum.
For example, I know my drums will sound best tuned as

follows:
10"x 9" tom: D sharp
12" x 10" tom: A sharp
14" x 12" floor: F
16" x 14" floor: C
22" x 16" kick: Batter F (octave lower than floor);

Resonant E
Main snare 14" x 6" YAMAHA Anton Fig: G above the 10"
x 9" D#, both heads the same
How I know this is by working through all the same

steps I've outlined in this "Bible".
How to Tune – Once You Know the Basics
The procedures learned in the various sections should teach

you what to expect in the tuning process. Knowing this on your
particular drum, the condition of the bearing edges, etc., is a very
key component to now re-tuning a drum or tweaking it night-after-
night, day-to-day.
Most drums drift down in pitch. Moving them from cold to hot
or visa versa causes expansion and contraction, stiffness or more
flexibility on the playing surface. Common sense should come into
play here. The environment matters. So if the drum is cold, don't
expect great things and try to refrain from attempting to tune until
the temperature of the hardware adjusts and the heads, hoops,
etc., match the temperature of your environment.
Because drums drift down in pitch, the need is to bring them

back up in pitch, uniformly. For some unknown reason, most
drummers assume the drift down only occurred on the upper or

batter head, not so! So here's a method to re-gain control of the

drum and bring it back to pitch once the heads are on. Note it does
not matter if the drum is on the stands or not, but it cannot be
laying on the floor or a carpeted surface.
Method 1 – Drum On Stand, Not On Floor
1. Tap at each lug of each head and only raise pitch on the
lowest pitched lugs until the head is in tune with itself. For the set I
own, it's easy to completely rotate the tom to gain access to the
resonant head, and you cannot ignore this head for long. Over time,
the head will just keep drifting until the tuning becomes very
difficult and the batter head has become disproportionately tuned to
the resonant side. So whatever you do, do not ignore the resonant
head.
2. Strike the drum and see if the pitch is now correct, if so just
stop. If not, proceed.
3. Tweak each head, at each lug a very small amount, maybe

1/16th to 1/8th of a turn on each lug. Strike the drum and see if
the pitch is now correct, if so just stop. If not, proceed.
4. On the resonant head, take one lug and while striking the
batter head, slowly turn that one lug no more then one complete
turn. If while doing this the drum comes to pitch, you now know it's
the resonant head and should back the lug down to its original pitch
and tweak all lugs up in pitch small amounts until you get the pitch
you want. If it does not make any difference, return the lug to
original pitch and repeat this procedure on the batter head.
5. If this method does not work on a given drum(s), proceed to

Method 2. If you simply want to raise pitch, see below.
Method 2 – Drum Off Stand, Sitting on Carpeted Surface.
1. With the drum on the carpet, batter side down, tap at each
lug of each head and lower the pitch on the highest pitched lugs
until the head is in tune with itself. Remember to go down past the
pitch and then back up to it.
2. If the drum does not have the clear high pitched tone as
learned in the procedures, raise pitch until it you achieve the clear
note. Repeat on the batter head.

3. Strike the drum and see if a clear pitch has been obtained. If
so, just walk the drum up through the zones. If not, proceed.
4. On the resonant head, take one lug and while striking the
batter head, slowly turn that one lug no more then one complete
turn. If while doing this the drum comes to pitch, you now know it's
the resonant head and should back the lug down to its original pitch
and tweak all lugs up in pitch small amounts until you get the pitch
you want. If it does not make any difference, return the lug to
original pitch and repeat this procedure on the batter head.
5. If this has failed, then something has happened to the seat of

the head, temperature has become a factor, the environment has
drastically changed or simply gone out of whack and you should
either try running a hair dryer around to warm it up and begin
again, or re-seat the heads and retune.
To Simply Raise or Lower Pitch: To simply raise or lower

the pitch on an otherwise good sounding drum, I find it far
more effective to tweak the lower head up/down rather than
the batter head up/down. One major benefit from doing it
this way is that it helps retain the same feel on the batter
surface. If you use common sense and work with small turn/
tweaks of the lugs, you'll immediately know when you've
gone outside the zone and can respond by adjusting the
opposite side.
Microphone Use, In Brief – How they can affect

the sound
Playing without a microphone versus with one is very different.

This is not a tutorial on Mic use, simply an elementary
understanding of one key factor. When "close micing" a drum, the
type of microphone can and usually creates proximity effect. If you
look at typical mic's associated with use on toms, you'll see a drop-
off on the frequency curve associated with most dynamic mic's. This
drop-off can be compensated for through proximity effect. This is
less pronounced on an electret condenser microphone. "Proximity
effect" is a condition, which, when the mic is in close proximity to
the head, a bump in the low frequency range is created, and
therefore, accentuates the lower fundamental note of the drum. The
opposite is also true, pull the mic away and low end response drops-

off. When close, the pronounced increase of the low end offsets for
the otherwise dead sound of 2-ply/muffled heads or the lack of free
field low-end frequency response. Hence, never buy a microphone
based upon a stated frequency curve or specifications alone. The
microphone hears and accentuates what the ear cannot. Experiment
because the proximity effect diminishes the further from the head
you get (out of proximity). Check out the following in the "Links of
Interest" section entitled "Audio Technica's Guide to Microphones
Definitions" and "Shure Brothers Technical Publications on
Recording Studio and Sound Reinforcement Techniques".
Kick Drum Microphone Tricks
1. Movement of the Mic as little as ½" can make big changes.

Movement closer to the resonant head results in less definition and
more "boom" from the drum.
2. Place a mic closer to the pad/pillow to cut resonance and

increase presence.
3. Place a mic closer to the batter and mid range attack comes
out, warmth disappears but deep low end remains. Careful not to
get too close or clipping of electronics' or destruction of mic can
occur.
4. Two heads no hole – 1 Mic: Place the microphone on the

outside of the batter side, but not in an upward facing direction. Try
reversing the phase of the Mic, it will sometimes give more punch.
5. Too much snare bleed, try taping a cardboard funnel around

the mic face to trim unwanted high frequencies or aim the mic down
at the point of impact at 35 degrees.
6. Two Heads no Hole – 2 Mic's: A phase reversal of one or the

other head is almost a must if using a mic aimed at both heads.
Your sound is at the hands of engineer now because it's like
retuning the drum to blend the Mic sounds.
7. When doing recording, take a large floor tom and place it out
in front of the kick drum. Tune the floor tom very low in pitch and
place a large diaphragm mic on it to capture sympathetic vibrations
and low-end resonance.

Snare Mic Tricks
1. Controlling leakage from Hi-Hat: Use a Mic with a

Hypercardioid pattern. As a result, you may have to Mic either from
overhead of the kit or the hat itself, could be a plus depending upon
philosophy.
2. To capture the "snap/crack" of the drum, especially for "hard

hitters", Mic from the bottom and use in reverse polarity under the
snare.
3. Too many overtones: Don't place a Mic aiming at the outer 2

inches of the head unless you really want to overtones to come
through or use a head such as an Evan's Genera Snare Batter,
Aquarian Studio-X or REMO PowerStroke3, all coated.
4. Avoid having the mic too close in general, 2-3 inches up and
out aimed at the center of the head allows the mic to capture a
more natural sound.
5. Not enough snare sound when using a Mic. When Mic's are
placed too close to the head, the Mic doesn't hear as much of the
"crack", it hear more of a timbale sound. Hitting harder equals less
crack when placed too close. You can also place the Mic directly
centered over the rim of the drum up about 1 inch and aimed at the
center of the head. This keeps the Mic from hearing the warmth of
the head and picks up more shell resonance.
6. If you do not have a brighter sounding snare, place just one

mic in reverse polarity underneath in about 3" from the rim and
centered on the snare unit itself.

Conclusion
I have not mentioned anything in here I have not tried myself.

This is why you see no mention of ATTACK or Bear Percussion
drumheads anywhere. As of this date, they are not being carried as
a mainstream head or in large supply by most retail stores. While I
have heard the ATTACK brand, I haven't had time to place them on
a drum set and tune them or use them for any length of time,
record, etc. As a result, I feel it would be inappropriate to comment
on them. This is not to imply they are inferior or superior, I just
don't know. However, if interested you can view the "Links of
Interest" section and read the marketing associated with them.
Links of Interest:
Snare Buzz Problems
Audio Technica Microphone terms
Aquarian Drumheads
Attack Drumheads
Remo Drumheads
Evan's Drumheads
Compare Drumhead Prices
Mix Books – Almost anything to do with recording
Suggested Download, good visual for Kick drums Muffling
Drumweb Message Board
Funkster's Groove Theory

Shure Brothers Technical Publications on Recording Studio and

Sound Reinforcement Techniques (among others) at
Drum Video Links
Equipment Used by The Author
I play Yamaha Maple Custom drums by choice; I am not

sponsored by anyone. I find that with Yamaha, the quality is
superb. The drum is not the most resonant drum on the market, I
prefer to think of it as "controlled". You'll find many pro's using the
YAMAHA Maple Custom, as you will that which play other brands.
The set and sound just reflects what I feel is right for me. I like the
brightness and the warmth projected by maple. Bright is a good
way of explaining the characteristic of this kit if you subscribe to the
notion that the audio spectrum has 3 basic bands; Bass (warmth);
midrange (presence or harshness); and treble (bright). Top quality
sets, regardless of manufacturer are all great. There's only one
really great drum set, and that's the one that inspires you to play
your best given the budget you have and reflects your personality.
Yamaha Maple Custom, Sizes 10x9, 12x10, 14x12, 16x14,

22x16.
Finish: Black Maple, Gold lug casings, YESS mounts on all toms.
Hoops: Aluminum on toms, Solid Maple on kick, Snare by model.
Head Choice:
Kick: Mostly Evan's EQ4 Clear Batter paired with the REMO
Ambassador Resonant Coated w/5" offset hole or for a tighter sound
Evan's EQ3 clear batter paired with EQ3 ebony w/4-1/2" offset hole.
In all cases I use the DW pillow covering 15% of each head.
Toms (Rack): varies but mostly Evan's G2 Clear Batter w/

Genera or Diplomat Clear Resonant. For a warmer sound Aquarian
Studio-X Coated Batter with Genera or Diplomat Clear Resonant.
Toms (Floor): Either Aquarian Classic, Evan's G1 or

Ambassador Batter and Resonant side (all Clear, again depends
upon which I can get).

Snare Drums:
14 x 5 1/2 Brass Snare Drum; Manu Katche Signature Model;

Hoops cast; Heads: Ambassador Coated or Genera Snare, Diplomat
Snare Side; Tuning Method 1 in the bible, batter tighter than
resonant.
14 x 6 Maple Snare Drum; Anton Fig Signature Model; Hoops

wood maple 19 ply; Heads: Ambassador or Evans Coated batter
and Ambassador Clear Snare side; Tuning Method 2 which is Batter
looser than Resonant, Resonant about 3 notes higher.
14 x 5 1/2 Steel Snare Drum; Phonic 400 60's era; Heads:

Ambassador Coated batter and Diplomat Snare Side; Hoops are
steel triple flanged; Heads equal in pitch, medium tuning Method 3.
14 x 5 1/2 Steel Snare Drum; Rodgers Dynasonic 60's era;

Heads: Evan's Genera Snare Coated and 200 Hazy Snare Side;
Hoops steel triple flanged things; Heads equal in pitch, medium
tuning Method 3.
14 x 3 Brass Snare Drum; Pearl FreeFloat Model; Hoops Cast;

Heads: REMO Ambassador Coated batter and Ambassador Clear
Snare side; Tuning so the resonant side is typically 2 notes higher
than the batter side
On all the Snare drums I'll use various width "O" rings with a
½ width being the most common.
Hardware: YAMAHA 800 series
Cymbals: Paiste Signature Series

Sound Edge Hi-Hat (14")
Fast Crash (15")
Fast Crash (16")
Fast Crash (18")
Dry Heavy Ride (20")
Flat Ride (18")
Splash (10")
Microphones typically used:

Snare- Batter Side: Shure Brothers SM57-LC;
Snare-Resonant Side:Audio Technica ATM3528, Shure
SM98 or Beyer M101
Kick: AKG D112 or RE20

Toms, Rack: AKG C418

Toms, Floor: Sennheiser 421 – 70's series
Overheads: Shure SM81-LC's
Hi-Hat: Audio Technica ATM3528
Headphones: Beyer 550
Any questions, write to me in care of Prof.Sound@butlermacdonald.

com.
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Page © 2000 DrumWeb.Com Contents © Prof. Sound All Rights Reserved.

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Prof. Sound's Drum Tuning Bible...

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Prof. Sound's Drum Tuning Bible

Any questions, write to me in care of Prof.Sound@butlermacdonald.

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Disclaimer: The drum is an acoustic instrument that has few if any

Forward Snare, Construction Brief

Truths of Drums Snare, Drumheads - Batter side

Fundamentals of Tuning Snare, Drumheads - Resonant side

Construction Guidelines, All Drums Snare Unit, General Guidelines

Bearing Edges Snare Drum, Inspection and How to Issues

When to Replace Drumheads

Snare Drum, Extra Tuning Guidelines

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Batter Side Tuning

Results – What They Mean

Tuning Sequences, Suggested

Interval and Drum Sizing

Musical Notes for Tuning, Suggested

Toms, Tuning Procedure

Kick Drum Microphone Tricks

Snare Mic Tricks

Kick Drum, Tuning Procedure and Tricks

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Motivation behind the Drum Tuning Bible

If you're looking for a shortcut to great sound, you just may

These are some of the issues covered within various sections

● Difference between heads, when to use what.

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● The fundamental note of a drum versus pitch and timbre.

1. The interval between drums is more important than many

2. The tiniest of movements on the tuning lug "can" make huge

3. A sound or tuning, which works for a small venue will not

4. Get to know the utilization of microphones well if you're going

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to use them, even slight alterations in placement make a huge

5. All drums sound different at 0, 15, 50, 150 foot or differing

6. The sound heard from a CD at home is not what a drum really

7. This tuning method works for ALL DRUMS.

8. Less expensive does not mean inferior, in some cases, it may

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3. A drum placed upon a soft surface, such as carpet, and tapped

6. If the drum is tuned wrong or "seated" incorrectly the first

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7. Generally, you do not use anything other than single ply on

8. Coated heads are considered "warm" or "mellow" sounding

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(explained in great detail below). If the head is pulled tighter on

12. Bearing edges are hidden from view, little understood by

Construction Guidelines, All Drums

To pick the right head to achieve desired sound, you

2. Thinner shells are more resonant. Because there is less mass,

3. Sharp bearing edges means more overtone and resonance.

4. If the drum is void of obstructions inside, that is, no

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6. Mainstream Material, Wood Sound Explained: First, these are

For many reasons, this is a very misunderstood area of the