Acoustics/PlacementProf.Sound's <strong>Drum</strong> Tuning Bible v3Acoustics/PlacementHomePocket DTBWoodsConstructionTuning & SeatingKickSnare <strong>Drum</strong>Snare TuningSnare UnitBuzzingConceptsEquipmentBuying <strong>Drum</strong>sBuying CymbalsBIOAcousticsContactPlacementPeople ask about the best mics, dynamic processing and ingeneral, how to get great ("best") drum sounds all the time. It's avery hard question to give a distinct answer to, and could get verylengthy because so much is at work when acoustics enters thepicture. But I'll give you some short thoughts on what's at work soyou can work on things that may very well enhance your sound.Seasoned engineers know, an absolutely huge part of getting agood drum sound is the room acoustics. <strong>Drum</strong>s (and cymbals)have their way of really bringing these characteristics out of aroom. Moreover, the room can absolutely make you hate the most(otherwise) magnificent drum set.So you need to understand the basics. Almost every room thathas not been acoustically treated has a frequency that is morepronounced than others. This is referred to as a node, or standingwave.Further, this “node” in the response will occur at even multiples ofthat frequency again and again. Studio designers know this andgo to great lengths to create things called bass traps to suck upthese “spikes” in the waveform, treat the surface to further absorband diffuse frequencies to help eliminate these problem nodefrequencies or "fluttering" echoes you may hear as you clap yourhands together (i.e stick hitting drumhead surface).Rooms that have walls parallel to each other are much worse thanare those where every wall is a different length or angle. Allmaterials have a point where the material itself gets excited basedupon the power of the source and its physical shape. Acousticdesigners know how to manipulate these materials toaccommodate frequency problems or cancel them out as the casemay be.<strong>Drum</strong>mers (as well as many other forms of musicians andengineer hopefuls) often don't realize how much this can wreakhavoc with the sound, and in this case, specifically, drum sounds.Bass traps actually enhance the bottom end of a frequencyresponse by allow the dips to reappear in the spectrum.Here’s how drums shake out:• Bass drum: 50Hz to 5.5 kHz, thump in chest boost afew dB between 60-85Hz, punch or slap 2.5 kHz to 5 kHz,hollow sound cut out around 250-500Hz by a few dB,based upon <strong>tuning</strong>. Note: Its suggested that you have morecontrol over sound with a drum that’s a little “hollow”Audio Terms ExplainedAs generally used at the professional audio/studio level:"wet" a term used to describe a reverberantsound, something with decay."dry" a term used to describe a soundwhich has no decay or reverberant quality."fat" a term used to explain somethingwhich takes up space in the mix. As anexample, a loose snare drum, which has alonger sound burst in the mix. Hence thewaveform curve is "fatter""tight" a term used to describe a soundwhich has a short duration within the mix."open" a term used to describe somethingwhich has a natural hollow tone withlingering overtones such as that of and veryresonant drum that also exhibits highpitched overtones."muffled" a term used to describe a soundwhich has the higher frequenciesattenuated or lessened by another device orstructure.“focused” a term which combines theelements of muffled and tight, has a verydefined tone to it with less overtones."warm" a term to define the quality of thesound as being "round" with “sibilant”qualities to it or specifically with less of asharp edge or "presence" to the sound.“cold” a total opposite of “warm” meaning ithas an edge to it and is very midrangepresent, without body.“dark” a term which is used often todescribe a tone that is somewhat distantand has a tonal qualities in between that of“warm” and “cold”, not quit as muchresonance or body to the tone as one that iswarm, but also more than a colder tone, stillhaving an edge to the sound without beingsibilant."presence" a term which is typically usedto describe a sound which can have a morenasal quality to it. More specifically, a boostin the upper midrange frequencies.“punch” a term used to describe that of adrum, which has both a “presence” and ahttp://home.earthlink.net/~prof.sound/id12.html (1 of 3)1/22/2005 4:13:16 PM
Acoustics/Placementsounding rather than very dry and heavily muffled, or notmuffled at all.• Cymbals: 300Hz to 17 kHz; Presence 10 kHz to 14kHz. Typically boosted a few dB at 10 kHz and cut somebetween 50-450 Hz.• Key Jingles: 1.5 kHz to 17 kHz (for perspective).• Snare <strong>Drum</strong>: 100 Hz to 12 kHz, center frequency at 1kHz, tight at 5-6 kHz (typical boost frequency), crack at 8 to10 kHz, bottom at 100 to 300 Hz and resonance between800 Hz and 2 kHz.• Toms: Typically boosted a few dB around 4-5.5 kHzand again at 9-10 kHz, cut around 500-750 on high to midtoms with low toms treated the same, but in the lowerportion of the values given, based upon drum <strong>tuning</strong>.“dry” quality to it.“round” a term used to describe a qualityof tone that has a longer bump to the lowerfrequencies and is usually upper bassheavy.“Sibilants” These are high frequencysounds such as that of a hissing effect. Theletters S, Z, C and H in combination aretypical examples (such as SH, ZH and CH)and often describe the bright end of thecymbal and Hi-hat sound. In a distortedform they are unwanted, but in a clear formon drums they are required for accuratereproduction of the snare and cymbalsounds and enable an airy structure orquality to the music.Now, if you study the above, you would realize that these veryfrequencies that give a drum the round bottom end and depth oftone are many times right in the same problem nodes rooms cancreate.So the very first thing to do when you do not like your drum soundis to try repositioning the kit in the room. Sometimes just amovement of a foot or two in one direction is all that’s required tobe out of the node area enough to allow the warmth to develop.In large open studios, good engineers will walk around the roomwith a tom and strike it repeatedly until they find the sweet spotand that’s where the kit will get set up.You will also find that many times, loading a drum kit into a cornercan make a dramatic improvement in the bass content of the kit(or make it worse if it’s too muddy sounding).As for the "heads" question, the absolute warmest soundingheads are any of the REMO coated heads. The coating does notlast as long as Aquarian or Evans (in that order) but the sound ofthe stick hitting the surface will be much less pronounced withREMO coated heads.Room SizeThe size of the room plays a huge part in how frequency wavesdevelop and to what extent a frequency will develop. Small roomsdo not allow the deep bass waves to develop because they simplycannot fit in the room without a huge amount of power to reinforceit.Surfaces that surround you, coupled with their respective distancewill either stop transmission past the barrier, get excited basedupon their physical dimension and density, bounce the wave(s)back in the opposite direction (based upon angle) or absorbcertain waves.So do not underestimate the importance of the room andplacement of the kit.http://home.earthlink.net/~prof.sound/id12.html (2 of 3)1/22/2005 4:13:16 PM
Change language