Drum tuning

Drum tuning is the process of tightening drumheads on a drum to produce a pleasing tone. A drummer tunes the drums using a a variety of methods, some dependent on the type of drum. These include rope tension, and a drum key; a small, square socket-wrench that fits over the tension rods.

Drum tuning styles and techniques vary among different drums, music genres, and drummer preferences. In addition to tuning drums, drummers often treat drums with muffling material to alter their natural sound.

Styles

Snare drum and bass drum

Snare drum

• The thin, sensitive bottom (resonant) head is generally tuned much more tightly than the batter head.
• The resonant head on a snare drum is often tuned up toward 398 Hz, depending on your overall tuning, but going much higher you risk damaging the head and/or the drum.
• Treatment or muffling may be applied to any type of drum head to control overtones.

Bass or Kick drum

• The resonant (front) head is usually looser than the batter head and is mainly responsible for the fundamental, audible tone of the drum.
• The resonant head can have a small (approximately 6") offset hole to allow for air pressure to escape and to support the insertion of a microphone.
• Some drummers muffle bass drum tone by inserting a towel, blanket, or similar material.

Tom toms

Tuning toms is the act of ensuring that:

• The tensions on the individual batter and resonant heads on each drum are consistent and deliver a clear tone;
• The tensions on the heads deliver the desired fundamental pitch when struck;
• The relationships between the batter head and resonant head provide a sound character suitable for the intended use; and
• The relationships between individual drums and the overall drum set provide a logical and pleasant sounding combination.

When tuning a drum, drummers must keep in mind that the top (batter) head controls attack and ring, while the bottom head controls resonance, sustain, overtones, and timbre.

Rod and Key Tuning

A Drum Key

Drum Key

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.

Process

• Checking that the physical condition of the drum, drum head and hardware that is to be used are in appropriate condition.
• Seating the head to shape the generic factory-shaped head to match the specific drum being used.
• Tuning the batter head to pitch.
• Tuning the resonant head to pitch relative to the batter head.
• Relating each drum's pitch and sustain to the other drums in the drum set to make the drum set a pleasant-sounding unit in accordance with the drummer's requirements.

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 head, which is impossible to do if the lugs are tightened differently. Next, the tension rod opposite the first lug is tightened by the same number of turns. The process is repeated for the remaining lugs in order, moving from one side of the head to the other.

When all of the rods are tightened, the first rod is once again tightened, and the process is repeated once again for each rod until the head is free of wrinkles and a very low tone is produced when hit.

The rods are further tightened in order and incrementally, by no more 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 needs to be repeated with the bottom head.

Rope Tension

Rope-tension is the oldest system for applying tension to drum heads and was common until the late 19th Century.A long rope (or less commonly, a series of ropes) is passed alternately between the top and bottom drum head hoops that are held to the shell by clamps which incorporate holes for the rope(s). The ropes are tightened by sewn-together loops, usually of leather, which are slid downward to tighten the drum heads and which remain in position by surface tension against the rope.The drum heads thus tightened are not as tense as with the more modern single-tension or double-tension systems, but offer a historically deep tone in keeping with the heritage of certain music, such as pipe-and-drum corps, fife-and-drum corps, or bands of the Civil War era.

Single-tension

Single-tension is one of several ways to apply the necessary tension to drum heads. Single-tension systems largely replaced the ancient rope-tension methods in the late 19th Century and are still used today in lower-priced drums for student use.In this system, one long tension rod with a threaded end extends through the hoop holding the top drum head and then down outside the drum shell to a threaded hole in the bottom hoop. There usually is a small guide halfway down on single-tension drum shells to keep the tension rods straight.In older drums, the hoops are often held tight by separate clamps through which the threaded tension rod fits.Tension is applied by turning a special key that fits into a hexagonal drive, but many bass drums (especially those models designed for concert use) have permanent wing-nuts permanently affixed to each tension rod, even on double-tension drums.

Muffling

Many percussionists prefer a more dry sound with less ring. There are many different techniques that can be used to reduce ring.

One approach is to loosen the batter head a quarter to a half turn. Another way is to either increase or decrease the pitch of the bottom head so that it's different from the pitch of the top head. Either of these approaches produces a slightly more dry, funkier sound.

If unwanted ring is not eliminated—or if these types of heads produce unwanted tones—then there are multiple external muffling techniques that may be used, including:

• Using a commercial muffling device, which resemble Mylar "O" rings. This is a common approach and homemade muffling rings can be made by cutting up an old drum head. Some of these come with multiple rings of different sizes; layering multiple rings on top of each other increases or decreases the muffling effect.
• Placing a strip of duct tape on the batter head. Different lengths of tape, and different positions for the tape on the drum head can cause different sounds. Use of multiple strips causes a heavier muffle.
• Taping a tissue or napkin to the rim of the drum, and letting it lay loose on the batter head. Again, different thicknesses and positions create different sounds.
• For toms and snares, moongel can be used to reduce overtones. The bigger the piece of gel, the more the sound is muffled.
• An "old school" muffling technique is to cut a long strip of felt and mount it underneath the batter head on a tom or snare, or across the front bass drum head. However, many modern drummers dismiss felt muffling as dated and feel that the felt strip interferes with the seating of the head to the drum's bearing edge, making the drum slightly more difficult to tune.
• Putting a pillow inside the drum (for bass drums). The amount of muffling is controlled by how much of the pillow touches the front or rear heads; the less contact, the less muffling. Some companies produce dedicated bass drum mufflers that look like odd-shaped pillows; these work in the same fashion.
• Cutting a hole in the front head, or porting it, is an option for bass drums. The hole eliminates much of the drum's natural resonance and creates a drier, punchier sound with a more defined attack. The larger the hole, the less the audible resonance.

External links

• Tunadrum.com - Detailed factual step-by-step information on drum tuning

Bibliography

• Fundamental Modes Of A Circular Membrane With Radial Constraints On The Boundary

Wang C.Y. Journal of Sound and Vibration, February 1999, vol. 220, no. 3, pp. 559–563, Ingenta.

• Comments On “Fundamental Frequency Of A Wavy Non-Homogeneous Circular Membrane”

Laura P.A.A.; Rossit C.A.; Bambill D.V. Journal of Sound and Vibration, December 2000, vol. 238, no. 4, pp. 720–722, Ingenta.