November 4, 2012

My favorite head combinations

By Darin Soll

As a drummer, drum heads are a critical component of your sound.  You want to use quality heads--not included, unfortunately, with most new mid-level drum kits--and change them out periodically.  Achieving the sound you want usually requires some trial and error with different types of heads, but with all of the head choices out there, where do you begin?

One place to begin is for me to simply share the head setup on my current acoustic kits.  Here they are, with batter head listed first in each case, resonant head second:

PDP X7 kit, thin maple shells:

Snare:  Evans Power Center reverse dot coated , Evans Hazy 300 snare side
Rack toms:  Evans G2 clear, Evans G1 clear
Floor toms:  Evans G2 clear OR Evans EC2 clear, Evans G1 clear
Bass:  Aquarian Super Kick II, stock Remo PDP black

PDP FS kit, thin birch shells:

Snare:  Remo Controlled Sound reverse white dot coated, Remo Ambassador snare side (3 mil) clear
Rack toms:  Remo Emperor clear, Remo Ambassador clear
Floor toms:  Remo Emperor clear OR Remo Powerstroke 3 clear , Remo Ambassador clear
Bass:  Remo Powersonic, stock Remo PDP black

A few notes about my setup:  (1) I do port the resonant head of each bass drum with a 4-inch hole at the 4:00 position, mostly for mic placement purposes, (2) I prefer edge control batter heads on my bass drums over using pillows to avoid quieting the drum too much, and (3) I use edge control batter heads on larger floor toms as well in certain venues.  Otherwise, I think edge control is unnecessary with properly tuned drums, and I think they are actually counter-productive on snare drums.  I do like Evans' Power Center reverse dot and Remo's Controlled Sound reverse dot heads for snare drums.  They offer increased durability with a "dual zone" sound while letting the edges sing.

PDP FS birch kit with Evans G2 over G1 head setup on toms
While I tend to stick with one head manufacturer on a given drum kit, I can honestly say that I don't have a preference between Remo and Evans.  To my ear on a given shell, an Emperor over Ambassador setup is very similar to a G2 over G1, although the Evans setup is slightly brighter (slightly more emphasis on the attack).  And because birch shells are somewhat brighter than maple shells, outfitting my birch toms with Remo heads and my maple toms with Evans heads results in pretty much a dead heat.

With any new kit, I highly recommend starting out with 2-ply batter and 1-ply resonant heads for all of your toms, coated or clear, your choice.  Learn how to tune your drums properly with this setup, and then if your particular sound or situation requires some additional overtone control, try Moongels first, and pre-muffled heads as a last resort.  I recommend this for three reasons:  (1) many drummers use pre-muffled heads as a "crutch" to eliminate undesired overtones ("ring") rather than learning to properly tune them out, (2) pre-muffled heads can actually be more difficult to tune and keep in tune, especially in smaller sizes, and (3) pre-muffled heads are more expensive.  Also, keep in mind that two-ply heads such as the Emperor and G2 do provide some overtone dampening, especially when compared to the one-ply heads included with many new mid-level drum kits.

The point is that you should start out with a new drum kit by letting it sing...remember that there is a difference between undesired ring and desired resonance!  Once you are comfortable tuning it up and getting a good sound out of it, then you can start making adjustments for the types of music and venues you typically play.

I recognize that all experienced drummers have developed their own head preferences--I am simply sharing what I have learned to get a good sound out of my acoustic kits.  At the risk of offending the Remo Pinstripe lovers out there, in my opinion, your kit should never wear Pinstripes.  The 1970s are behind us, and toms should not sound like cardboard boxes!  If you find you do need some edge control, the Remo Powerstroke 4 and Evans EC2 are better choices, utilizing edge control mechanisms that are a bit less drastic.  Using a Pinstripe head is similar to dropping an O-ring on your drum, resulting in a decay that is a bit too quick, at least for my tastes.  By the way, some drummers do drop o-rings on their drums in the practice studio when they want a bit less volume and sustain, and then pull them off when they play live gigs.  That "best of both words" scenario may work for you as well.

I am also not a fan of the Remo Emperor X head--while it is probably the world's most durable drumhead, two 10 mil heads with a 5 mil reverse dot dampens the tone a bit too much for my tastes.  While I have not tried Aquarian heads on anything other than bass drums, I think the Super Kick II is probably the best bass drum head on the market right now.

One final point--experimentation is key to finding the right drum head combination for you, so get used to the idea of changing your drum heads.  Drum tuning is not a "set it and forget it" exercise--you have to make it part of your routine to achieve and maintain your sound.  Hopefully my recommendations will help you get the best sound out of your kit!


October 14, 2012

Selecting the right drum kit

By Darin Soll

The old JCPenney kit--fortunately, we
have FAR better options in affordable
drum kits these days!
I got my first drum set as a 6th grader in 1978.  It was a 5-piece entry-level Pearl kit with a blue sparkle wrap.  At the time, JCPenney offered these kits in their catalog with either blue or red sparkle wrap and without any badging--I didn't know it was a Pearl kit until years later. That was unfortunate as I was a big Peter Criss fan, and I had magazine photos of his massive Pearl kit up on my bedroom walls.

I don't recall much about the snare drum other than the fact that it had a metal shell with a chrome finish, but I do recall that all the drums were equipped with Remo Sound Master heads with epoxy collars rather than aluminum, and that the heavy wood shells all had full roundover bearing edges.  Much of the hardware was low-end, although the hoops were solid, and the kit came with brass hi-hats and a 12-inch brass crash/ride.  I later ordered an add-on 16-inch brass ride and straight stand from the same JCPenney catalog

There were three huge roadblocks to my efforts to obtain decent sound from this kit:  (1) I knew nothing about tuning drums, (2) I didn't know that I knew nothing about tuning drums, and (3) the brass cymbals were awful.  Back in the 1970s, sound engineers wanted toms to sound like cardboard boxes, so to me, drum tuning was a matter of reproducing the dull thuds I was hearing in the Top 40 rotation.  Excessive muffling (remember those internal felt "tone" controls?) eliminated the need to worry about pitch and tone, and I was apparently so mystified by the complexity of tuning the snare that I blocked it out of my memory...

Fast forward 35 years, and I'm thinking I should have held onto that kit.  After all, sparkle finishes are back, and I'm convinced that investing a little time into tuning up a set of quality drum heads would have been enough to get that little Pearl kit to sing!

Since that first JCPenney/Pearl kit, I've owned a Slingerland "Country Roads" kit (with far too many oversized concert toms), a Yamaha DTXpress electronic kit, a Roland TD-12 electronic kit, a PDP X7 7-piece maple kit, and a PDP FS 6-piece birch kit.  I still own the Roland and PDP kits, but I did pick up a couple of vintage 6.5x14-inch Slingerland chrome-over-brass snares that I play with my PDP kits.  That old Slingy is what a snare drum is supposed to sound like--at least to my ears!  In addition, over the years, I've owned and played individual drums and hardware made by Ludwig, Yamaha, Tama, Pork Pie, and DW.

After that lengthy introduction, you are probably wondering if I'm ever going to get to the point tipped off by the title of this blog post.  So, how do you go about selecting the right drum kit?  Read on for the perspective of this semi-pro pop/rock drummer who has spent the past 35 years around drums.  Programming note:  We will cover electronic kits and cymbals in future posts--those are topics worthy of separate blog posts.

In 2012, a drummer can acquire a new, decent quality, acoustic drum shell pack for $600-$800.  Music stores in the U.S. carry a variety of mid-level products from Ludwig, Gretsch, Pearl, Tama, Yamaha, Sonor, Mapex, and PDP.  Manufacturing methods are relatively consistent, so with decent heads, all of these kits can be tuned up to produce a great sound for the semi-pro gigging drummer.  A career musician friend of mine who has spent a considerable amount of time setting up drums in professional recording studios confirms that many of these drums will also record well.  If you have the money, you can go with a high-end kit from any of these manufacturers (DW in the case of PDP), but this blog post will focus on how to get the most for your money out of a mid-level kit.  I personally am not convinced that the $2000-$3000 premium of a high-end kit buys you much if you know how to properly tune drums.

Online drumming forums debate all the details--whether a manufacturer's shells are composed of North American rock maple or some lower Asian grade, whether rack toms should hang by tension rods, tuning lugs, or through a good ol' hole in the side of the shell, whether triple-flange or die-cast hoops make for a better sound, as well as whether tension rods with nylon washers and "virgin" bass drums (without pre-drilled tom mounts) justify larger withdrawals from your bank account.  Most of these debates regurgitate hype created by a dozen drum major drum manufacturers all vying to position themselves for a share of your wallet.

There are several features that you DO want to look for in your next drum kit.  First off, many of today's mid-level kits utilize thin shells.  Thin shells sound great because they resonate more easily and have an inherently lower pitch than thicker shells.  However, they do not project as well and may not provide adequate volume for venues beyond the club setting.  If you often play larger venues without drum mics, you may want to consider thicker shells--otherwise, I have not had any problems with my two thin-shell kits.  I've found that thin shells are about the right volume for practice sessions as well, although I do typically mic up my bass drum so it doesn't get lost in the mix.  So the first decision is to determine whether thin shells are adequate for you or if you need a thicker shell that will project.

Secondly, take a look at the hardware provided with the kit.  I am not of the opinion that you have a entry-level kit simply because your bass drum has fewer than 10 tuning lugs on each side--I've never had a problem tuning an 8-lug bass drum--but it IS sub par if your floor toms only have six lugs per side.  Floor toms require enough attention when tuning that you don't want to be handicapped by uneven tension that can come from widely-spaced lugs.  It may be possible to offset this issue somewhat with die-cast hoops, but a 6-lug floor tom is generally an indicator of a low-end kit.  Another hardware concern--the hoops.  You want a nice triple-flange or die-cast hoop (depending on your preference) to ease the tuning process and provide solid rimshots without cutting your sticks.  The hoops on some low-end kits have little or no "roll" to the top flange of the hoop and look as though they might cut right through your sticks during rimshots.  Cheap hoops are also more likely to end up out-of-round, especially on larger floor toms, which will causing tuning problems.

While we are on the topic of hardware, you should be able to get at least a couple "pro" hardware features with your mid-level kit, such as 2.3mm triple-flange or die-cast hoops, suspension rack tom mounts, gaskets to isolate tuning lugs and other hardware from the shells, virgin (no tom mount) bass drums, etc., but none of these features is essential to getting a good sound.  Keep in mind that until the mid-1980s, most rack toms had mounting holes drilled through them, and most tuning lugs were solidly mounted to, and vibrating with, the shell!

Next, check the bearing edges.  Don't buy a drum unless you have inspected the bearing edges, both batter and resonant side, regardless of whether the shell is wood or metal.  Typically, you will be looking at drums with the heads already mounted, so you will want to run your finger all the way around each bearing edge, pressing down lightly on the head to ensure you can feel the edge underneath.  Dents, divots, or low spots will affect the sound of the drum and create tuning difficulties.  If you are considering a drum that has what appears to be a minor bearing edge defect, I strongly recommend de-tuning, re-tuning, and playing the drum yourself before buying it.  When buying drums online, ask the seller for photos that clearly show the condition of the bearing edges on both sides, and make sure you can return the drum if you discover bearing edge defects when it arrives.  Don't assume new drums will be free of bearing edge defects!  All of the bearing edge issues I have encountered have been with new drums.  In the process of looking at brass snare drums several months ago, I noticed that several examples of the same model drum (at multiple music stores) had dents in the bearing edges.  I also noticed that the drum shipped with a drum key loose in the box...hmmm.  Shells also need to be round and true (no gaps in bearing edges when sitting on a perfectly flat surface), both of which are more difficult to confirm prior to purchase, but are covered under warranty with new drums.

Last but not least, while I believe that drum shell composition is over-hyped by the manufacturers, the hardness of the wood will have an impact on the sound of the shell.  Modern mid-level drum shells are typically composed of one of the harder varieties of maple or birch.  Poplar, basswood, and African mahogany are too soft to be the primary wood in a drum shell, in my opinion, and bubinga, hickory, oak, and rosewood are too hard.  I would avoid hybrid shells that include the softer woods, as there is no way for you to be sure how much maple or birch you are actually getting, although this is not a concern with vintage drums from well-known drum manufacturers.  Hybrid shells including the harder woods are typically beyond the price range of a mid-level kit.  What I have found is that maple sounds great to my ear--a bit warmer than birch (as it is a bit softer)--but birch records better as it provides a natural boost in the high and low frequencies (often described as "naturally EQ'd").  I think what helps birch in recording is the improved "attack" (better defined initial strike) that comes with the high frequency boost.

PDP X7 maple mid-level kit includes several pro features
In summary, you want a set of drums with shells that will sound great in the venues where you play, and that will tune up easily!  That's really the point of all the previous discussion.  Once you have narrowed your list to drum kits with good shells, your final decision will depend on the number and sizes of the drums you need, desired wraps/finishes, and price.

And now is a good time to discuss budget.  Keep in mind that assembling a great sounding drum kit involves five separate purchases:  (1) a solid shell pack, (2) upgraded heads, (3) a quality snare, (4) good cymbals, and (5) decent hardware.  Remember to budget for any of these additional items that you do not already own.  While you may find what appears to be a great price on a package deal from time-to-time, don't get your hopes up!  It is highly unlikely that all of the components in the package will work out.  Trust me, every time I buy a pre-pack or take advantage of a combo offer, I end up having to make additional purchases to replace sub-par components in the pack, and then trying to unload the unwanted components on eBay.  With drums, you will not save any money buying in volume!

Selecting heads, snare drums, cymbals, and hardware is beyond the scope of this blog post.  However, there is one important hardware tweak to be aware of if you purchase a shell pack with 1.6mm (thickness of the metal) triple-flange hoops.  While 1.6mm hoops are commonplace on mid-level kits, it is also fairly commonplace to find out-of-round 1.6mm hoops in floor tom sizes.  As a result, if your new kit comes with 1.6mm hoops, I highly recommend that you upgrade your floor tom hoops to 2.3mm triple-flange (or die-cast, if you prefer) hoops at your next drum head change.  I replaced the 1.6mm hoops on the floor toms of my PDP X7 and FS kits with 2.3mm hoops.  While I only had one floor tom that was difficult to tune, in my opinion, this upgrade eliminated the only weak spot in either of these excellent mid-level kits,  The problem floor tom tuned up with ease with its new 2.3mm hoops.

Hopefully this provides some useful guidance to those of you in the market for a quality mid-level drum kit!


October 7, 2012

Welcome to Drum Nuts (& Bolts)!

By Darin Soll

Welcome to Drum Nuts (& Bolts)!

First let me introduce myself...I'm Darin, a semi-pro (big emphasis on the "semi" part) pop/rock drummer.  I have the good fortune of being associated with a band of very talented forty-something musicians, all of whom have day jobs but still dream of becoming musicians full time!  We perform from time to time, but for us, the music is really about getting together, jamming, and trying to keep our skills sharp.

As any performing drummer knows, the drummer also has the most difficult technical job.  It takes a lot of time and energy to (1) select the right components for one's drum kit, and (2) set up and tune those components correctly.  This may not seem overly complicated--until you realize that the gear you selected for weekend gigs doesn't work so well in the recording studio.

We all learn a lot along the way, which brings us to the purpose of this blog...Drum Nuts (& Bolts) is about the technical side of drumming:
  • Selecting quality gear on a budget
  • Choosing the right heads and accessories
  • Configuring your drum kit
  • Tuning like a pro
  • Buying used gear with confidence
  • Upgrading gear
  • Cleaning and restoring gear
  • Evaluating useful tools and techniques
  • Understanding gear manufacturing materials and methods
  • Staying abreast of new industry developments and trends

It may also be helpful to mention that as a blog focused on the technical side of drumming, it won't be covering topics such as playing techniques, patterns, best drum covers, etc.  Instead it will cut through industry hype, marketing hyperbole, and common misconceptions to help you evaluate, select, and set up great-sounding drums, cymbals, and accessories.

In the coming weeks, I will share what I've learned over the years to build a professional-sounding kit on a budget, as well as all the tips and tweaks that I've picked up over hundreds of hours in the rehearsal studio.  If you are like me and have developed an interest in the technical side of drums, please feel free to jump in and comment on my posts!  Often times, your comment will resonate with others, and keep the conversation going.  That's the power of a useful blog!  But as moderator of those comments, I will do my best to separate fact from fiction, which unfortunately has become somehwat blurred on several drummer-oriented forums on the web.

I hope you enjoy Drum Nuts (& Bolts)!