"versatile extension becoming increasingly common is the use of some electronic drums in a mainly conventional kit. Less common extensions found particularly, but not exclusive to very large kits, include: Sticks were traditionally made from wood (particularly maple, hickory, and oak} but more recently metal, carbon fibre and other exotic materials have been used for high market end sticks. The prototypical wooden drum stick was primarily designed for use with the snare drum, and optimized for playing snare rudiments. Sticks come in a variety of weights and tip designs; 7N is a common jazz stick with a nylon tip, while"
"lead to hand injury more than a tighter one, because a looser drumhead has less rebound and more muffling effect (hence potentially bruising joints and bones under spirited playing). Also, producing a crisp slap tone is nearly impossible on a loose head. During tuning it is suggested to ""let the drum speak"" and to conform tuning reasonably closely to the natural resonance (pitch) that the cavity of the drum interior presents. This resonance can be heard by singing or playing loud notes near the drum opening (this is true of tuning any drum) and noticing which pitch decays slowest -"
"drumline. The snares are the center of tempo in the ensemble. The head snare player (a position typically held by the most experienced snare drummer) is responsible for maintaining the tempo. When rehearsing or performing, the head snare may ""tap off"" the ensemble, setting the tempo with a solo rhythm. A snare drum can weigh anywhere between 20 pounds and 40 pounds, depending on the model and size. Marching tenor drums (also called quads, quints, tom-toms or multi-tenors) are single-headed tonal drums. Typically, they are referred to as tri-toms if there are three drums, quads if there are four, and"
"easy to tighten the drum until it makes a pleasing sound and then tighten a little more to reach a uniform desired pitch. It is very important to ensure that tuning is uniform around the drumhead, which can be checked by placing one finger pad in the center of the head and tapping the head near the edge above each lug location to detect any change, adjusting as necessary. Uniform tightness will help ""let the drum speak"". Another important consideration is that head tension can greatly impact the ease or unease of the player, and generally a looser drumhead can"
"top (batter) head controls attack and ring, while the bottom head controls resonance, sustain, overtones, and timbre. A drum key or drum tuning key is a tool used to adjust the tension rods of a Drum. It is also used to adjust Drum hardware. It is used to adjust the pitch of a drum. The most common pattern fits a square headed tension rod. There are minor variations of size between makers. When tensioning a head, the tensioning rod closest to the tensioner should be tightened first. The reason for this is to keep an even tension across the drum"
"skin, but most modern instruments are fitted with synthetic heads. Some players prefer the natural skin heads for a more traditional tone. Tightening or loosening the drum head, through adjusting the tension hooks fitted around the outside of the drum results in a change in tone. The head typically has a firm tension. Tightening it so that it is rock hard to the touch gives a bright sound with good note distinction, but less bass response. Loosening it so it is softer, yet still tight enough to keep the bridge in place with the tension of the strings, results in"
"""gut"" snares on a corps-style drum). These differences tend to give the pipe drums a ""snappier"" snare sound, emphasizing the higher frequencies of the drum. Recently, corps-style drums have been produced with steel wire snares underneath the batter head (while remaining the gut snares under the bottom head). These snares are able to be switched on and off separate from the bottom snares, which allows units to use the second snares as a specific effect or as a permanent modification to the sound of the drum. The head of the snare drum can also be varied to give the drum"
"screw into lugs placed evenly around the circumference. The head's tension can be adjusted by loosening or tightening the rods. Many such drums have six to ten tension rods. The sound of a drum depends on many variables—including shape, shell size and thickness, shell materials, counterhoop material, drumhead material, drumhead tension, drum position, location, and striking velocity and angle. Prior to the invention of tension rods, drum skins were attached and tuned by rope systems—as on the Djembe—or pegs and ropes such as on Ewe Drums. These methods are rarely used today, though sometimes appear on regimental marching band snare"
"than a quarter turn each time. From time to time, the head is tapped next to each tension rod and the rods are tightened and loosened so that the tones are the same all around the drum. The procedure is repeated until the head has the desired pitch. At times it may be desirable to use a specific key or individual musical notes to tune each drum to, creating more melodic tones and a more musical sound to the drums. The head is tapped once more around the edge to ensure even tuning. If double-headed drums are used, the procedure"
"music. Take, for example, the modern Tom-tom drum. A jazz drummer may want drums that are high pitched, resonant and quiet whereas a rock drummer may prefer drums that are loud, dry and low-pitched. Since these drummers want different sounds, their drums are constructed and tuned differently. The drum head has the most effect on how a drum sounds. Each type of drum head serves its own musical purpose and has its own unique sound. Double-ply drumheads dampen high frequency harmonics because they are heavier and they are suited to heavy playing. Drum heads with a white, textured coating on"
"Rossit C.A.; Bambill D.V. Journal of Sound and Vibration, December 2000, vol. 238, no. 4, pp. 720–722, Ingenta. Drum tuning Drum tuning is the process of adjusting the frequency or pitch of a drum. Although most drums are unpitched instruments, they still require tuning in order to remove unwanted overtones and produce the sound that the drummer prefers. Some drums such as timpani and rototoms are tuned to a definite pitch. Drums are tuned by tightening or loosening the tension rods or ropes, which control the tension on the drumhead. Additional techniques such as muffling may also be used. Tuning"
"the shells are open and beveled to project the sound of the drum forward. Double-ply PET film heads are typically used for increased sound projection and durability. They are typically played with wooden- or aluminum-shafted mallets that have disc-shaped heads made of nylon. Mallets with felt or fleece heads, drum sticks, drum brushes, and other implements are occasionally used to achieve different timbres. The playing technique used for multi-tenors is somewhat different from that of a snare drum, and more like that of a timpani because the drumhead is struck closer to the edge instead of in the center. This"
"which gives a tonality that is midway between clear and coated heads. Unlike tenors and snares, bass drums are mounted so that the cylindrical shell of the drum is mounted on the player's harness and the two drum heads of the drum face out sideways. The player can then play on both heads, one arm for a drum head on either side. Each drummer plays and carries one drum, and a line is created by having several people carry different-sized drums. Such drums are called ""tonal bass drums"". The lowest drum in a line, however, is often tuned to have"
"drums. The head of a talking drum, for example, can be temporarily tightened by squeezing the ropes that connect the top and bottom heads. Similarly, the tabla is tuned by hammering a disc held in place around the drum by ropes stretching from the top to bottom head. Orchestral timpani can be quickly tuned to precise pitches by using a foot pedal. Several factors determine the sound a drum produces, including the type, shape and construction of the drum shell, the type of drum heads it has, and the tension of these drumheads. Different drum sounds have different uses in"
"Drum tuning Drum tuning is the process of adjusting the frequency or pitch of a drum. Although most drums are unpitched instruments, they still require tuning in order to remove unwanted overtones and produce the sound that the drummer prefers. Some drums such as timpani and rototoms are tuned to a definite pitch. Drums are tuned by tightening or loosening the tension rods or ropes, which control the tension on the drumhead. Additional techniques such as muffling may also be used. Tuning toms is the act of ensuring that: When tuning a drum, drummers must keep in mind that the"
"two and a half minutes. In general, timpanists do not use multiple bounce rolls like those played on the snare drum, as the soft nature of timpani sticks causes the rebound of the stick to be reduced, causing multiple bounce rolls to sound muffled. The tone quality can be altered without switching sticks or adjusting the tuning. For example, by playing closer to the edge, the sound becomes thinner. A more staccato sound can be produced by changing the velocity of the stroke or playing closer to the center. Prior to playing, the timpanist must clear the heads by equalizing"
"The drums are tuned to the drones of the Great Highland bagpipes, and also notes on the chanter (commonly A, E, C chord). Although both heads of the drum are tensioned and tuned equally (to avoid the drum producing overtones when struck), a player only strikes the top head with the mallet. Although not used by all bands, swings are becoming increasingly popular. Tenor drummers using swings are often referred to as 'flourishing tenors.' Swings are done by tying a string to the end of the drum stick, and the fingers of the players. Then the player can ""drop"" the"
"beat the head approximately in from the edge. Beating at this spot produces the round, resonant sound commonly associated with timpani. A timpani roll (most commonly signaled in a score by ) is executed by striking the timpani at varying velocities; the speed of the strokes are determined by the pitch of the drum, with higher pitched timpani requiring a quicker roll than timpani tuned to a lower pitch. While performing the timpani roll, mallets are usually held a few inches apart to create more sustain. Anton Bruckner's Symphony No. 7 requires a continuous roll on a drum for over"
"any particular note in purely percussive settings. However, when playing with harmonic instruments, they may be tuned to specific notes. Congas are often tuned using the open tone (see above). In general, the particular note will depend on the make, model, and size of the conga drum. The drum should be tuned so that the bass tone resonates, the open tone rings, and the slap pierces through the musical mix. If the tuning is too loose, the bass and slap tones will sound ""flabby""; too tight, and the drums will sound unnatural and ""pinched"". With a single drum, it is"
"with a larger head would be capable of a lower tuning. Shorter drum shell, however, does not require as much force to vibrate the drum heads. Sometimes the front head of a kit bass drum has a hole in it to allow air to escape when the drum is struck for shorter sustain. Muffling can be installed through the hole without taking off the front head. The hole also allows microphones to be placed into the bass drum for recording and amplification. In addition to microphones, sometimes trigger pads are used to amplify the sound and provide a uniform tone,"
"often have a ""strainer"" on one side and a ""butt plate"" on the other to hold the snare wires to the drumhead. Snare tension is controlled with a screw on the strainer. A strainer may also have a ""throwoff"" lever to move snares away from the drumhead, in order to prevent buzzing caused by other bass instruments while the snare is not in use, or to produce a tom-tom sound if desired. While not required for operation, most drum manufacturers label their products by way of a drum ""badge"". The badge is a label attached to the drum shell with"
"them muffle the overtones of the drum head slightly, producing a less diverse pitch. Drum heads with central silver or black dots tend to muffle the overtones even more. And drum heads with perimeter sound rings mostly eliminate overtones (Howie 2005). Some jazz drummers avoid using thick drum heads, preferring single ply drum heads or drum heads with no muffling. Rock drummers often prefer the thicker or coated drum heads. The second biggest factor that affects drum sound is head tension against the shell. When the hoop is placed around the drum head and shell and tightened down with tension"
"drums designed for use in a concert band rather than in a drum kit. Rototoms have no shell at all, just a single head and a steel frame. Unlike most other drums, they have a variable definite pitch and some composers write for them as a tuned instrument, demanding specific notes. They can be tuned quickly by rotating the head. Since the head rotates on a thread, this raises or lowers the head relative to the rim of the drum and so increases or decreases the tension in the head. A gong bass drum (also known as ""gong drum""), is"
"the tension at each tuning screw. This is done so every spot is tuned to exactly the same pitch. When the head is clear, the timpani will produce an in-tune sound. If the head is not clear, the pitch will rise or fall after the initial impact of a stroke, and the drum will produce different pitches at different dynamic levels. Timpanists are required to have a well-developed sense of relative pitch and must develop techniques to tune in an undetectable manner and accurately in the middle of a performance. Tuning is often tested with a light tap from a"
"common stock and are usually tuned in one of two patterns. For pipes in A, the tenor drone is tuned to the low ""A"" of the chanter, usually the tonic note, and the bass drone to the ""A"" an octave below this. There is also sometimes a dominant drone - this can be either a baritone, tuned a fifth above the bass, or else an alto drone, tuned a fifth above the tenor. For tunes in the key of D, the dominant drone can be either shut off or retuned. Most makers now prefer to make a baritone drone, rather"
"drum shell should resonate like a violin or guitar body. The thinner the shell, the lower the fundamental tone. Sonor drums have several design features, including undersized shells (a similar concept to a violin bridge - designed to enhance response), and tension rods that are round and feature a slot instead of the traditional square style (though recently Sonor made square heads standard, with slotted heads available as an option). Recently, Sonor re-introduced the designer X-Ray Acrylic drums, the first time in 20 years Sonor offered acrylic drums. These shells are made from seamless, extruded acrylic and feature acrylic hoops."
"the accent drums are generally tuned as high as possible without breaking the head (often humorously referred to as ""higher"" and ""highest"", in the case of a 6-drum set). Tenor drums are played with mallets or drumsticks. A wide variety of implements are available, encompassing a full spectrum of shaft materials (hickory and aluminum are the most popular), head materials (wood, plastic/nylon, rubber, felt, and fleece ""puffs"" are all common), and head shape/size (ranging from large ""cartwheel"" discs, sometimes referred to as ""cookie cutters"", to traditional drum stick beads). Tenor players use matched grip. This facilitates tenor techniques such as"
"so as to allow the shell to vibrate freely without degrading the shell's dynamic range and sustain. The nodal point is the location on a shell with the least amount of vibration allowing for the mount to have minimal effect on the resonance of the shell. Some drummers use a snare stand to hold and to make it easier to position the tom. Tom-tom drum A tom-tom drum is a cylindrical drum with no snares, named from the Anglo-Indian and Sinhala language. It was added to the drum kit in the early part of the 20th century. Most toms range"
"muffling techniques as the snare, but bass drums in a drum kit are more commonly muffled by adding pillows, a sleeping bag or another soft filling inside the drum, between the heads. Cutting a small hole in the resonant head can also produce a more muffled tone, and allows manipulation in internally placed muffling. The Evans EQ pad places a pad against the batterhead and, when struck, the pad moves off the head momentarily, then returns to rest against the head, thus reducing the sustain without choking the tone. Silencers/mutes Another type of drum muffler is a piece of rubber"
"appear under it as the drum turned (rotational latency). Not all drum units were designed with each track having its own head. Some, such as the English Electric DEUCE drum and the Univac FASTRAND had multiple heads moving a short distance on the drum in contrast to modern HDDs, which have one head per platter surface. The performance of a drum with one head per track is determined almost entirely by the rotational latency, whereas in an HDD its performance includes a rotational latency delay plus the time to position the head over the desired track (seek time). In the"
"in Thailand. The ""samphor"" is made by hollowing out a single block of wood into a barrel shape. Both ends are covered with calfskin, tightened by strips of leather or rattan. One head of the drum is larger than the other to allow differing tones. Traditionally, the maker ""tunes"" each head by applying a circle of paste made of rice and ashes (from a palm); however a new resin paste is available today. The pitch to which the skin head is tuned becomes lower with a thicker layer of ash. The drummer makes use of four distinct strokes: an open"
"either on the head directly or on the shell of the drum. Some drumhead manufacturers make heads that are ""pre-muffled."" These heads usually have separate pieces of PET film or other material which are set into the head's flesh hoop and touch the head to control overtones. Marching bands in general and especially marching drum lines emphasize uniformity. To achieve absolute uniformity, every member of the drumline must play with proper stick heights. A stick height is an approximate measurement of how high the bead of the stick comes off the drum head on any given note. Regularly used heights"
"heating of the head. Modern congas use a screw-and-lug tension head system, which makes them easier to tune (or detune). This modern type of tension system is attributed to Carlos ""Patato"" Valdes, a popular Cuban Conguero. As was discussed above, terminology for the drums varies. Here, the naming system used is a composite of those mentioned before with those currently in use by major conga manufacturers. The drums are discussed in order from largest to smallest; the sizes of the drumheads given vary considerably by manufacturer, model, and style. Congas, being percussive instruments, do not have to be tuned to"