Drummers In The Media

What’s wrong with me – yet again I’m not going to rant! Shout maybe but not rant…I was just thinking about how drummers are portrayed in the media (not helped by some of our own actions!) – then I got to see a clip of Sweep (Sooty & Sweep fame) playing the drums! A nice little four-piece kit (a bit like Matt’s) and some efficient solo work from the squeaking bad-dog. Sweep was always my favourite, like most drummers more than a hint of anarchy in his character!

As soon as you think of children’s TV and drummers of course then ANIMAL has to be the number one! None of that pretentious pseudo operatic warbling from THE PIG! Animal bashes it out in his fiery, manic manner – obviously inspired by Keith Moon and Ginger Baker – except Animal’s better! O and then there’s the intro music for Rainbow (no, not Blackmore’s outfit, it’s Zippy and friends’ TV show) – was there ever a drum break so classic; superior even to the break in Eastenders. Rainbow’s break is the sound of dull plastic boxes to Eastenders’ 80s synth.

Ah, I’m feeling nostalgic – must be the veteran in me… 

If only I’d kept that old video player… 

Tim

Cymbals

Cymbals. How to choose!

Manufacture:

Cymbals are made of metal alloys – there are four main types of alloy with combinations of tin and copper; zinc and copper and copper and nickel – there are special “secret alloys” too. In the manufacture of these cymbals they can be pressed out of sheets of metal (and machine-hammered – controlled by computer) or hand produced and hand-hammered. Hand hammering means that a craftsman has carefully hammered the cymbal to give it its unique sound (and balance).

Which type?

The things to remember and consider when buying a cymbal are:

What sound do you want – what is its role?

From this –

What size diameter?

What size bell?

Sounds:

Drummers may have/own many kits and change kits fairly often but once they have found the cymbals they love they don’t tend to part with them. Most of the cymbals I have (“had” – my drum kit and cymbals were stolen – see future article/blog!) are over twenty-five years old. The main cymbals you’ll need – in order, are (probably!):

Hi-hats

Ride

Crash

Other

Hi-hats:

Hi-hat cymbals (a balanced pair) fulfil two functions – they can be played by a stick (with that famous psss sound achieved by opening the hi-hats at the same time as striking with a stick) or by opening and closing with the left (or right!) foot. The latter keeps time (as a jazz drummer I also use my left foot to clash the hi-hats together to create a crash effect).

There is a real difference and quality of sound between heavy and thin hi-hat cymbals and cheap varieties can sound dull, lifeless and “soak up” energy. Too heavy hi-hats can make it harder to keep time with your foot. I (used to) use Paiste (404) hi-hats and was very happy with them – they’ve been replaced by heavier Sabian AAX 14” Stage Hats; whereas the Paiste were ultra responsive the Sabian aren’t as quite – but they are much more suited to heavier rock. The Paiste sounded good for rock (using the neck or shaft of the stick) and great for jazz (though for most of their life they didn’t get used for jazz at all). Unfortunately Paiste 404s can only be bought second-hand. I’d recommend either types of these hi-hats and I’ve used the Sabians for jazz gigs without them being over-bearing – great left foot “click” too!

Ride:

Ride cymbals (like all) come in different sizes (from 19ins to around 24ins diameter). What is needed with a ride is a clear stick sound and a lack of “built up” sound as you play. If sound does build up the rhythmic tick of your beat will eventually be drowned out. A clear bell tone is also useful as this gives a rhythmic alternative – having said this some rides come without a bell at all. (The “bell” of a cymbal is the raised central part – through which the cymbal is attached to a stand.)

Sometimes a ride cymbal is required that gives a continual sustained sound and jazz drummers (including Mitch Mitchell of the Jimi Hendrix Experience) might use a “sizzle” which is (usually) a ride cymbal with rivets driven into it! A similar effect can be used for rock drumming by playing a crash cymbal as a “ride”.

I use a Zildjian (20 inch) ride – the greater the circumference the clearer and stronger the ride’s sound – although it is quality of manufacture and alloy that gives the best tone. Zildjians were made in Turkey and the USA; Custom and K Zildjian are made exclusively in the USA – mine is hand-hammered and you can see the dents! I now have another Zildjian – a 20” K (Custom dark ride) that is quite beautiful! Sabian now produce hand-hammered cymbals. (Istanbul makes cymbals similar to the Turkish Zildjians of old.)

Crash:

A crash is as it sounds – staccato but with some resonance. If you “crash” a ride cymbal the effect is lacking in impact and the sound continues for some time. A good crash is strong, powerful and without too much delay. It is a punctuation mark in the music – a beginning or an end. I (used to!) have two Paiste 18 inch crashes (404s) that were beautiful in tone. I also had a really cheap, nasty crash (of unknown manufacture) that I used as a different ride sound (it has no quality of sound but taps out a precise beat and contrasts well with the warmth of my Zildjian). If I were to crash this crash! – it would sound like a dustbin lid.

My replacements for the crashes of old are: A - K Zildjian medium thin 16” which I pair with an Avedis Zildjian 18” – I like two main crashes that compliment each other and give contrasting tones; especially nice for those rapid double crashes.

The size of the bell (as with all cymbals), will also affect the sound of the crash. These bells can also be used to “ride” the beat and for percussive colour.

Others:

Effect cymbals.

Apart from the basic set-up of a pair of hi-hat cymbals, a ride and a couple of crash cymbals there are other so-called effect cymbals. These cymbals offer extra “colour” to your range of sounds and include:

Splash – a small cymbal that sounds like a 1920s jazz-type crash. (I use a Zildjian 8”.)

China – these are used as both an alternative ride sound or as a crash (imagine a crash cymbal in an oriental drama).

Crash/Ride – a combination (not usually successful) of the qualities of both types of cymbal.

Sizzle - (see above)

And many others with different circumferences, thickness of metal, size of bell (including some that are just the bell! And some without a bell!) and quality of sound. I’ve just got a great range of cymbals that I haven’t yet incorporated into my kit – more later on these when I practice with them and play them live…

Manufactures:

In my opinion the best cymbals are produced by Zildjian, Paiste (making a comeback), Sabian and Meinl. All cymbal manufacturers carry a range of cymbal types to cater for the kinds of sounds you need for the music you play. Heavily hammered cymbals such as Zildjian K Customs give a dark sound compared with the bright As and A customs and are ideal for rock playing. There are also other cheaper cymbals available. A cheap cymbal CAN sound good just as an expensive cymbal CAN sound bad. There is little alternative but to try cymbals out until you get the one with the sound YOU prefer. But see below…

Buying blind (or rather deaf):

If you have to buy your cymbals from the internet then do as much research beforehand as possible. Go into your local music shop and get a “feeling” for the type and make of cymbal you want – play your friends’ cymbals. Ask drummers at gigs which cymbals they prefer – listen to those drummers’ cymbals. Go on websites that discuss these matters and show the kits and cymbals your favourite drummers use. The more research you do the more likely you’ll buy a cymbal that sounds good. BUT – even if your favourite drummer plays such and such cymbal, that doesn’t mean that is the cymbal for you. A cymbal adds colour, texture and a variety of musical sounds that contrast and highlight the sounds of your drums – a drummer is a musician and needs to choose his/her sounds carefully. Your technique and musicianship will be affected by the quality and sounds of the drums and cymbals YOU choose.

Ideally – go to your local (or not so local) drum shop, play the cymbals there and buy there – without drum/music shops all cymbals will be bought second-hand or over the internet. I don’t know about you but I love hanging out at drum shops (when I get the chance) – and there’s usually drummers there that want to help you get the best sound you can for your money.

Cheers – Good luck!

Tuning your drums

How to tune your drums is not a mystery and it isn’t difficult! The sound of your drums is dependent upon the quality of the wood they are made from, their size (and style) and the type of drum skin (head) you choose to put on. How this drum skin is tuned has a major influence on the subsequent sound. The ability to fine tune your drum requires a certain amount of lugs (tuning rods) that are spaced out around the circumference of the drum (fixed by a metal hoop). When you tune you are tightening or slackening the drum skin through pressing or releasing this hoop! These lugs are tightened and loosened by using a tuning key (usually has the shape of a T).

(Note – the better quality a drum the more tensioning rods it will have – a cheap snare, for instance, might have only SIX rods! A good one should have at LEAST ten rods.)

When tuning a skin it is important that the tension is increased EVENLY! If you were to tighten one part of the skin only this would leave a loose area of buckled (rippled) skin and the sound would be awful – lacking completely in tone! When tuning therefore you can either tune by turning (half or semi-turns) diagonally – if you imagine a clock face then tune 12 then 6 then (this is my method) 1 then 7; 2 then 8 etc. Tuning from slack (a new head say) you would take the skin up to the point where you hear a “tone” (at the point when it is no longer slack/loose) - do this all the way round the skin. Then gradually bring the skin up to the tautness and tone you require. Or you can tune clock (or anti-clock) wise. Starting at 12 you go through until you reach 12 again. More of this later! (I will also explain how to check this tuning.)

Basic principles!

Skins/Heads

There are many varieties of drum skins. Most are made from plastic but previously they were animal skins (hence the name!). You can still buy these but most drummers will use plastic skins/heads for their drum kit (hand percussion instruments are different and still tend to use animal skins).

There is a difference in thickness of skins and how they are coated. Modern skins have been produced that give the effect of the old animal skins and there are many other different varieties for different types of music. Some skins are heavily damped (including oil filled/sandwiched!) and may have patches attached (like the bull’s-eye of a target) to create a dull thud that suits some music. You will have to experiment but you can use some common sense – jazz players tend to prefer light, responsive skins and heavier music calls for heavy, deep sounding skins – yet all this is very dependent on how these skins are TUNED.

(Note – ask for advice about drum heads from your local music shop and/or fellow drummers.)

Tuning

I shall deal with tuning the snare drum skins (the batter head and the snare head) and the bass drum later – but firstly the tom-toms.

There are only FOUR combinations of basic tuning:

A tight top head and a tight bottom (no puns please!)

A tight top and a loose bottom (please…)

A loose top and a tight bottom (and…)

A loose top and a loose bottom.

(If your tom-toms only have a top head then it is either Tight, loose or ANY point between; the approach will be slightly different.)

Of course there are many, many grades between TIGHT and LOOSE but as a GENERAL principle this is a good way to approach and to start your tuning – it will give you an idea of what kind of tone suits you.

I tune my heads as follows:

I begin with the floor tom because this sets the lowest possible tone I can get – if I start too high here then my other tom (or toms) will sound too high, stretched/stifled. With a double-headed tom when the top head is struck the air vibrates between that and the bottom head – the quality of the acoustic sound is the quality of the air that rebounds between heads and the walls (wood) of the drum (its shape etc).

Starting with the BOTTOM head I tune this carefully (from slack if new) until a tone is heard (drums do not have a DEFINITE pitch though a note can be heard through the various harmonics – groups of notes). I tune so that a pleasing tone is achieved JUST ABOVE slackness (no tone).

CHECKING TUNING:

I then check this tuning by carefully tapping with a drumstick about an inch away from each tuning rod and listening to the pitch (highness or lowness) of the “note” or tone. As you go around the drum the sound should match each preceding tap and each tap should be executed the same distance from the skin and with the same strength. If the sound jumps higher then slacken; if it goes lower then tighten. This is a skill you will learn quickly – but you have to listen CAREFULLY. When you tap round the drum finally there will be a pleasing sense of the same overall tone being produced.

Carrying on! Once I am happy with this bottom head I then turn the drum over and concentrate on the top head. I like the top head to be reasonably tight – this so that rolls can be produced easier and I get a good response and rebound as I “fill” (roll) round the kit. Drummers might go for a loose top head as this (combined with a loose bottom – steady on!) gives a very low, resonant, thunder-like sound. If the rolls required are not intricate with “mamma daddas” this is fine. A good thumping, deep sound is what is required for lots of different types of music.

(Note – when playing live it is the low sounding/pitched drums that get LOST in the overall sound – the snare and cymbals cut through the general band sound the best followed by the higher sounding toms. Many drummers and most professionals have their kits miced and if they only have one mic that will go on the bass drum!)

So I tune my top head fairly tight but my floor tom will be less tight than the next tom (etc). Now for the “tricky” part! In music there are intervals in sound (don’t worry I won’t get too technical) and some of these intervals are called “fourths” and fifths”. I tune my kit in fourths or fifths depending on the number of toms (either two or three). Now if you (or a mate!) can sing the first two notes of the folk song: Come Cheer up me Lads – those first two notes are a fourth (Come – Cheer). Okay if this is loosing you don’t worry – this is my way don’t forget. If you have a piano, guitar or a spare ‘melodic-musician’ handy play (or get them to play) say a C followed by an F – that’s a fourth. You’ll hear the relationship and recognise it immediately. (I know I said drums can’t be tuned to notes, they’re indefinite pitch – but you can get a tone that is close to a “pure” note.)

If all this sounds double-dutch then simply tune your bottom head low – as explained – and the top head tighter (but not too tight).

Having got a pleasing tone on my floor tom I’ll move onto the next tom with the intention of producing a fourth or fifth musical interval. I’ll tune the bottom head of the next tom until I get a tone (because of the size of the tom the tone will be different to the floor tom) – you can leave it like that; I will try and get a fourth between the bottom head of the floor tom and the bottom of this next sized tom – but I’m not over-fussed – the most important thing, as for you, is to get a pleasing tone (that will be naturally higher). BUT THEN! I will tighten the top head of the drum so that is it a fourth in interval from the floor tom. If I am using only a floor tom and a higher tom-tom I will tune to a fifth (say, C to G or D to A).

You can tune your top head to a tightness slightly more than the floor tom and by first hitting the floor then this next tom listen to the change in sound. Does this sound good to you? Is the change in tone too close (then tighten further)?

(Basically you find the “natural” tone of the bottom heads of both drums and have tighter top heads with a change in sound that pleases you – or a fourth or a fifth.)

On a “normal” kit you’ll have two mounted toms and a floor tom. When you have finished tuning try doing repeated rolls (fills) down and then up the kit. LISTEN to the sound – is this what you want for the type of music you play? Are the drums too high or too low – adjust them (carefully). Is the spacing of tones between the drums what you want? They should be relatively evenly spaced.

Remember – having tuned your heads tap around the circumference next to the lugs listening to the sound/tone – which must be even.

(Note – the manufacture of a drum and the qualities we have discussed will determine the possibilities of how well it can be tuned and its final sound. A good head or skin will have a BIG effect on the sound of the drum but cheap drums tend to have a poorer sound than more expensive ones (obviously!) – sometimes it is as if the drum is squeezed of life and no satisfying tone can be achieved – but a good head/skin will help. You can buy a cheap drum kit and when re-headed and tuned it will/could sound really effective. The tone you achieve from your drum will be dependent on your skill and the quality of the drum itself.)

Specifics

Single-headed toms

When tuning single-headed toms then tune from the bottom up (in fourths or fifths – or thirds if you have many toms) and approach in the same way as above but for the single head only. Single-headed toms push the sound straight out of the drum (are often louder) and therefore many rock drummers prefer them. They lack the full acoustic tone of a double-headed drum. You can mix’n’match – the smaller the drum the better they sound with a single-head.

The bass drum

The bass drum comes with two heads/skins – but many drummers remove the rear head (the one facing out) and add damping inside the drum. By having just the one head (which the bass pedal beater strikes) sound is projected straight out (and is therefore louder). A folded blanket or some foam inside takes out the “boom” from the sound. Also a mic can be placed inside the drum shell to pick up the bass’ thump. As when tuning the floor tom you want to get a low, tuneful sound on the bass and as low as possible but not flappy. The skin should be taut enough for you to execute quick beats provided by a rebound after your beater has struck. Some drummers will add a further damping pad to the centre of the head where the beater strikes. There are various types of skins for the bass drum.

I use both heads on my bass and therefore there is a relationship between the tuning of the two (as stated earlier the air is vibrated between the two skins). The quality of your heads plus the size of the drum and its manufacture will produce your distinct sound. If your drum is heavily damped then you’ll probably need a larger circumference to get a loud pounding – enough to take out the bass player’s note!

Your choice of bass pedal and its beater will be important too – try these out; try adjusting the pedal’s spring to suit you. Try playing with your toes (pivot at the hip) and try playing with the sole of your foot on the pedal (pivot at the ankle) to see which feels best. The toe method helps produce a louder sound. I used to use this method for rock etc but now use flat foot for jazz (more relaxed and I think greater control). The bass pedal beater itself can be made of different material and differently shaped – a square, wooden beater will give plenty of clout!

(Note – I have gaffer tape on my front bass head too – see below.)

The snare drum

The snare has two skins – the upper is the batter head and the lower is the snare head. The snare head (or skin) has to be tight as the snare strainer (the metal strings) snap against this to give the snare its unique sound. Some drummers (myself included) will tighten the snare head until it almost “pings” and then slacken the two lugs either side of the snare strainer (four altogether) so that it beds in. You’ll have to experiment with this. Other drummers will add a strip of masking/gaffer tape or tape a coin to the snare head – the reason being to make the snare strainer sound as good as it can as the skin vibrates. Is there anything worse than a snare that sounds flabby, rattley and loose? (Good name for a rhythm section perhaps?)

The batter head takes the brunt of your playing. As I do a fair amount of brushwork I use a coated batter head (gives a warm sound) and have to replace reasonably often as the brushes (with their metal wires as opposed to the nylon brushes you can get) wear away the skin! I tune the batter head tight because I want a crisp, receptive snare sound where press and mamma-dadda rolls can be easily executed and that sound TIGHT! Other drummers tune lower and have denser, damped batter heads that produce a good thud but the sound is more “open”. There is no alternative but to experiment – have fun! (Also experiment with how tight you have your snare strainer – this is adjusted by the lever on the side of your snare drum.)

Damping

On one of my snare’s batter head I’ve got a bit of tape on the edge (and over the hoop) as damping. I hit the snare and listen out for rings – pressing down with the palm of my hand I work out if some damping will take out that ring. I try and keep tape to the minimum because I want the most authentic sound possible. I’ve been into recording studios where my toms have been plastered in tape and end up sounding like cardboard boxes.

By carefully choosing your drum skins/heads the need for extra damping should be kept to the minimum.

Damping/Practising

When doing drum practice you can cover your kit with a blanket. This makes “working out” much more difficult – the result is that when you remove the blanket you can move round the kit with the speed of lightning! Having damping pleases the neighbours too!

Conclusion

Talk to other drummers about tuning – see how they go about it. Listen to the sounds drummers get from their kit at live gigs – make a note of what drums they are playing and which heads. Are they using single-headed toms or double-headed? What are their drum skins like? As ever – EXPERIMENT! If you get a good sound or feel you have a new way of doing something, share your knowledge. Music is about sharing (copyright excepted!).

Cheers, Tim