I didn't try searching for it, but I noticed that there hasn't been a drum tech thread posted in recent history. With that, I thought I'd get the ball rolling with a question that's probably somewhere on "them Internets" but would like to see what anyone here might have for an answer.
I'm looking at two different kits: a Yamaha Tour Custom and a PDP M5. Both are maple shells, but my question has to do with the bearing edge. The PDP has a 45° edge, while the Yamaha has a 60°. How does the bearing edge affect the sound? Is one preferred over the other for different types of music?
I hope to see other things posted as I'm really interested in learning the small nuances of things percussion.
Mike
Drum Tech Q&A...anyone?
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Craven Sound
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From a site called Sticks, Skins, n Beats...Hope it helps:
The bearing edge is the surface of the drum shell that actually touches the drum head. The area of this surface is less than that of a cross-section of the whole shell, since it is created by making an angled cut into the shell around the rim.
The thickness or thinness of the bearing edge affects the tone of the drum; finer or sharper bearing edges yield a brighter tone, while thicker bearing edges yield a warmer tone.
Drum shell bearing edges dictate the boundary conditions and point of contact between drum heads and drum shells. If the bearing edge is not perfectly level and perpendicular to the cylinder of the shell, the drum head will not seat properly and the tone of the drum will suffer.
Properties of single 45º, single 45º with slight round-over, and double 45º bearing edges differ substantially. It has been found that the double 45º drum allows for the best head/shell energy transfer. There are several bearing edge shapes which are currently used in drum production. It is expected that different bearing edges will have a significant affect on the sound of drums. One possible reason for the importance of bearing edges is that the edge is the primary outlet for energy to transfer between the drum head and the drum shell. Because the sound of a drum is produced by both of these components,it would be desirable to have a higher rate of energy transfer at the bearing edge.
Bearing Edge Types
The inner cut will usually be deeper than the outer cut, thus maximizing the diameter of the drum. The fact the bearing edge is sharp means the attack and projection of the head are increased. This has not always been the case. Vintage drums often have much more rounded edges so that considerably more of the head is in contact with the shell. This gives a warmer, less attacking sound and theoretically imparts more of the character of the shell. Other shells have different routed angles. Gretsch toms, for example, have 30-degree inner edges for a warmer sound, while Gretsch snare drums have 60-degree edges for attack. Specialist manufacturers Pork Pie Percussion use a 60-degree inner cut with a rounded-over outer edge to achieve maximum vibration of the shell.
Spaun drums have an equal 45-degree cut both inside and outside, rising to a central, sharp epeak’. Spaun say this means the edge makes contact with the flat part of the head rather than the rounded collar, improving tuning and head resonance.
If the point of contact of the drum head with the bearing edge is closer to the center of the drum head, this means that the point of contact is more likely to be on the flat part of the drum head rather than the stiff, curved collar of the drum head. The possible advantage is that the point of contact being in the middle of the drum shell, is that the energy will remain within the drum shell, rather than leaking off of the outside of the drum shell.
45 degree Bearing
Round 45 degree Bearing
Full Round Bearing
Whatever the shell size, the bearing edge must be perfectly true all round so that the head can be tensioned evenly, achieving the same pitch at each tension point. This is one of the most crucial aspects of shell construction. Any slight dip or irregularity in the bearing edge will result in a dead spot in the head, which will have to be accommodated in tuning. This distorts the head and messes with the overtones.
The bearing edge is the surface of the drum shell that actually touches the drum head. The area of this surface is less than that of a cross-section of the whole shell, since it is created by making an angled cut into the shell around the rim.
The thickness or thinness of the bearing edge affects the tone of the drum; finer or sharper bearing edges yield a brighter tone, while thicker bearing edges yield a warmer tone.
Drum shell bearing edges dictate the boundary conditions and point of contact between drum heads and drum shells. If the bearing edge is not perfectly level and perpendicular to the cylinder of the shell, the drum head will not seat properly and the tone of the drum will suffer.
Properties of single 45º, single 45º with slight round-over, and double 45º bearing edges differ substantially. It has been found that the double 45º drum allows for the best head/shell energy transfer. There are several bearing edge shapes which are currently used in drum production. It is expected that different bearing edges will have a significant affect on the sound of drums. One possible reason for the importance of bearing edges is that the edge is the primary outlet for energy to transfer between the drum head and the drum shell. Because the sound of a drum is produced by both of these components,it would be desirable to have a higher rate of energy transfer at the bearing edge.
Bearing Edge Types
The inner cut will usually be deeper than the outer cut, thus maximizing the diameter of the drum. The fact the bearing edge is sharp means the attack and projection of the head are increased. This has not always been the case. Vintage drums often have much more rounded edges so that considerably more of the head is in contact with the shell. This gives a warmer, less attacking sound and theoretically imparts more of the character of the shell. Other shells have different routed angles. Gretsch toms, for example, have 30-degree inner edges for a warmer sound, while Gretsch snare drums have 60-degree edges for attack. Specialist manufacturers Pork Pie Percussion use a 60-degree inner cut with a rounded-over outer edge to achieve maximum vibration of the shell.
Spaun drums have an equal 45-degree cut both inside and outside, rising to a central, sharp epeak’. Spaun say this means the edge makes contact with the flat part of the head rather than the rounded collar, improving tuning and head resonance.
If the point of contact of the drum head with the bearing edge is closer to the center of the drum head, this means that the point of contact is more likely to be on the flat part of the drum head rather than the stiff, curved collar of the drum head. The possible advantage is that the point of contact being in the middle of the drum shell, is that the energy will remain within the drum shell, rather than leaking off of the outside of the drum shell.
45 degree Bearing
Round 45 degree Bearing
Full Round Bearing
Whatever the shell size, the bearing edge must be perfectly true all round so that the head can be tensioned evenly, achieving the same pitch at each tension point. This is one of the most crucial aspects of shell construction. Any slight dip or irregularity in the bearing edge will result in a dead spot in the head, which will have to be accommodated in tuning. This distorts the head and messes with the overtones.
I'm a drummer...I just hang out with musicians.
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Craven Sound
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- Joined: Wednesday Aug 06, 2003
- Location: Cambria County, PA
I am using the MX series which PDP does not make anymore. I believe it was replaced by the M5's. They have been used for practice's, countless gigs, fill in shows, and traveled to a couple different states and are holding up great. They have what is called true pitch tuning, which is the tension rods. I have had to replace a couple of those. They are a very fine thread and if your not careful they will cross thread. I called Dales Drum Shop who in turn called PDP and they sent me new ones at no charge. Love these drums.
I'm a drummer...I just hang out with musicians.
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Craven Sound
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- Joined: Wednesday Aug 06, 2003
- Location: Cambria County, PA
Bearing edges are important and the article above covers it well.
Head choices, tuning and tom mounts have a greater effect than the type of edges IMHO. Ive tried them all roundover, sharp, roundover on the outside, sharp on the inside etc..
The first thing one needs to understand (I see this on drum web sites) is that acoustic drums don't usually sound like recorded drums because of the tweaking and manipulations of sound techs. Gating, compression, EQing etc..
I'll start off that my personal preference is unmutted toms. Open toms.
The most important thing about mounted toms are the mounts themselves. If the mount is too rigid the resonance of the fundamental pitch dies off quickly and the overtones tend to be overbearing. It is often these overtones drummers try to kill when they mute a tom, but they kill the fundamental pitch as well.
DW created some of the best mounts. The toms are suspended by rubber, allowing the shell to vibrate, and then the true pitch sings out well. They do not kill or mute the overtones, but the fundamental pitch overpowers them.
Those overtones ARE important as they help cut through the mix and they support the fundamental pitch.
If your mounting system is too rigid, I would recommend getting Gauger Rims Mounts, which suspend the shell via rubber grommets.
Here is a test. Strike the (unmutted) mounted tom several times. Listen to the length of sustain. Both the length of sustain of the fundamental pitch and the length of sustain on the overtones. Take note of the position of where your ear is relative to the tom.
Now take the tom off of the mount. Hold it with one hand by the rim / hoop. Strike it the same way. If the length of sustain is increased and the fundamental pitch is now stronger, you have a poor mounting system. The drum should sound the same mounted as it does when you hold it in your hand by the rim.
You will find MANY theories on tuning. Tuning to specific notes is one way. Tuning the toms (relative to each other) at specific intervals. Etc..
I saw Thomas Lang at a clinic and he was ask how he tunes. "I tune the batter (top) head until it feels good and I tune the reso (bottom) head for pitch." That is simple and it works too.
Bare this in mind when tuning a tom. This is based on my own experience and experimentation (like my statements above). If the top head is tuned higher than the reso head, the reso head carries the pitch heard out front. If the reso head is tuned higher than the batter head, the batter head carries the pitch heard out front.
Generally, if the batter head is turned higher than the reso head, you get a slight (downward) pitch bend to the sound.
I tune my batter heads to the pitches I like based on the music I'm playing. Then I tune my resos higher at a point that makes the drum sound it's best. Some people like to tune the reso exactly a minor 3rd higher than the batter.
What I noticed is that the higher the reso is tuned (within limits) I can control, or cut, the sustain to a degree. Sometimes my smallest tom has a high reso tuning, the mid tom only a slightly higher reso and the floor might be tuned to the same pitch, or only very slightly higher.
If you sound tech asks you to mute your toms, ask him if he can gate them. This way he can control the length of sustain and you can deliver the full potential of your drums.
Another thing. Resonance and sustain are two different things. Resonance is the full potential sound being delivered from your drum. Sustain is how long it sings.
I didn't re-read this post, so I hope it makes sense.
I have opinions on bass drum tuning as well. NO PILLOWS. But that's another post.
EDIT: I knew I'd forget some things.
Try tuning your toms while they are sitting on carpet. That way you can isolate (and tune) each head. When you tune, tap around the edge of the head to make sure that the pitch is the same all around the head. If you hear a "pulsing" or "beats" try tuning until the pulsing stops.
Then tune the other head. Now hold it in you hand by the hoop and check it again. Continue tweaking until you get it where you want. It may take more tweaking when mounted.
Also if you have a section that just can't be tuned. Check this thread:
http://rockpage.net/phpbb2/topic29021.html
And make sure when you put the head on that it is centered on the drum without the metal edge of the drum head touching the shell of the drum. If it is touching the shell, resonance is greatly reduced.
Head choices, tuning and tom mounts have a greater effect than the type of edges IMHO. Ive tried them all roundover, sharp, roundover on the outside, sharp on the inside etc..
The first thing one needs to understand (I see this on drum web sites) is that acoustic drums don't usually sound like recorded drums because of the tweaking and manipulations of sound techs. Gating, compression, EQing etc..
I'll start off that my personal preference is unmutted toms. Open toms.
The most important thing about mounted toms are the mounts themselves. If the mount is too rigid the resonance of the fundamental pitch dies off quickly and the overtones tend to be overbearing. It is often these overtones drummers try to kill when they mute a tom, but they kill the fundamental pitch as well.
DW created some of the best mounts. The toms are suspended by rubber, allowing the shell to vibrate, and then the true pitch sings out well. They do not kill or mute the overtones, but the fundamental pitch overpowers them.
Those overtones ARE important as they help cut through the mix and they support the fundamental pitch.
If your mounting system is too rigid, I would recommend getting Gauger Rims Mounts, which suspend the shell via rubber grommets.
Here is a test. Strike the (unmutted) mounted tom several times. Listen to the length of sustain. Both the length of sustain of the fundamental pitch and the length of sustain on the overtones. Take note of the position of where your ear is relative to the tom.
Now take the tom off of the mount. Hold it with one hand by the rim / hoop. Strike it the same way. If the length of sustain is increased and the fundamental pitch is now stronger, you have a poor mounting system. The drum should sound the same mounted as it does when you hold it in your hand by the rim.
You will find MANY theories on tuning. Tuning to specific notes is one way. Tuning the toms (relative to each other) at specific intervals. Etc..
I saw Thomas Lang at a clinic and he was ask how he tunes. "I tune the batter (top) head until it feels good and I tune the reso (bottom) head for pitch." That is simple and it works too.
Bare this in mind when tuning a tom. This is based on my own experience and experimentation (like my statements above). If the top head is tuned higher than the reso head, the reso head carries the pitch heard out front. If the reso head is tuned higher than the batter head, the batter head carries the pitch heard out front.
Generally, if the batter head is turned higher than the reso head, you get a slight (downward) pitch bend to the sound.
I tune my batter heads to the pitches I like based on the music I'm playing. Then I tune my resos higher at a point that makes the drum sound it's best. Some people like to tune the reso exactly a minor 3rd higher than the batter.
What I noticed is that the higher the reso is tuned (within limits) I can control, or cut, the sustain to a degree. Sometimes my smallest tom has a high reso tuning, the mid tom only a slightly higher reso and the floor might be tuned to the same pitch, or only very slightly higher.
If you sound tech asks you to mute your toms, ask him if he can gate them. This way he can control the length of sustain and you can deliver the full potential of your drums.
Another thing. Resonance and sustain are two different things. Resonance is the full potential sound being delivered from your drum. Sustain is how long it sings.
I didn't re-read this post, so I hope it makes sense.
I have opinions on bass drum tuning as well. NO PILLOWS. But that's another post.
EDIT: I knew I'd forget some things.
Try tuning your toms while they are sitting on carpet. That way you can isolate (and tune) each head. When you tune, tap around the edge of the head to make sure that the pitch is the same all around the head. If you hear a "pulsing" or "beats" try tuning until the pulsing stops.
Then tune the other head. Now hold it in you hand by the hoop and check it again. Continue tweaking until you get it where you want. It may take more tweaking when mounted.
Also if you have a section that just can't be tuned. Check this thread:
http://rockpage.net/phpbb2/topic29021.html
And make sure when you put the head on that it is centered on the drum without the metal edge of the drum head touching the shell of the drum. If it is touching the shell, resonance is greatly reduced.
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Craven Sound
- Platinum Member
- Posts: 695
- Joined: Wednesday Aug 06, 2003
- Location: Cambria County, PA
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ToonaRockGuy
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- Joined: Tuesday Dec 17, 2002
- Location: Altoona, behind a drumset.
It all depends on what you want and prefer. I like a dryer snare sound, so my snare gets an Evans ST Dry batter over an Evans Hazy 300 resonant. Toms get Clear G2s over clear G1 resos for a nice, fat, meaty sound. Kick has a two ply Evans clear batter with a small bit of eggcrate foam just touching both heads to act as a natural gate. Like I said, it's all preference. Personally, a Remo or Aquarian head will never touch my kit. But that's just my preference.
Dood...
You will never go wrong with Evans heads. I have been using a pearl export kit and I am getting a Pearl Masters Custom set; I use Evans St dry batter for the snare and Hazy 300 snare side. On the bass, I use a batter and reso EQ3 bass head. For the toms, it is all your preference because it depends if you like some ring or you like them so they have a lot of attack. Right now, I am using EC2 sst on the tops and just regular Evans Black Reso on the bottoms. They give you a really nice sound and a decent amount of attack.
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RobTheDrummer
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