That's soooo good to hear. This work is not about stroking my ego... I'm confident in regards to my accomplishments and the work I do. This is about you guys, fellow drummers discovering themselves at the drums. Thanks so much for the inspo!
Hey Bob! All vids are Great! The sound you are coming up with always sounds nice and perfectly matching to your drums shell. This is definitely i will work on! Thanks for your easy to follow instruction and work. I really appreciate what you do for everyone. Cheers Basti
hello bob! I'm a bass player from venezuela, since I'm seeing you videos I'm starting to be more curious about the drums and how it sounds, and now I'm thinking to learn to play this wonderfull instrument :D the tuning videos help us me and my band drummer, to find a better sound in our drum set. Thanks a lot! you're encouranig so many peaple to be creative and make better music. Greetings from venezuela!
Yes, an Evans EQ pad inside the drum. It lowers the pitch of drum just by being inside the shell. It's wise to put some sound absorbing material inside drum regardless of whether it touches the heads or not. Sustain is controlled by the pad touching the batter and or reso head.
Depends on whether you want to control the amount of pressure against the head. The gate system disengages the 'velocity" control in the standard EQ pad. Also, the pads are smaller and less dense on the gate... great for small diameter BD's (18-20"). Best to get 1 of each and experiment. I switch them depending on what after at the moment
Yes, the Evans EQ pad is totally adjustable in regards to the amount of pressure placed on the head. We another version called the RGS-PAD that offers even more tone control
The Evans EMAD-2 and EMAD-reso are a great combo for bottom end. Also, the new "ONYX resonant head works well with the E-2. If you don't need a vent hole than replace the reso with the EQ-1 for increased lo-end sustain. Place an EQ pad in the drum, not touching the heads will provide lower frequencies to sing.
Lower tunings will generate more slap sound, good for definition in high volume settings. Also, a "rigid" protector patch will further define your sound. Bottom line is "large diameter drums are limited in tuning range" so taking my suggested tuning and lowering the batter head slightly may hit the spot for you.
Since I'm a devout Evans player, I recommend the EMAD-2-Onyx batter head combined with the EMAD-reso. Also, pick-up at least an EQ pad. Mount it inside the BD but "not touching the heads". This provides a good starting point before placing it "against the head" in an effort to shorten sustain. Please let know how it works out.
@danvranic positioning a vent hole in the center will essentially eliminate resonance ...depending on size (hole circumference). this is why it became popular to position the hole as close to edge as possible.
Pillows and blankets are "old school". The Evans EQ pad and RGS pads are completely adjustable and effective. The sound your after can be easily achieved by using and EQ pad up against the reso head and a RGS pad to the batter. The RGS has an adjustable feature that controls the amount of pressure exetered to the head, A 2 ply batter head like the EQ 3 or EMAD 2 will work fine for what your after.
@MyFilmsProduction Yes, it's a Tama product. It's a handy device that will help you to establish and hear "equal" pitches around the circumference of the head. However, it's always best to invest time & energy into "ear training". Think of the DD as a stepping stone and view the "Tonal Tuning" series on the channel. The message is SING, SING ...SING! Happy New Year M!
Scaling is tuning to "pitches" that form a scale. For instance, Let's say the lowest pitch is "C". As you tune the drum upwards in 1/2 steps you'll notice that certain "pitches" sound better than others. Example: C>D>Eb>F>G are sweet spots that resemble a scale. It's a process of elimination in knowing where the drum is at.
The pillow is overkill! Best to pick up a couple of the Evans EQ pads. They are totally adjustable, allowing just the right amount of dampening for every drummer's style, taste. The "RGS" version offers even more control in regard s to pressure against the head. I'd go for one of each. You're welcome and thanks for viewing the channel.
Thank you very much. Sorry I can't recall SP's set-up.Typically, I position a Shure SM91 on an EQ pad approx.10 inches away from the batter head. A 2nd mic is positioned approx 6" from the reso head between the edge & the center of the head. Occasionally, I use a Beyer M88 inside the drum for a wider BD sound. The most thing is to check "phase" cancellation. More often than not a BIG BD sound happens when mics are "out" of phase.
Dammit Bob ! You are a genius! Finally I really get the sound i desire! Once I got the sound I wanted , I just had to de-tune my bassdrum so that I could do it again! =)Thanks for your great advise!
Assuming your using both the EMAD batter & reso it's very important to use the RGS or EQ pad inside the bass drum. The 3 components comprise a "system". There are 3 basic settings. 1. place the pad in the drum "not" touching either head (max resonance/sustain/lowers pitch)2. place pad against the batter head(max attack& sustain) 3. against the reso head ( short sustain,more low-end.
Ooooo...an easy question...gotta try EC-2's on toms, Reverse PowerCenter with a Min-EMAD muffler on snare. Also, the ECS/Mini-EMAD snare combo provides alot of character. Thanks for the nice comment!
@danvranic Of course the 2-ply batter is more durable. However, the single ply head will deliver more attack. A good solution is the Evans "GMAD". It's a thicker (12mil) head that offers more durability than the traditional 10 mil BD batter (i.e.EMAD-1)... but still provides a solid attack characteristic.
(2) EQ pads can be configured in several ways. (1) pad not touching the heads will lower the pitch of the bass drum by muting overtones allowing fundamental pitch to surface. (2) pad touching both heads shortens sustain with more bottom. (1) pad on batter the other not touching the reso will increase sustain while providing solid feel at the pedal and those are just a few possibilities... experiment time! The RGS pad provides more control over pressure to the head.
I personally don't own a kit with this set up, but i understand it. I believe the reasoning behind having a kit set up with one rack tom and 2 floor toms is to put the ride right over the bass drum where the 2nd tom (on a standard 3 tom set up) would normally be. So basically, the idea is to still have the capability of making fills and beats with 3 toms, but with a much easier and more accessible positioning of the ride. btw, awesome videos. I'm learning a lot. :)
Depends on what you after. Against the batter side will shorten duration but more importantly make the pedal feel more solid, direct, precise. Against the reso will shorten tone & diminish low frequency sustain without affecting the natural feel of the batter head. Don't forget many drummers do both, yet for another variation in sound& feel
The idea is if you apply pressure at dead center of the the drum head, "equal pressure" is distributed around the entire perimeter of the head. While holding the pressure to the center, then detune each t-rod until the wrinkles stop moving, then tuning slightly higher places equal pressure around the head's edges at the lowest possible pitch (LPP) Tuning-wise, this technique gets you in the ball park. All you have to do is tweak it until your smiling!
I did a 5 day tour last month in the Long Island area finally ended @ the Drummers Collective in Manhattan. However, my clinic tours are sporadic, We try to balance them between high demand R & D periods and product releases.
My goal is to simplify drum tuning. I understand your style but the fact is most drummers are struggling with the basics, ear training, drum design, head choices etc. Helping drummers to experience the connection between Sound & Feel. That is what my channel is all about.
Evans EMAD bass drum heads and the new "EC 1's & 2's are great. Easy tuning, great feel, sound and durability. You can hear the EC-2's on most of my YT vids. If you get an EMAD batter head...pick the EMAD reso to complete the system. Your bass drum will sound like a cannon!
@C0reyBernard Best to pull both heads off the drum and tap them. Compare the sound of the tap but more importantly listen for overall sustain. When it comes to 2-ply heads in general sustain can vary... it's very typical of 2-ply, large diameter heads.
Identical drums are rare. What your dealing with is slight variations in shell roundness, true bearing edges, etc. Also, heads are inconsistent."Flatness" in drum heads varies. It's called "deviation" where the film and head hoop meet. The se are the factors that make identical difficult... unless your luck out with identical drums and heads.
True about the large shells not having a wide range but, you still have to tune to notes Bob. On a gig, the bass player was complaining how he was out of tune on the low E, only, I found, it was the kick drum that was at E-flat that was out of tune, not the bass. For the key of G, I tune the reso head to a G 3rd fret low E string on an acoustic. Then, I tune the batter to a low D. That works for a 22" kick. By using a soft mallet in a quiet space, one can tune to notes.
My best advice is bass drum tuning is more sensitive than we think. A simple 1/4 turn of the 'right" tension rod can zero the sound in for you. It's hit or miss... bring the heads up to the point where they resonate than mess around with each T-rod by turning it clockwise than counter and listen carefully to the results. There's always a "magic" t-rod that zero's things in.
I'd invest into the Evans EMAD BD head system. The EMAD2 and EMAD reso heads produce instant results. Also, it's very important that you place an EQ pad or any sound absorbing material (towel,blanket etc) inside the BD, NOT TOUCHING the heads, unless you chose to muffle the heads. This technique will provide more low end. hope this helps
The hole has 2 functions. It vents the drums allowing air to escape quickly affecting the feel but more importantly it shortens sustain. Good or bad depends on what your looking for.
Every drum has a specific "range" of tuning possibilities. Some drums more than others. For instance...10 &12" drums provides more tuning range the the 14 & 16" toms. You start with the lowest possible pitch than raise the pitch of both heads in small increments to explore the range of tuning. Where you pitch the drum is subjective, personal choice.
@StromboliKicks Often a single rod might not match the others in pitch. Raise (or lower) the single tension rod and try matching the remaining t-rods to that pitch. It's not unusual for the pitches to be slight off from each other due to the condition of the head and /or shell. get em as close as you can!
Large diameter drums not only have the least amount of useable tuning range , pitch recognition becomes less detectable. Batter and reso heads should be close in pitch for best results. This technique is about attaining the lowest possible pitch then making small incremental changes at each t-rod until you hear something you like. It's a very simple formula. Pitch recognition is a skill that just about anyone can acquire through repetition and routine practice techniques.
It's the same approached as "even" # of tension rods. Go to the farthest t-rod across the head to the opposite side. 12:00>4:00>10:00>2:00>8:00 Oops almost forgot.... you're welcome & thanks back to you for writing
Actually the heads and pad were designed as a system. It's wise to place the EQ pad in the drum "even if you prefer it not touches either heads". The absorbent material of the pad dampens errant overtones generated from hitting the batter head slight off-center. makes a big difference in lo-end density. Try it yourself, place the pad in the drum, have someone tap it, listen from the front then remove the pad... you'll be amazed!
My best advice to to experiment with combination. Try the Evans EMAD-Onyx batter with Onyx reso. This film generates a dry, controlled sound. Be sure to place an EQ pad inside the drum NOT TOUCHING the heads. If you can't track an EQ pad then place small pillow or towel inside the drum.
The Pinstripe provides less stability from the batter than say... an Evans EMAD-2 which offers much more pedal control. The 6" hole is fine... this is not a "venting" issue. Also, you want to place a pad inside the drum. Just placing a pad inside the drum without touching the heads will lower overall pitch. The Evans EQ-Pad is perfect in regards to controlling SOUND & FEEL. best to goto Evans online and learn more about sound control pads and placement. Hope this helps!
@LeopoldGold1 Well thank you so much Leopold! it's stories like yours that inspire and reassure me that taking the time to reach out to my fellow drummers is worthwhile. Let's stay in touch and please call me Bob, as all my friends do. Bob
I've had good results by setting the mic approx 6-10 inches from the head surface approximately 4-6" off center. It's important that the reso head having an "internal" dampening ring or pad touching it.
Muffling is the control for sustain that also controls the ringing tone you describe. The best you can do is place an Evans EQ pad (or any sound absorbing material) at the bottom of the shell, "Not touching the heads". This will control overtones producing more low end.
That album makes heavy use of triggers on every drum strike. The sound of each strike is swapped out with a sample to ensure that the volume and tone remains even throughout the entire album. You'll notice that every kick and snare strike sound exactly the same...
One of the coolest things about the drum set is the personalized, custom nature by design. Not sure why heavy hitters prefer large diameter drums over rack toms but 2 things come to mind. 1. "mo low end" for heavy playing 2. to create a drum set-up where the drummer can be in "plain sight" by by eliminating the wall of toms over the bass drum. I know drummers that are very concerned about that. Hollywood over sound..hmmmm.
Tuning the BD is about being aware of the sensitivity in drum key turns. Do you best to tune to the "lowest possible pitch" (LPP) Set the bass drum up and while tapping softly with your foot, turn the tension rod at the top of the drum back and forth... listen closely for the drum to resonate and bottom out. This will give a feel for drum key sensitivity. Most inexperienced tuners go past the "sweet" spot.
It's a tricky formula. The truth is Metalheads go for attack versus sustain. However, In an effort to decrease sustain, muffling techniques generally "softens" the attack characteristic. My best advice is to control sustain by placing the pad only to the RESO head and be sure to use a hard beater (plastic/wood) on the batter head. Dont forget to apply a protective patch! Lower tuning of the batter (flopped out) head will generate more click. Try it ... let us know how it works out.
You can use common household stuff, pillows, blankets, duct tape etc. But with products like EQ, RGS or Min-Emad muffling pads from Evans, muffling is far more efficient and controllable.
The Evans RGC or EQ pads are way better than a pillow. They are totally adjustable and stay in place when transporting your drums. Generally, it's best to tune each head to it's lowest possible pitch (LPP). Than experiment with raising the batter head until you find a sound that grabs you but more importantly the feel is what your after. Small incremental changes in tuning can really effect the sound & Feel. Even the drum is BIG, be delicate!
Lowest possible pitch (least amount of tension) will produce more "slap" less sustain. Just slightly higher will increase "sustain" giving the sound more "meat" less attack (definition)
Tighten the head in the sequential pattern... for example... Tensioning pattern- 1>6>3>9>2>7>4>10>8>11 o, clock in small increments (1/4 key turns) until you reach a pitch just above the pitch you desire. Play the drum for at least a 1/2 hour than re-tune to your desired pitch.
@danvranic OK, I understand now...didn't know what musical genre your into. Of course positioning a mic inside or in front off the vent-hole will generate the fullness and density in sound with plenty of attack. EQ'ing will play a key factor for the sound you're after. The center vent design is not just about SOUND, it's largely about the FEEL at the pedal board.At hi-volume levels the drummer will intuitively want to feel a "stop" sensation at the pedal board.
For a boomy, resonant sound best to use a "closed" head system.That means a resonant head with no vent hole. I suggest an Evans EQ-1 reso with an EQ-1 batter or EMAD 1. It's important to place an EQ-Pad inside the drum, not touching the heads. The EQ pad dampens overtones to enhancing fundamental pitch... mo low end!
Mostly the type of head and beater. 2-ply heads produce more slap than single ply. Obviously, the plastic side of the beater is preferred over felt. Also, the shape and size of the beater plays a role. Tuning-wise more slap is generated at very low tunings. Yes, finally EQ at the board can shape just about any sound. Best to generate it at the head first. Negative EQ'ing is way better than additive EQ.
This is how i set my BD for more slap-tone. 4 Steps 1.Most important,de-tune the batter head until it stops resonating, even if it wrinkles a bit. 2. Mount an Evans AF Patch(Remo-Falam)3.Use the hard surface(plastic) of the pedal beater4. Do not place a muffle pad against the batter head. Muffling the batter will shorten the sound, not increase "slap". OK to muffle the resonant head.
Well thank you! It's a 2-way street... this way everyone wins. Also, it's about originality, being "different" by treating the YT platform as if it were myspace or facebook.
You'll sense less body from the drum but extreme precision @ the pedal. If your miking the drum you get tons of attack. It's easy to mic due to reduced low frequency sustain. Danny Carry has been using with "Tool" for quite some time now.
Accuracy in tuning bass drum has to do with very small incremental drum key turns (1/4). It's best to sit behind the drum and while tapping it with your foot jump around the t-rods making small incremental moves and listen for the best sound. There's always a "magic" t-rod that does the trick. Your mission is to find that magical key.
There is so much much new technology in drum head design that you should be able to find exactly that your after. What I'm saying is, head styles and combinations that Buddy didn't access to may produce exactly the same sound as his double/sing;e head configuration. One thing you can do is place a small pillow or better yet an Evans EQ pad inside the BD, NOT TOUCHING THE HEADS. This will lower overall pitch & create more low frequency sustain. Check out BD heads on the Evans site. Let me know
@TheMrMul Re-mounting an old head is not the solution. Place the drum on the floor with one face down. Making small incremental drum key moves, tap the head directly in front of the t-rod and match pitches around the entire circumference of the drum. Then flip the drum over and do the same for the opposite side. This technique should get you in the ballpark. Let me know how it works out Bob
When the wrinkles stop distorting at each t-rod, you've reached the lowest level of tension applied to the head. This provides a starting point to then, incrementally increase tension at each t-rod until the head begins to fully vibrate without distortion in sound. Keep in mind the bass drum head has a very limited in tuning range. It's easy to miss the sweet spot... make small incremental turns. Even though its the largest drum on the kit, be gentle!
@C0reyBernard This is an age-old problem not unlike getting rid of sympathetic snare buzz. Rarely, do 2 "identical" bass drums sound the same. Your best bet is to "duplicate" head types, pedal beater, internal muffling but most importantly. tuning. In theory, the 2 drums should sound the same, but they don't. Pinpoint the differences in sound (sustain, tone, attack) then tweak tuning & muffling on "one" of the drums to duplicate the other drum which is your basic sound source.
bob let me say thank you first of all!!. you are a great inspiration for all us drummmers to sound the best and play the best. i have a little question about INTERNAL BASS DRUM MIKING. do you ever tried this , and what do you think about it . i really like simon philips sound , but i didnt see many drummers using this technique . im sure you have something to say about this. thanks for all pd:im not from the states so my english is not good . im hoping you can understand me :)
@looklikemagic Cymbal sounds are so subjective, it's impossible to categorize cymbal sounds. Personally, I think the "A Customs are Zildjian best "All-around" crash cymbals. Hope this helps
Always best to off-set the vent hole to maximize resonance. I'd aim for the lowest possible pitch. Check by tapping the edges until of the "warble" sound goes away and pitch is detectable Good luck!
I've only messed with them at conventions. They're a good value based on sound and pricing. However, no one can tell you what works for YOU! I wouldn't but em blind on-line...make sure you try em out at a store.
So work on this tuning technique. Off the pillow/blanket muffling system and pick up 1 or 2 Evans EQ Pads. The EQ pad give you much more control over "sustain". which what you after. Also, be certain to use a Evans EQ-3 resonant head. Last but not least... try the EMAD 2/Emad reso system. It has a built in fat, thuddy tone.
Hi! It´s me again Mr, Gatzen. Another question I have. according to tom tunning is, how can i tune a 5 lugs tom, or which method can i use? Thank you for your answers, and keep on, you´re the best.
That's soooo good to hear. This work is not about stroking my ego... I'm confident in regards to my accomplishments and the work I do. This is about you guys, fellow drummers discovering themselves at the drums. Thanks so much for the inspo!
Well thank you very much. This has always been my goal. Communicating with fellow drummers on YT has been wonderful!
Hey Bob!
All vids are Great!
The sound you are coming up with always sounds nice and perfectly matching to your drums shell. This is definitely i will work on!
Thanks for your easy to follow instruction and work. I really appreciate what you do for everyone.
Cheers
Basti
Oh man... what a nice message to receive after 8 straight days of rain!! I love success stories, thanks M!
Thank you a lot, Mr. Gatzen, it worked and now i have a good bass drum sound. You´re great!
hello bob! I'm a bass player from venezuela, since I'm seeing you videos I'm starting to be more curious about the drums and how it sounds, and now I'm thinking to learn to play this wonderfull instrument :D the tuning videos help us me and my band drummer, to find a better sound in our drum set. Thanks a lot! you're encouranig so many peaple to be creative and make better music. Greetings from venezuela!
Yes, an Evans EQ pad inside the drum. It lowers the pitch of drum just by being inside the shell. It's wise to put some sound absorbing material inside drum regardless of whether it touches the heads or not. Sustain is controlled by the pad touching the batter and or reso head.
Depends on whether you want to control the amount of pressure against the head. The gate system disengages the 'velocity" control in the standard EQ pad. Also, the pads are smaller and less dense on the gate... great for small diameter BD's (18-20"). Best to get 1 of each and experiment. I switch them depending on what after at the moment
Yes, the Evans EQ pad is totally adjustable in regards to the amount of pressure placed on the head. We another version called the RGS-PAD that offers even more tone control
The Evans EMAD-2 and EMAD-reso are a great combo for bottom end. Also, the new "ONYX resonant head works well with the E-2. If you don't need a vent hole than replace the reso with the EQ-1 for increased lo-end sustain.
Place an EQ pad in the drum, not touching the heads will provide lower frequencies to sing.
Lower tunings will generate more slap sound, good for definition in high volume settings. Also, a "rigid" protector patch will further define your sound. Bottom line is "large diameter drums are limited in tuning range" so taking my suggested tuning and lowering the batter head slightly may hit the spot for you.
Thank you very much... sharing means a lot to me. The more we know the more we grow!
Since I'm a devout Evans player, I recommend the EMAD-2-Onyx batter head combined with the EMAD-reso. Also, pick-up at least an EQ pad. Mount it inside the BD but "not touching the heads". This provides a good starting point before placing it "against the head" in an effort to shorten sustain. Please let know how it works out.
@danvranic positioning a vent hole in the center will essentially eliminate resonance ...depending on size (hole circumference). this is why it became popular to position the hole as close to edge as possible.
Pillows and blankets are "old school". The Evans EQ pad and RGS pads are completely adjustable and effective. The sound your after can be easily achieved by using and EQ pad up against the reso head and a RGS pad to the batter. The RGS has an adjustable feature that controls the amount of pressure exetered to the head, A 2 ply batter head like the EQ 3 or EMAD 2 will work fine for what your after.
@MyFilmsProduction Yes, it's a Tama product. It's a handy device that will help you to establish and hear "equal" pitches around the circumference of the head. However, it's always best to invest time & energy into "ear training". Think of the DD as a stepping stone and view the "Tonal Tuning" series on the channel. The message is SING, SING ...SING!
Happy New Year M!
Scaling is tuning to "pitches" that form a scale. For instance, Let's say the lowest pitch is "C". As you tune the drum upwards in 1/2 steps you'll notice that certain "pitches" sound better than others. Example: C>D>Eb>F>G are sweet spots that resemble a scale. It's a process of elimination in knowing where the drum is at.
The pillow is overkill! Best to pick up a couple of the Evans EQ pads. They are totally adjustable, allowing just the right amount of dampening for every drummer's style, taste.
The "RGS" version offers even more control in regard s to pressure against the head. I'd go for one of each. You're welcome and thanks for viewing the channel.
Thank you very much. Sorry I can't recall SP's set-up.Typically, I position a Shure SM91 on an EQ pad approx.10 inches away from the batter head. A 2nd mic is positioned approx 6" from the reso head between the edge & the center of the head. Occasionally, I use a Beyer M88 inside the drum for a wider BD sound. The most thing is to check "phase" cancellation. More often than not a BIG BD sound happens when mics are "out" of phase.
@danvranic It's an EQ-3 batter. I believe the reso head is black. This was shot pre-EMAD innovation.
Dammit Bob ! You are a genius!
Finally I really get the sound i desire!
Once I got the sound I wanted , I just had to de-tune my bassdrum so that I could do it again! =)Thanks for your great advise!
I'm working on a new pitch/feel system... hope to release it in the first quarter
Keep making vids bob, I find them extremely helpful and valuable
Assuming your using both the EMAD batter & reso it's very important to use the RGS or EQ pad inside the bass drum. The 3 components comprise a "system". There are 3 basic settings. 1. place the pad in the drum "not" touching either head (max resonance/sustain/lowers pitch)2. place pad against the batter head(max attack& sustain) 3. against the reso head ( short sustain,more low-end.
Ooooo...an easy question...gotta try EC-2's on toms, Reverse PowerCenter with a Min-EMAD muffler on snare. Also, the ECS/Mini-EMAD snare combo provides alot of character. Thanks for the nice comment!
@TheMrMul Great news!! BD's the heartbeat of the kit! Getting a good sound and feel is over 50% of the climb!!! You're well on your way my friend.
@danvranic Of course the 2-ply batter is more durable. However, the single ply head will deliver more attack. A good solution is the Evans "GMAD". It's a thicker (12mil) head that offers more durability than the traditional 10 mil BD batter (i.e.EMAD-1)... but still provides a solid attack characteristic.
Wow! That's actually quide useful! Dude you're a pro... I'm running to buy your DVD!
(2) EQ pads can be configured in several ways. (1) pad not touching the heads will lower the pitch of the bass drum by muting overtones allowing fundamental pitch to surface. (2) pad touching both heads shortens sustain with more bottom. (1) pad on batter the other not touching the reso will increase sustain while providing solid feel at the pedal and those are just a few possibilities... experiment time! The RGS pad provides more control over pressure to the head.
@LeopoldGold1 Thanks for the touching message. It means a lot to me! Always do my best to share and stay in contact with fellow drummers.
I personally don't own a kit with this set up, but i understand it. I believe the reasoning behind having a kit set up with one rack tom and 2 floor toms is to put the ride right over the bass drum where the 2nd tom (on a standard 3 tom set up) would normally be. So basically, the idea is to still have the capability of making fills and beats with 3 toms, but with a much easier and more accessible positioning of the ride.
btw, awesome videos. I'm learning a lot. :)
Depends on what you after. Against the batter side will shorten duration but more importantly make the pedal feel more solid, direct, precise.
Against the reso will shorten tone & diminish low frequency sustain without affecting the natural feel of the batter head.
Don't forget many drummers do both, yet for another variation in sound& feel
The idea is if you apply pressure at dead center of the the drum head, "equal pressure" is distributed around the entire perimeter of the head. While holding the pressure to the center, then detune each t-rod until the wrinkles stop moving, then tuning slightly higher places equal pressure around the head's edges at the lowest possible pitch (LPP) Tuning-wise, this technique gets you in the ball park. All you have to do is tweak it until your smiling!
Well thank you very much Zach... always feels good to get positive feedback
I did a 5 day tour last month in the Long Island area finally ended @ the Drummers Collective in Manhattan. However, my clinic tours are sporadic, We try to balance them between high demand R & D periods and product releases.
My goal is to simplify drum tuning. I understand your style but the fact is most drummers are struggling with the basics, ear training, drum design, head choices etc. Helping drummers to experience the connection between Sound & Feel. That is what my channel is all about.
Evans EMAD bass drum heads and the new "EC 1's & 2's are great. Easy tuning, great feel, sound and durability. You can hear the EC-2's on most of my YT vids. If you get an EMAD batter head...pick the EMAD reso to complete the system. Your bass drum will sound like a cannon!
I haven't heard this group. However, I'm not surprised... electronics were popular 30 years ago and still are today!
@C0reyBernard Best to pull both heads off the drum and tap them. Compare the sound of the tap but more importantly listen for overall sustain. When it comes to 2-ply heads in general sustain can vary... it's very typical of 2-ply, large diameter heads.
Identical drums are rare. What your dealing with is slight variations in shell roundness, true bearing edges, etc. Also, heads are inconsistent."Flatness" in drum heads varies. It's called "deviation" where the film and head hoop meet. The se are the factors that make identical difficult... unless your luck out with identical drums and heads.
True about the large shells not having a wide range but, you still have to tune to notes Bob. On a gig, the bass player was complaining how he was out of tune on the low E, only, I found, it was the kick drum that was at E-flat that was out of tune, not the bass. For the key of G, I tune the reso head to a G 3rd fret low E string on an acoustic. Then, I tune the batter to a low D. That works for a 22" kick. By using a soft mallet in a quiet space, one can tune to notes.
My best advice is bass drum tuning is more sensitive than we think. A simple 1/4 turn of the 'right" tension rod can zero the sound in for you. It's hit or miss... bring the heads up to the point where they resonate than mess around with each T-rod by turning it clockwise than counter and listen carefully to the results. There's always a "magic" t-rod that zero's things in.
Cool! The coated will deliver more low end but with a somewhat shorter sustain and less "slap" than the clear version.
I'd invest into the Evans EMAD BD head system. The EMAD2 and EMAD reso heads produce instant results. Also, it's very important that you place an EQ pad or any sound absorbing material (towel,blanket etc) inside the BD, NOT TOUCHING the heads, unless you chose to muffle the heads. This technique will provide more low end. hope this helps
The hole has 2 functions. It vents the drums allowing air to escape quickly affecting the feel but more importantly it shortens sustain. Good or bad depends on what your looking for.
I like the EMAD reso with the EMAD Onyx. That's the combo I'm currently using on the black/red flamed kit.
Every drum has a specific "range" of tuning possibilities. Some drums more than others. For instance...10 &12" drums provides more tuning range the the 14 & 16" toms. You start with the lowest possible pitch than raise the pitch of both heads in small increments to explore the range of tuning. Where you pitch the drum is subjective, personal choice.
@StromboliKicks Often a single rod might not match the others in pitch. Raise (or lower) the single tension rod and try matching the remaining t-rods to that pitch. It's not unusual for the pitches to be slight off from each other due to the condition of the head and /or shell. get em as close as you can!
Large diameter drums not only have the least amount of useable tuning range , pitch recognition becomes less detectable. Batter and reso heads should be close in pitch for best results. This technique is about attaining the lowest possible pitch then making small incremental changes at each t-rod until you hear something you like. It's a very simple formula. Pitch recognition is a skill that just about anyone can acquire through repetition and routine practice techniques.
Lunch hour! Thats a new one for me. I take lunch very seriously... thanks for the laugh
It's the same approached as "even" # of tension rods. Go to the farthest t-rod across the head to the opposite side. 12:00>4:00>10:00>2:00>8:00
Oops almost forgot.... you're welcome & thanks back to you for writing
Actually the heads and pad were designed as a system. It's wise to place the EQ pad in the drum "even if you prefer it not touches either heads". The absorbent material of the pad dampens errant overtones generated from hitting the batter head slight off-center. makes a big difference in lo-end density. Try it yourself, place the pad in the drum, have someone tap it, listen from the front then remove the pad... you'll be amazed!
Well, thank you very much.
Currently I'm using an EMAD 2 (two-ply) with the EMAD Reso and an EQ pad
My best advice to to experiment with combination. Try the Evans EMAD-Onyx batter with Onyx reso. This film generates a dry, controlled sound. Be sure to place an EQ pad inside the drum NOT TOUCHING the heads. If you can't track an EQ pad then place small pillow or towel inside the drum.
Good suggestion! I will be sure to try this, but I may not let the batter head wrinkle that much.
The Pinstripe provides less stability from the batter than say... an Evans EMAD-2 which offers much more pedal control. The 6" hole is fine... this is not a "venting" issue.
Also, you want to place a pad inside the drum. Just placing a pad inside the drum without touching the heads will lower overall pitch. The Evans EQ-Pad is perfect in regards to controlling SOUND & FEEL. best to goto Evans online and learn more about sound control pads and placement. Hope this helps!
@LeopoldGold1 Well thank you so much Leopold! it's stories like yours that inspire and reassure me that taking the time to reach out to my fellow drummers is worthwhile. Let's stay in touch and please call me Bob, as all my friends do.
Bob
I've had good results by setting the mic approx 6-10 inches from the head surface approximately 4-6" off center. It's important that the reso head having an "internal" dampening ring or pad touching it.
Muffling is the control for sustain that also controls the ringing tone you describe. The best you can do is place an Evans EQ pad (or any sound absorbing material) at the bottom of the shell, "Not touching the heads". This will control overtones producing more low end.
That album makes heavy use of triggers on every drum strike. The sound of each strike is swapped out with a sample to ensure that the volume and tone remains even throughout the entire album. You'll notice that every kick and snare strike sound exactly the same...
Low tension settings are best for "burying the beater" The more the head resonates the more "chatter" you'll experience at the pedal.
One of the coolest things about the drum set is the personalized, custom nature by design. Not sure why heavy hitters prefer large diameter drums over rack toms but 2 things come to mind. 1. "mo low end" for heavy playing 2. to create a drum set-up where the drummer can be in "plain sight" by by eliminating the wall of toms over the bass drum. I know drummers that are very concerned about that. Hollywood over sound..hmmmm.
Tuning the BD is about being aware of the sensitivity in drum key turns. Do you best to tune to the "lowest possible pitch" (LPP) Set the bass drum up and while tapping softly with your foot, turn the tension rod at the top of the drum back and forth... listen closely for the drum to resonate and bottom out. This will give a feel for drum key sensitivity. Most inexperienced tuners go past the "sweet" spot.
It's a tricky formula. The truth is Metalheads go for attack versus sustain. However, In an effort to decrease sustain, muffling techniques generally "softens" the attack characteristic.
My best advice is to control sustain by placing the pad only to the RESO head and be sure to use a hard beater (plastic/wood) on the batter head. Dont forget to apply a protective patch! Lower tuning of the batter (flopped out) head will generate more click. Try it ... let us know how it works out.
@danvranic Absolutely, but it will stiffen the feel significantly...there's always a trade-off. Sound is Feel.
You can use common household stuff, pillows, blankets, duct tape etc. But with products like EQ, RGS or Min-Emad muffling pads from Evans, muffling is far more efficient and controllable.
The Evans RGC or EQ pads are way better than a pillow. They are totally adjustable and stay in place when transporting your drums.
Generally, it's best to tune each head to it's lowest possible pitch (LPP). Than experiment with raising the batter head until you find a sound that grabs you but more importantly the feel is what your after. Small incremental changes in tuning can really effect the sound & Feel. Even the drum is BIG, be delicate!
Lowest possible pitch (least amount of tension) will produce more "slap" less sustain. Just slightly higher will increase "sustain" giving the sound more "meat" less attack (definition)
Sweet sounds and words! Luv to get these messages...thanks!
Tighten the head in the sequential pattern... for example... Tensioning pattern- 1>6>3>9>2>7>4>10>8>11 o, clock in small increments (1/4 key turns) until you reach a pitch just above the pitch you desire. Play the drum for at least a 1/2 hour than re-tune to your desired pitch.
Joey...Refresh my memory...drum set and head brands would be helpful
@danvranic OK, I understand now...didn't know what musical genre your into. Of course positioning a mic inside or in front off the vent-hole will generate the fullness and density in sound with plenty of attack. EQ'ing will play a key factor for the sound you're after. The center vent design is not just about SOUND, it's largely about the FEEL at the pedal board.At hi-volume levels the drummer will intuitively want to feel a "stop" sensation at the pedal board.
A great lesson! I have favorited this and refer to it many times!
For a boomy, resonant sound best to use a "closed" head system.That means a resonant head with no vent hole. I suggest an Evans EQ-1 reso with an EQ-1 batter or EMAD 1. It's important to place an EQ-Pad inside the drum, not touching the heads. The EQ pad dampens overtones to enhancing fundamental pitch... mo low end!
Mostly the type of head and beater. 2-ply heads produce more slap than single ply. Obviously, the plastic side of the beater is preferred over felt. Also, the shape and size of the beater plays a role. Tuning-wise more slap is generated at very low tunings. Yes, finally EQ at the board can shape just about any sound. Best to generate it at the head first. Negative EQ'ing is way better than additive EQ.
This is how i set my BD for more slap-tone. 4 Steps 1.Most important,de-tune the batter head until it stops resonating, even if it wrinkles a bit. 2. Mount an Evans AF Patch(Remo-Falam)3.Use the hard surface(plastic) of the pedal beater4. Do not place a muffle pad against the batter head. Muffling the batter will shorten the sound, not increase "slap". OK to muffle the resonant head.
Well thank you!
It's a 2-way street... this way everyone wins. Also, it's about originality, being "different" by treating the YT platform as if it were myspace or facebook.
You're welcome and thanks you for writing...means alot to me
Right now,
Evans EC-2/EC-Resos on toms, ECS-RD/Hazy 300 on snare and EMAD 2/EMAD reso on BD
Thanks John! Happy NY to you too.
You'll sense less body from the drum but extreme precision @ the pedal. If your miking the drum you get tons of attack. It's easy to mic due to reduced low frequency sustain. Danny Carry has been using with "Tool" for quite some time now.
Accuracy in tuning bass drum has to do with very small incremental drum key turns (1/4). It's best to sit behind the drum and while tapping it with your foot jump around the t-rods making small incremental moves and listen for the best sound. There's always a "magic" t-rod that does the trick. Your mission is to find that magical key.
Pick up an Evans EQ pad or RGS for more control in pressure against the head
Also, good idea to experiment with the Evans EMAD head system
There is so much much new technology in drum head design that you should be able to find exactly that your after. What I'm saying is, head styles and combinations that Buddy didn't access to may produce exactly the same sound as his double/sing;e head configuration. One thing you can do is place a small pillow or better yet an Evans EQ pad inside the BD, NOT TOUCHING THE HEADS. This will lower overall pitch & create more low frequency sustain. Check out BD heads on the Evans site. Let me know
@TheMrMul Re-mounting an old head is not the solution. Place the drum on the floor with one face down. Making small incremental drum key moves, tap the head directly in front of the t-rod and match pitches around the entire circumference of the drum. Then flip the drum over and do the same for the opposite side. This technique should get you in the ballpark.
Let me know how it works out
Bob
When the wrinkles stop distorting at each t-rod, you've reached the lowest level of tension applied to the head. This provides a starting point to then, incrementally increase tension at each t-rod until the head begins to fully vibrate without distortion in sound. Keep in mind the bass drum head has a very limited in tuning range. It's easy to miss the sweet spot... make small incremental turns. Even though its the largest drum on the kit, be gentle!
@C0reyBernard This is an age-old problem not unlike getting rid of sympathetic snare buzz. Rarely, do 2 "identical" bass drums sound the same. Your best bet is to "duplicate" head types, pedal beater, internal muffling but most importantly. tuning. In theory, the 2 drums should sound the same, but they don't. Pinpoint the differences in sound (sustain, tone, attack) then tweak tuning & muffling on "one" of the drums to duplicate the other drum which is your basic sound source.
bob let me say thank you first of all!!.
you are a great inspiration for all us drummmers to sound the best and play the best.
i have a little question about INTERNAL BASS DRUM MIKING.
do you ever tried this , and what do you think about it .
i really like simon philips sound , but i didnt see many drummers using this technique .
im sure you have something to say about this.
thanks for all
pd:im not from the states so my english is not good .
im hoping you can understand me :)
@looklikemagic Cymbal sounds are so subjective, it's impossible to categorize cymbal sounds. Personally, I think the "A Customs are Zildjian best "All-around" crash cymbals. Hope this helps
Cool! that good news... thanks for writing jan!
You want fast... check out "Drumheads Only" The B.O.A. Pedal System "Defined" and the Marco Minnemann video on the BOA System.
Ok when i get enough money i will buy these heads, thanks!
It's called the "BOA" pedal system. I designed this system for DW. You can check it out on dw online...go to PDP and search BOA
Always best to off-set the vent hole to maximize resonance. I'd aim for the lowest possible pitch. Check by tapping the edges until of the "warble" sound goes away and pitch is detectable
Good luck!
@jtc95 My pleasure jt! This way everbody wins...It's a 2-way street. Thanks again!
tips... mint!!.... no problem in communication... Thanks D!
Thanks e! need more info to help out. BD size, brand/type of reso and batter heads, current muffling techniques.
yes, go the Evans on-line and make request. We are heavily involved with the marching community.
I've only messed with them at conventions. They're a good value based on sound and pricing. However, no one can tell you what works for YOU! I wouldn't but em blind on-line...make sure you try em out at a store.
So work on this tuning technique. Off the pillow/blanket muffling system and pick up 1 or 2 Evans EQ Pads. The EQ pad give you much more control over "sustain". which what you after. Also, be certain to use a Evans EQ-3 resonant head. Last but not least... try the EMAD 2/Emad reso system. It has a built in fat, thuddy tone.
Hi! It´s me again Mr, Gatzen. Another question I have. according to tom tunning is, how can i tune a 5 lugs tom, or which method can i use? Thank you for your answers, and keep on, you´re the best.