In essence They would be a four note chord. They wouldn't be tuned with a piano or other instrument but in tune with each other. I hope that helps. DamoSyzygy Guest. I dont tune to notes because theyll start going out of tune from the moment you start hitting them. I tune so that they sound powerful and respond well. Pollyanna Platinum Member. Evenstevens said:.
Click to expand I tune my drums to intervals between each other but not specific notes Evans G2's over G1's. Right now from floor to high tom 18,14,12,10 they are 3,2,4. This forms a minor triad with the highest tom an octave higher than the lowest.
These are not specific notes but the intervals are around where the drums get the most resonance. I don't ever tune my drums to intentional pitches, unless I'm in the studio. When you're playing live, you want your drums to sound good, regardless of the key, but in the studio, it sounds great especially on ballads to have your drums tuned to the key of the song.
I don't even tune my drums to each other, most of the time. I find where the drum sounds best, and tune to THAT. Of course, with my DW kit, the drums have such wide sweet spots, that I'm able to tune them to any key with no problems. On my Ludwig Downbeat, on the other hand, the drums have a couple of sweet spots each--one high and one low.
That allows me to tune lower for rock or higher for jazz, and they sound great both ways! The problem comes when you try to tune drums to a note that's out of their "sweet spot" range. Then they just sound awful! Also, you can tune your drums with a pitch-bend, so they really don't have a definite pitch, but rather a sweep of them, but that's if you want that effect, of course Hope this helps!
Tune my drums for feel and the room No overlapping tones. MadJazz Silver Member. Like others have said, I also tune my drums to feel rather than pitch.
There's one or two spots in each shell that sound fullest at a particalur tension. That's what I look for. If using only two toms, you don't need particular intervals. Another issue you can ponder over is how the top and bottom heads interact. Tension bottom head as high as possible without choking it. If it has an annoying, high pitched, metallic ring, you tuned too high.
This gives you the highest pitch where the durm sounds full. Now add the top head. Push your hand palm in the middle of the head. You'll see wrinkles at the edges. While pushing with your hand, tension the head until the wrinkles are gone. This gives you the lowest pitch where the drum holds its tone. You can increase the batter's picth from there if you wish.
The high reso gives a nice, round and clear tone. To keep the overall tone from being too high, the batter must be tuned low. Overnight is good if possible…. Loosen the tight head by detuning the tension rods in opposite pairs in the same way as we tightened them in the first place. Now make them all finger tight again and you are ready. When tuning, it's a good idea to start with both heads detuned back to slack, regardless of which head you're replacing.
Because the chances are that the bottom head will have detuned slightly since we last checked it, and if you are putting a new batter head on, it will be slightly different from the previous one, even if it is the same model. On toms, the bottom head is the most important one. The vast majority of drummers don't seem to realise this and can spend hours tweaking away at the batter head.
The problem is, this very rarely solves the problem in question, or means that the drum never sounds as good as it could. Focus on optimising the sound of the bottom head after all this is the head that affects tone, sustain and projection and if you get this right, tuning the batter head almost takes care of itself.
Make sure you pick your bottom head wisely - thin resonant heads 7 mil are not a particularly good idea in most cases, despite being widely supplied on kits. For maximum resonance and sustain, try matching the weight and thickness of top and bottom heads appropriately.
For example, if you are using a two-ply batter head, a thin 7 mil resonant head will often appear to choke the tone of the drum. If that's specifically what you want, cool. If not, go with a standard medium weight single-ply head 10 mil and you'll soon hear the improvement in sound. I usually tune my toms on a carpeted floor so I can hear only the head I am currently tensioning. Tune your head up to a higher pitch than you intend utilizing a cross-lug pattern of tuning to avoid tightening the head too much on one side.
Tap in front of each lug with your finger or a stick and make sure the lugs are tuned to the same pitch. This is called seating the head. Once the head is seated, tune the head down to the desired pitch. For more drum tuning information, check out my other entries on kick and snare tuning specifically. This site uses Akismet to reduce spam.
Learn how your comment data is processed. Your Subject I Have Questions! Skip to content Skip to sidebar Skip to footer. The Key to Drum Tuning The key to tuning drums is understanding the relationship between the two heads of the drum.
Three Different Tuning Relationships If the batter and resonant heads are tuned to the same pitch, the two heads resonate at the same frequency and reinforce each other. On vintage drums, it is not uncommon for the metal hoops to be slightly out of round. This can make tuning a head frustrating. If the hoop is significantly out of round, purchase a new hoop. If you hear a lot of weird overtones and harmonics from the toms, resist the urge to muffle or tape them out. Instead, tune the drum until the overtones are at the absolute minimum.
Tuning the resonant head higher or lower tan the batter should reduce overtones. Muffling should be a last resort my opinion. If you have the money, you probably should replace your resonant heads when you replace your batter heads.
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