Bass drum. What are Bass Drum (Krum) and Bass Drum? Bass drum sizes and sound

Would a large diameter kick drum like 24 "or even 26" work for you? Judging by the way big kick drums have been sold lately, a lot of drummers will answer that question in the affirmative. But what if a deeper drum sound better suits your musical needs than the standard 16 "x22"? And what about these 18-inch bass drums, which are so numerous now? Are they capable of doing their job one hundred percent?

To find the answers to these questions, we consulted with experts who design, engineer and prepare drums for the musical life. And you know what? Despite the unanimity, even experts on some issues do not always agree with each other. To this day, making drums remains more of an art than a science. But first, a little history.

Let's go back to the beginning of the 20th century. At the time, "bass drum" meant either an orchestral drum or a marching drum, and both were of modest depth but much larger in diameter than today's bass drums. When the first truly practical bass drum pedal was invented in 1909, it was installed on the bass drums of the day. Bass drums in drum kits remained large and shallow for the next 40 years for a number of reasons. First, in the first half of the 20th century, musical styles did not experience such frequent and radical changes that followed in the second half of the century. Therefore, achieving different sounds was not the main driver of drum design. Secondly, the sound of drums by microphones did not yet exist in nature, and big drums were needed simply for high volume levels.

But that all changed in the decades after World War II, when the previously popular big dance bands gave way to small bands. The need to be heard in a large orchestra is no longer paramount. At the same time, drummers, who are especially fond of experimenting and playing in be-bop bands, were looking for a new sound. They found this sound in smaller diameter bass drums (18 "and 20"), tuned for a tight and punchy sound.

When the musical Olympus began to dominate rock, all drum kits were completed with these little bass drums. But drummers soon began to strive for more variety in their sound and perhaps more attractive looks for their bass drums. So the diameters 22 "and 24" became the standard. Interestingly, during all of these changes, the depth of the kick drum was not given much importance. Regardless of diameter, most bass drums until the mid-70s were 14 "deep, with only a small amount of 12" deep. Some time later, 16 "deep drums became standard, this standard remained for the next twenty years.

So where did this lead us in the end? Evolution seems to be going in two directions at the same time: both double bass drums and the small bass drum risers used in bebop bands are popular. But the ubiquitous 16 "x 22" size is still used in most starter setups.

While small or large sizes of kick drums reflect current trends in the music world, experienced drummers understand that standards no longer exist - and that's great! Now the drums use whatever suits the music being played and matches the drummer's particular style of playing.

Now the assortment of bass drums is very wide: diameter can be from 16 "to 26", and depth - from 14 "to 20". Highly specialized manufacturers have an even wider range of models. In the light of such almost inexhaustible possibilities, the question arises: what should a drummer do, what should he choose? Let's take a look at the physics of the bass drum.

First, you need to study some scientific calculations. It is important to familiarize yourself with them because they help you understand how the bass drum creates the sound that comes from it.

The bass drum is a cylindrical shape, closed on both sides by a resonating membrane (plastic). A blow to the plastic sends a column of air towards the other plastic, which begins to vibrate after a very short period of time (usually one to two milliseconds). These heads are customizable; when struck, they vibrate at a fixed frequency that depends on the tension. If the tension of the heads and their weight are the same, the pitch will be the same. The same head setting allows you to extract the fullest sound from the drum. If the heads are not tuned in the same way, they will sound at different pitches, which usually gives a mixed sound.

However, the reality is not that simple. Impact heads have a much greater effect on sound than resonance heads. The proportion of the influence of the heads depends on the depth of the drum, the type of head and the stroke itself. The wobble of the bump head after hitting is sharper (fast attack), while the resonant head has a slightly slower attack and sounds "wider".

Also, plastics can have different weights. These can include damper rings that attenuate certain overtones and alter the pitch of the musical fundamental. These damper rings can be different for drum heads and resonating heads. Also, one or both of the plastics can be with a hole. And finally, there remains the third element of the "system", which determines the sound - the drum body itself.

As you can see, there are many possibilities to change the drum sound. This explains why each drummer's bass drum has a unique sound. We'll even leave aside why the same drum can sound completely different when you change the environment or room.

To eliminate these variables from the equation and give you a feel for all the possible drum characteristics that can be measured, we decided to limit ourselves to considering the diameter and depth. We will trace how these factors affect such things close to our heart as pitch, sound attenuation, tone, sensitivity, pedal travel and such subtle but very important point as “pumping” the sound.

We will be helped by a group of real drum gurus: Bob Gatzen, Gene Okamoto and Ross Garfield. Gatzin is a drum designer, recording engineer and producer, and the creator of the stable DrumFrame, among his other drum inventions. Okamoto is the Pearl drumming wizard and technical expert. Garfield is a Drum Doctors enthusiast, studio drummer, technical, tuning, and drum service expert.

You think that a large diameter bass drum will always give a deeper musical root tone. From a physical point of view, the larger the diameter, the higher the likelihood of achieving lower tones, but this is only if other factors are not taken into account. “An obvious observation about pitch,” says Ros Garfield, “is that as the diameter increases, a lower sound is produced. But to a large extent it also depends on the tuning of the drum. I can tune a 22 "drum lower than a 24" drum. But 24 "it will be much easier to tune to low frequencies."

Bob Gatzin agrees, but notes the differences between the pitch of a musical pitch and its strength. “A drum with a large diameter will produce low tones,” says Bob. “But you can get more pitch on smaller heads. The larger the diameter — the larger the surface area of ​​the head — the less you hear the basic musical tone of the drum. If you compare the diameters of 10 "and 16", the fundamental musical tone will be more obvious, perceptible on the smaller drum. This is also important for the bass drum: with a larger diameter, you lose in the sound of the main tone. "

So, we have established that with the other factors being equal, the big drums will produce low tones, and the smaller ones will have a better ratio of the main musical tone to overtones. But is the high volume of sound also the reason for using large diameters? Mostly yes.

“Physically, hitting the big drum moves a larger column of air,” says Bob Gatzin. "Think of a 30 symphonic drum, how loud it sounds. The drummers behind the early drum kits also used big drums. But with the advent of microphones, they were no longer needed because the microphone is located inside the kick drum."

Ros Garfield adds that the projection also depends on the depth of the drum. “The acoustic projection is proportional to the length of the shell. But it doesn't matter if the bass drum is played. "

Could a kick drum be too big to function effectively? Of course. The kick drum needs more energy to transmit the beat to the resonating head, and the beater may not have enough energy. This problem is the same for drums that are too big and too deep, but for different reasons.

“As both the depth and the diameter of the drum increase, the recoil decreases,” says Jin Okamoto. “If the drum is too deep, it will be very difficult, even almost impossible, to get air to move from one membrane to another. If the drum is too big, the sound may be subsonic, the response will be slow, and a strong drummer and pedal with a long beater will be needed to produce the sound. So bass drums are made in a size that will serve a practical purpose. "

Bob Gatzin is not a fan of "standard" drum sizes. "Over time, 22" bass drums have become the standard. This is an example of mishandling. I find 22 "heads to be inert and difficult to tune. This brings us back to physics: you cannot make plastic vibrate quickly because air is not pumped quickly. If you leave the head loose when tuning, you will get a popping sound. You can probably fix this by changing the settings to a quarter and getting some resonance, but if you change the setting slightly, it will make the drum sound unnecessarily boomy. Because of this, I now hardly ever use drums with a diameter of 22 ". Currently I use drums with diameters between 16" and 20 ". Recently attended a Phil Collins concert - he 18" bass drum sounds incredible! " ...

Let's move on to the depth of our "cylindrical resonant body". Is depth really important to pitch? Yes, but to a certain extent. But the effect is not as significant for the frequency of the sound as it is for the overall sound. Hear a kick drum or bass guitar recording on your tape recorder by adjusting the bass on the equalizer - the sound is richer and deeper, but the actual pitch has not changed. The low overtones have been boosted, adding "weight" to the sound. The same thing happens when you increase the depth of the kick drum. But even in this situation, there is still a choice, as Jin Okamoto explains. “If you use 22" bass drums with 14 ", 16" and 18 "depths, the deeper drum will sound lower than the others. However, the air column has to travel a longer distance to reach the diaphragm, so recoil will be relatively slower compared to shallower drums. It also takes more energy to move the air up to the diaphragm to achieve full sound. Drums of shallower depth will respond to a light impact and therefore will be more sensitive. "

What about sensitivity, in terms of how quickly the drum responds? Remember the words of Jin Okamoto that deep drums are less sensitive.

Bob Gatzin clarifies: “The shallower the depth of the drum, the more sensitive it is, because there is less delay between the moment the beater touches the head and the sound following the beat. Think of the snare drum. What's the difference between a 14 "piccolo and a 7" x 14 "snare? It's about latency. So my usual advice to people playing deep bass is to hit the drum harder."

If shallow drums have such great sensitivity, what is the use of deep drums? The ability to get a dense, rich sound from a deep drum body. “The greater depth of the cabinet will allow you to feel like you are adding more weight and breadth to the sound,” says Gatzin.

“Don't be afraid to buy a 20" kick drum, but not a 14 "x20" - there won't be enough air force at this size. Better to take a 16 "x20".

How does all of the above relate to the inner comfort we feel when we sit down to play a new bass drum? In answering this question, our experts agreed on one thing: you will have a quick recoil from a drum with a smaller diameter. But is it really the best choice? There are also several answers to this question.

Ros Garfield says an 18 "recoil will be more recoil than a 20", 22 "or 24" drum. “This means you can play faster with more hits. But that doesn't mean you'll feel better than a 26-inch drum playing "When the leevee breaks".

Jin Okamoto also puts sensation ahead of the sound itself. “I've always loved the feel of the 70s bass drums drowned out by a blanket. The rebound was quick and clear - almost like a pad. Of course, the drum almost sounded like a pad. Today's bass drums, with specially muted heads with damper rings and accessible tuning, are very different in feel from their 70s counterparts, which were too much like pads. However, drummers play faster, thanks in large part to improvements in pedal design and modern playing technique. "

The “feel” aspect depends on the personal performance of each drummer. There are times when, for example, a quick bounce just doesn't suit the style of play. Bob Gatzen believes that sensation is a subjective domain. “Some drummers like 22" bass drums with loose heads, so the beater doesn't bounce well. On smaller bass drums, they won't be able to play as effectively. The plastic area is small, the slap is not the same. So you have a choice depending on the feel, sound and playing style of the drummer. I think feeling is more important than sound. "

We're back to the question: What kind of bass drum configuration will suit your music and your playing style? We took a physical look at the structure of the bass drums and heard some valuable opinions. Take a look around and decide for yourself if you can put together the sonic and mechanical attributes that you can add to your dream kick drum experience. But when it comes to “feeling,” remember that this is part of the equation that only your heart (and your legs) can solve.

The Bible for tuning a drum kit. Bass Drum Tuning Posted on Web Portal

Bass Drum Heads - Drum Side

The finishes and material types are the same as in the Tom Heads - Striking Side. Bass heads have a lot in common with tom heads, but there are also significant differences, such as the EVANS EQ series or the Aquarian Regulator.

1. Single layer, no damping elements. Any plastic like REMO Ambassador, Ebony series, FiberSkyn 3FA, Aquarian Signature Jack DeJonnette series, EVANS EQ 1, EVANS EQ 4
2. Muffled mono heads such as REMO Ambassador, Ebony series, FiberSkyn 3FA, Aquarian Classic, Aquarian Signature Carmine or Vinny Appice series, Studio-X, Impact I, SuperKick I, EVANS EQ 1, EVANS EQ 4, etc.
3. Plugged two-layer: any like REMO PinStripe, EVANS EQ2, EVANS EQ3, or hydraulic like Aquarian SuperKick II. See the section “Sound. Typical selection of bass drum heads. "

Bass drum. Resonant side heads

1. Single layer, no damping elements. Any plastic like REMO Ambassador, Ebony series, FiberSkyn 3FA, Aquarian Classic Ported Bass Drum Head, EVANS EQ1, UNO 58 1000, etc.
2. Silenced monolayers such as REMO PowerStroke 3, Aquarian Regulator, EVANS EQ 2, EVANS EQ 3, etc. Note that most of these plastics come in no hole, 4 1/2 ", 5" and 7 "hole options.

Bass drum. Plastics with or without a hole?

1. If the hole in the head is more than 7 inches in diameter, it's like playing without the head.
2. The 7 '' hole gives the impression of sounding without resonant head, sends more attack from the beater to the audience, and slightly colors the sound with the timbre of the resonant side. It also makes it easier to mount microphones and change internal dampers.
3. A 4.5-inch or 5-inch, or even two offset holes of this size make it easier to control the beater (reduce the chance of unwanted rehearsal), the drum resonates more powerful, and the resonant side has a stronger effect on drum tuning. The 4.5-inch hole makes it harder to place the mic inside the drum, and change the position of the dampers.
4. Plastic without a hole gives a very boomy sound and more bounce of the beater. With a single microphone, it can be difficult to get both the clap of the beater and the resonance of the drum. All dampers remain inside. Resonant heads have a huge impact on the overall sound.

Bass drum. Pillows and / or pads

1. One pad or pillow covering 15-20% of the estimated area of ​​the impact head: attack is accentuated, tone and resonance "hang".
2. One pad or pillow covering 15-20% of the resonant head: the attack of the beater is reduced, the tone and resonance look like, behind which there are bright overtones.
3. One pad or pillow covering 15-20% of the drum and resonant head area: attack is accentuated, overall volume is slightly reduced, tone and sustain are more concentrated, overtones are muted.
4. One pad or pillow covering 25-30% of the drum area and 15-20% of the resonant heads: the attack is very hard and accentuated, the overall volume is almost the same as in the previous version, the tone and sustain are even more concentrated, there are almost no overtones.
5. One pad or cushion covering 25-30% of the area of ​​both the percussion head and the resonant head: very collected sound, ideal for a close-up microphone. The attack becomes very accentuated, the overall volume is almost the same as in the previous version, the tone and sustain become short bursts of energy that seem lifeless without a microphone. Distinct "percussive" sound.

Sound. Typical Bass Drum Head Matching

Please note that all characteristics of the muffled heads described below can be changed using the pads / pads as described in the Bass Drum. Pillows and / or spacers ", or by choosing a plastic with a hole, as described in the section" Bass Drum. Plastics with or without a hole? " The finishes and material types are the same as in the Tom Heads - Striking Side. Drum heads have a lot in common with tom heads, but there are significantly different series, such as the EVANS EQ and Aquarian Regulator.

1. Single-layer, without damping elements on both sides: - open, strongly resonating ringing sound, elastic feeling.
2. One-layer muffled percussion, one-layer non-muffled resonant: the attack with the beater "pops out", the sound is open, strongly resonant, at the moment of the attack the overtones are muffled, but "hang" on the after-sound.
3. Single-layer muffled on both sides: the attack is heard more clearly, dense, but somewhat vague sounding, overtones are muted, but audible. Typical combinations: REMO PowerStroke 3 on both sides to enhance the low frequencies you can put an EVANS EQ 4 bump head, and a resonant head - REMO PowerStroke 3, EVANS EQ 2 or Aquarian Regulator Resonant.
4. One-layer muffled percussion and two-layer muffled resonant: the attack with the beater "pops out", the sound is wide, focused, the overtones are muted. Typical combination: Striking side - REMO PowerStroke 3, Resonant side - REMO PinStripe, EVANS EQ 3, or Aquarian SuperKick II Resonant.
5. Double layer muffled on both sides: very focused and elastic attack, narrow focused sound, overtones are very muted (pads / pillows may not be needed). A typical combination on both sides is REMO PinStripe, EVANS EQ 3, or Aquarian SuperKick II.

Bass drum. Customization and tricks

1. For the kick drum, the procedure is the same. Follow the steps in the “Tuning and Fitting the Heads of Any Drum” section, but note the following:
2. In a typical setting, the bump head controls the attack and the resonance head controls the decay.
3. For a firmer sound, raise the resonant head 1-2 notes up, or tune the entire drum higher.
4. To get a "plastic" sound, you need to put a single-layer head on the drum side, tuned to the lowest note, and slightly loosen each screw. A solid, unlined felt beater sounds good. If you use wood or plastic, put a spacer.
5. The "fat" sound of the bass drum is done in the same way as on the tom. You need to tune the resonant head to the lowest note, then slightly (by 1/16 - 1/8 of a turn) release each screw. This will produce a "bold", "loose" or "dark" sound. In this case, the tuning is changed with a shock head. Keep in mind that the pitch range may be somewhat limited with a “fat” sound.
6. For a short “open” resonant burst of sound followed by muted overtones, try using the EQ damper. Press it lightly against one of the plastics, so that when the beater strikes, the upper ("hinge") part bounces off the plastic, but quickly returns back. The duration of the sound can be influenced by changing the location of the damper. This technique also works with two dampers, when one of them is pressed tightly, and the other, located on top of the same or opposite head, gives a "hinge" sound.
7. No pillow or pad? Try different widths of felt or cotton. Place them under the plastic approximately in the middle, pulling tight, so that the plastic presses them. As a guideline, try 4.5 "wide on a 20" barrel, 5 "wide on a 22" barrel, 5.5 "wide on a 24" barrel. A strip on one of the plastics is equivalent to damping 25-30% of the plastic area, or two EQ dampers per plastic. A towel rolled up and taped to the bottom of the plastic (or both) works the same way. An old feather pillow or rolled blanket works just as well. Improvise! Anything lightly touching the plastic surface will work if you respect the damping proportions given in the Cushions and / or Pads section. For a "hinge" sound, try tape a towel or piece of cloth to the top of the plastic so that it bounces off and back on impact.
8. For better resonance, try raising the bass drum as high off the floor as possible, as far as the stops and pedal design will allow.

Tuning drums is tricky. But, you should not be afraid. These 7 tips will help you tune your kick drum.

1. Do you need a hole in the plate?

Many drummers discuss why and why a resonant head needs a hole. The hole is necessary if you want to get an accented sound of the beater, but many people make a hole just because "everyone does it." With good tuning and proper head selection, it is very possible and often very desirable not to make a hole in the front head. If you do make a hole, do not make more than one and the diameter should be no more than 5 inches. More than one hole, or a hole over 5 inches in diameter, will have the same effect as no front head. Also, a lower sound is achieved with resonant head without holes.

2. Think about jamming the plastic. Do you really need it?

Now we move on to damping - pillows, blankets, duct tape, etc. Top tip, try to think about the environment you are playing in before grabbing onto the nearest duvet! In most cases, in live performance conditions, damping is not needed, but if you need it, it is very light. If you are in the studio, then some plugging (especially on big bass drums - 24 "or 26") may well be useful. Damped bass drums may sound great to you, but to the listener, bass frequencies can get lost in the overall mix.

3. The choice of plastic is very important.

If you choose the right head for your drum for your sonic needs, then, firstly, it will be an effective combination no matter the situation in which you have to perform. You will, of course, have to fine-tune the drum before every performance, but it shouldn't take long. Place the plastic on the drum and hand tighten all the bolts in pairs until you can twist them. Then push in the center of the plastic, then check that no bolts are loose. If the plastic is new, you will almost certainly find that one or two of the bolts have loosened slightly.

4. We begin to configure (finally!)

Ideally, you should tune the batter head first with the resonance head removed. Use your fingers to tighten the bolts in pairs until all wrinkles are removed. After that, using a wrench, achieve the same tone in the area of ​​each bolt.

5. Damping (if necessary).

If you really need it, now is the time to do it. A small, rolled towel placed against the resonant head will suffice.

6. Fine tuning.

Now carry out all the operations that were carried out with the impact head and the resonant head in order to remove wrinkles from the head and even out the tone. Now put the drum in the playing position and set the pedal. You can now ask your bassist to play the drum while you tune it, but if this is not possible, then do the following: lie on the floor in front of the drum and play a slow and steady pulse with your hand, and at this time, pull the head with your other hand and look for the desired setting ... This will give you a chance to hear the pitch, tone, and overall resonance of the drum.

7. Delivery, clarity and focus.

As you tune the resonant head, you will notice two things. At first, not surprisingly, the pitch will start to improve, but perhaps more importantly, clarity and focus will improve. With both heads alike tuned, you will most likely get low end rumble, but very little. Some people love this, which is fine, but if you prefer a more focused sound or a shorter and thicker sound, then increase the tension on the resonant head.

Hello everyone! Friends today I want to tell you about what a bass drum is, in addition, you will learn what a big drum is and why it is often called Turkish =)

What is the difference between Bass Drum and Bass Drum? Many people consider them one and the same, however, it is worthwhile to separate these concepts, and I will explain why later.

Big Drum.

Big drum- This is a wide metal or wooden cylinder, tightened on both sides with leather (sometimes only on one side).

Sounds are extracted by striking a beater with a massive head, which is usually wrapped in dense material. Africa is considered the birthplace of the bass drum, a little later it appeared in Europe.

The big drum also has the name “ bass drum". In Turkey, this drum was very popular, all military campaigns of the Turkish army were accompanied by the sounds of a big drum, in addition, it was an integral attribute at various celebrations and rituals. This is where the name comes from.

The bass drum is the most important link in a symphony and brass band.

In a brass band, a bass drum usually includes cymbals, one of which is attached directly to the drum itself, and the other is in the drummer's hand.

In orchestral music, the bass drum often plays the role of a "metronome", beating strong beats of the measure.

Bass drum.

The question is often asked: “ What is the name of the kick drum used in the drum kit that stands at the bottom?»

So: in modern musical directions, such as: jazz, funk, rock, metal, etc., a lower-sounding version of the bass drum, called the bass drum, is used. The musicians themselves call it simply “ barrel ", And in fact there is a similarity !? Round and oblong =)

Bass drum- cylindrical shape, closed on both sides by a membrane (plastic).

The bass drum is part of the drum kit; sound is extracted from it using the strokes of a special pedal connected to the beater. Contemporary styles of metal such as; thrash, power, death, black metal and even today's heavy metal use a universal joint (two pedals connected by a shaft with 2 beaters on board), which allows you to beat the bass drum much faster than a single pedal.

Listen to the sound of the bass drum (online).

Designation of a bass drum in musical notation.

Are you not familiar with musical notation for drummers yet? Then be sure to read!

On this we will finish, I also wanted to add the sound of a large single orchestral drum, but I did not find a good recording, if you have one, please send it in the comments, I will definitely add it to the article! =)

LARGE DRUM is the general name for numerous percussion musical instruments consisting of a hollow cylindrical body with a skin (membrane) stretched over it. The drums are beaten with hands, sticks or special beaters. It is known about ... ... Collier's Encyclopedia

This term has other meanings, see Drum (disambiguation). Drum ... Wikipedia

This is a very ancient and very common instrument. Its ancestor is a simple stone or wooden mallet, which was used by primitive people. However, over time, they noticed that the sound becomes more booming, if you hit not on a solid ... ... Music Dictionary

- (Kotoshikhin 151), probably borrowed. from Turkic, cf. tat. daraban - the same (Radlov 3, 1627), whence from the dial. t: Polish, Ukrainian taraban, room. darabană (Tiktin 2, 505); see Mladenov 17. On the other hand, Tur., Crimea was also considered a source. tat. balaban ... Etymological Dictionary of the Russian Language by Max Vasmer

BIG- The names of instruments or organ registers connected with the word big (big drum, big flute, etc.), see under simple names ... Riemann's Musical Dictionary

Drum (probably Turkic), a percussion instrument common among most peoples; a hollow body or frame on which leather is stretched from one or both sides. Sound is produced by hitting the membrane, sometimes by friction; the pitch is indeterminate. WITH… … Great Soviet Encyclopedia

A; m. 1. Percussion musical instrument in the form of a hollow cylinder with leather-covered bases. Beat in b. To play the drums. Pioneer b. March under b. * Here the drums crackled And the basurmans (Lermontov) retreated. / Rough. About big, round ... encyclopedic Dictionary

This term has other meanings, see Drum (disambiguation). Revolver drum: 1 recess (dol) for relief; 2 groove for the retainer; 3 ratchet; 4 chambers ... Wikipedia

drum- a, m. 1) A percussion membrane musical instrument, consisting of a hollow round resonator body, covered with leather on both sides. To play the drums. Beat the drum. Having made several loops, the whole company was accompanied by an alarming beat of a drum from ... ... Popular dictionary of the Russian language

- (State Academic Bolshoi Theater of the USSR, State Academic Bolshoi Theater of the USSR, State Academic Bolshoi Theater of the USSR, Bolshoi Theater) is one of the oldest Russian. muses. t ditch, leading owls. t r opera and ballet. B. t. Played an outstanding role in the approval of the nat. realistic traditions of opera and ballet art ... ... Musical encyclopedia

Books

• Oligarch from the Big Dipper (MP3 audiobook), Tatiana Ustinova. Being an oligarch is like playing Russian roulette: you can be behind bars at any moment. Liza Arsenyeva was convinced of this when she had a neighbor in the country - Dmitry Beloklyuchevsky, ...