HELP! Iam going to have a nervouse breakdown!

This is a quick and dirty fix. Get yourself a Memokey key for tuning so that your lug tensions are uniform. This is much faster than tapping and listening to the pitch at each lug on each head. If this doesn't kill the ring try the following. After the top and bottom head are in tune(see above) hit the drum on the batter head (with a stick) and lightly place a finger one inch in from the rim of the batter head. Move this dampening finger around until you find the spot that kills the ring. Take a piece of tape and place it on that spot. Or you can use an exterior tone control pad.

Sam S.

I agree with guru that the drums should have their natural ring. I thought he was referring to the out of tune boing sound you get when the head isn't tensioned properly or can't be because the bearing edges are screwed up.

Sam S.

alright, im getting rather pissed off (sorry about language). here goes, i am really trying hard to get a muffled non ringing thud out of my toms, i am using a pearl export (late 80s) with clear remos on top, and coated ones on the bottom, i want to have the tuning to go from high, medium and low, but i dont want ringing, its driving me nuts, what should the lug tensions be for the tops and bottoms to achieve this moon/bonham sound - i know i have asked this before, but i cant buy a new set and really am short for money right now.....also, my sabian aax is bent - any way to fix this glitch? still sounds good though

thank you!!!

Moon's and Bonham's drums were completely unmuffled and rang out. The ring you are hearing is part of the drum's sound. It must be tuned to blend properly with the fundamental tone and attack of the drum. Tuning drums is a lifelong learning experience, so don't get frustrated now.It is less predominant in a large room or when amidst the sound of other loud instruments. Most new drummers think that the drums aren't supposed to ring because they hear the sound of a drum through a microphone on a recording and don't notice the ring as it is masked by the other instruemants and vocals. Next time you are around a pro's kit ask him to show you what's going on with it. If the drums weren't supposed to ring, they wouldn't make heads that ring. Head selection, tuning, bearing edges and shell material affect the resonance of a drum. Go to this FAQ and read up on it.
http://www.rmmpfaq.club24.co.uk/

There are ways you can deaden the heads but it also reduces the volume and sensitivity of the drum.

He probably is. It's usually a new drummer's first instinct to tape that drum up or get oil filled heads instead of learning how to tune and hit the drum square in the middle, isn't it?

You need to learn to tune. The ringing you hear is just nasty overtones. If you just want thud, buy some Evans Hydraulics.

***************************************** strat81 Rich '99 SL1

'Just because I wore a pink shirt doesn't mean I'm some kind of pink doughnut eater!'

i worked at a drum shop when these came out so i got to learn about them a little bit...seems the head combo we most recommended was for Remo pinstripes on the top and ambassadors on the bottom. my dept manager could get them to sound like yamaha recording customs on any given day. and definitely spend the time to learn to tune your drums. it's worth it and will save you a lot of stress and frustration. it'll also give you some as well...

damien g

san jose CA

the Moon/Bonham sound you are looking for is probably the result of close miking, gated compressed and equalized and otherwise processed to death by the genius recording engineers.

Ringing is a function of the heads continuing to vibrate after you strike them.

1st a tuning seminar is in order.

The tuning process should start with the heads equally tuned to the same pitch as the shell. You can find this pitch by loosening the heads and striking the shell with a soft mallet or with your knuckle. get both of the heads tuned to this pitch, and make sure that the heads are tuned evenly (the same pitch at each lug).

I have had the best results when both the batter and the bottom heads were alike, alternatively the batter head should be the heavier head if you have to mix them. some players love the sound of their toms when the bottom heads are tuned somewhat higher than the batter heads. this causes the sound to be a bit punchier, and to 'die' quickly.

Keep in mind that 'ringing' supports projection or 'cut'. Dead drums don't carry.

Also, the most significant thing you can do to improve your sound (besides get great chops) is to use new heads as often as possible.

If you want a muffled sound - muffle the heads!! Tape 'em up till they stop ringing!! or better ......

You have to tune the drum to 1 note, which is easier if you remove the bottom head and use it as a concert tom. Don't put too much tension, just 1 turn or so past finger tight, then tune up a bit for cleanness. Also - get pin stripes or dot heads or hydroheads or something.

Now - don't compare what you get live to what you get off a record - it will never sound like that. or - try miking the drums and listening thru headsets.

One other thing - if you hit the tom as hard as you can without busting it - you will get a clearer note, because the harmonic energy will be way down in comparison, but this is EXTREME!!!

Just keep tuning, man, tuning!

This is the typical inexperienced advice from someone who obviously doesn't understand drum tuning, drum construction (there is a reason they make them with two heads, dude!), physics or musical dynamics. There are plenty of well written sources to go to for help with this subject. Just type 'drum tuning' into any search engine and see if every site you go to doesn't disagree with this advice, as would any pro recording or performing drummer. Sorry, buddy, no offense. I am just trying to save this kid years of doing it wrong. Your advice is not helpful.

I will have to respectfully agree with Mr. Drumguru about proper tuning. In the 60's and 70's when multitrack recording was starting to flourish in the music industry, engineers were experimenting more and more with 'Close mic'ing' techniques in the studio. Close mic'ing meant that each individual drum was being mic'ed separately from the other sound sources.

For MANY reasons, engineers and players went for the single headed, single note approach to tuning and recording. Some reasons, engineers did not know at the time how to capture and control the complex overtones of a traditional double sided drum in a close mic'ing situation. They were easier and faster to tune, especially to a specific note. Heck, Phil Collins STILL plays all concert toms.

But once you understand the interplay between the two heads and how to control the overtones and USE them to your advantage, you'll never go back.

When I re-skin my kit before a session, it will take me roughly 2-3 hours to re-tune the entire kit properly (that's NOT including the actual time to CHANGE the heads... just TUNING them). Then I'll play the entire kit for about 15-20 minutes (not bashing or hitting hard) and re-tune, but this time it usually only takes about 1/2 hour to an hour to fine tune it.

I know I didn't answer your question on HOW TO tune, but here's a start:
http://www.drumweb.com/profsound.shtml

This does not just tell you how to tune... it explains EVERYTHING that you need to know about drum characteristics, drum HEAD characteristics, selection, tuning, the list goes on. It's a LONG read, but worth it. I think there's a .PDF available for download there also.

Happy tuning!

Scott

on 4/29/00 2:53 AM: