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Inspiring drum ideas from the pages ofthe UKs biggest selling drum magazine
Presents
GEAR BUYING ADVICE BUDGET UPGRADES FOR YOUR DRUM KIT PREPARE FOR THE
STUDIO LEARN TO SOLO FREE VIDEO CONTENT WITH OUR EXPERT TUTORIALS
TROUBLESHOOT
YOURDRUMMING
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EDITORS LETTER:WELCOME
AS MUSICIANS WE ARE CONSTANTLYlooking to develop
and improve, and as drummers we are a particularly fastidiousbunch forever looking to improve our sound, nail our technique
and tweak our set-ups.
Every month in Rhythmwe strive to feed that hunger we know
you have for improving your craft, with practical features from
our team of experts designed to help you get to where you want
to be with your drumming.
Here we've collected together the best of Rhythms practical
advice in one place. So we have advice on kit maintenance and
restoration, what to look for when buying new gear and how to
achieve the sound and style youre striving for. Our epic 30 Day
Workout will help hone your playing skills and focus your practice
regime; Troubleshoot Your Drums is lled with quick xes to help
your drumming; elsewhere we present exercises with video
lesson accompaniment to help you nail solos, grooves and more.
For real drum-heads, we've got advice on how to buy vintage
drums, and for those keen to take their drumming to the next
level, perhaps professionally, we've got advice on everything
from building your own home studio to recording your drums and
even becoming a remote session drummer.
In short, we've jam-packed Ultimate Drumming Tips, Tricks &Projectswith loads of ideas to help you on your way to achieving
your drumming goals.
WELCOME
Chris Barnes, [email protected]
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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS
CONTENTS
8 20 47
26
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CONTENTS
8MOT Your Drum Kit
16Buyers Guide Gear Advice
2021 Budget Kit Hacks
26How To Buy Vintage
34Vintage Restoration Projects
42Gear FAQs
47Troubleshoot Your Drumming
63How To Make Your Beats Groove
66How to Solo
7130 Day Drum Workout
90Beginners Guide To Big Band
96Playing FAQs
102How To Prep Your Kit For Recording
104The Easy Guide To Recording Drums
113Classic Drum Sounds
& How You Can Recreate Them
134How To Build Your Own Studio
138Become A Remote Session Drummer
144Recording FAQs
71
102 138
113
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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS
IMPROVE YOUR GEAR
TIPS, TRICKS &PROJECTS TO HELP YOU
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IMPROVE YOUR GEAR:INTRO
We drummers love our gear.From that very rst snareor budget kit through to the pro kit that we all aspire to one
day play; no matter what level we are at, its our love of our
instrument that shines through. But sometimes, our gear
can let us down. Perhaps your kit is simply past its best, or
youve outgrown it and are looking to replace a drum,
cymbal or whole kit. Maybe its just a little wear and tear
that requires a quick x, a replacement part, or just a good
clean? And maybe you yearn for classic vintage sounds in
your playing, or are looking to start a collection of vintage
drums? Here, we look at all things gear-related. From
giving your kit a quick MOT, buffing up and sorting out
those squeaks or detuning worries, to buying some brand
spanking new gear or getting into vintage drums, here
are some handy tips and suggestions for new projects
to sink your sticks into.
8
MOT Your Drum Kit
16
Buyers Guide Gear Advice
20
21 Budget Kit Hacks
26
How To Buy Vintage
34
Vintage Restoration Projects
42
Gear FAQs
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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS
Tools and products used by Yard for Project 1:1. White spirit
2. T-Cut
3. Goo Gone
4. Colron Finishing Wax
5. Autosol Shine & Metal Polish
6. Masking tape
7. Electric cordless drill
8. File
9. Soft cloth
10. Fine wire wool
11. Baked bean tin
12. Plastic tub
13. Drum key
14. Sharp blade
HOW TO MAINTAIN YOUR BELOVED GEAR: ACOUSTIC DRUM SHELLS, HOOPS, LUGS ETC
MOT YOURDRUM KIT
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WORDS:GEOFF NICHOLLS
PROJECT 1
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IMPROVE YOUR GEAR:MOT YOUR DRUM KIT
TIPPRESTON PRINCE(TIKI DRUMS)
If there are springs rattling andvibrating, the old cotton wool worksgreat, or even better some off-cutsof sponge.
Your acoustic drumkit is a prettystraightforwardinstrument. It
does, though, consist ofhundreds of small items, eachof which you need to keep aneye on and maintain properlyfunctioning and squeak-free.
Some drummers like to keep their kit in sparkling
condition at all times; others prefer the funkier
approach, preferring to leave well alone, particularly
their cymbals. And for most of us an occasional
wipe-over with a clean cloth is all thats needed for
day-to-day maintenance. Every now and then,
though maybe once a year we feel our kit needs
DISASSEMBLY
To take off the heads, Yard uses a marching drum
key which has a long lever. I use it because its
easier than a small key, he says. Its useful for
tuning as well. The drum may have quite a bit of dust
and fluff inside and on the bearing edges which can
be simply brushed off with a soft paint brush. If the
interior is painted you can wipe it with a slightly
damp cloth and cleaning agent. Check the inside to
make sure there are no cracks.
To clean a drum right up we would normally takethe drum completely to pieces. I use a cordless drill
in reverse to take off the lugs 6mm metric on
modern drums or " bit for vintage drums.
Keep the parts in a pot. Here I use an old baked
bean tin (clean it out first) a bit of recycling! Write
the name on the can with a Sharpie pen: Ludwig
13"x9" tom, Silver Sparkle. Now you know
everything is safe.
Lug contains spring,damping foam and
swivel nut
Put metal partsinto plastic pot with
toothbrush for cleaning
Use white spiritand scrub with
toothbrushDry thoroughlywith cloth
1 2
43
Remove the headsusing a drum key
Use a cordlessdrill to take off
the lugs
Undrill the lugfixing bolts
Keep the parts in apot, such as an old
baked bean tin
1 2
43
LUG INNARDS
Yard:These old Ludwig lugs have springs insideplus a bit of foam which stops them from rattling or
humming. There is also the brass insert swivel nut.
Assess each bit as you go. Some parts are not that
dirty and just need a wipe over, while some parts can
be really filthy. For cleaning I put the metal parts in a
plastic tub with white spirit and brush them out with
a toothbrush or paintbrush. I prefer not to use any
de-greasing agents. Wipe each part dry with a bit of
cloth, usually an old T-shirt. T-shirts are the best
thing for cleaning.
some serious TLC. Then well drag our drums into the
kitchen or the shed and give them a proper MOT.
This will certainly involve removing the heads and
you may bravely go all the way, removing the lugs in
order to get your shells and chromed parts as clean
as new. In this new series we will be looking at how
to maintain and clean your drums, your cymbals and
your hardware. We are not concerned here with
restoration of your drums that will follow in a future
series of articles.
In this first part, well begin with the drums. If you
remove the nut boxes (lugs) then you must take care
not to lose any tiny parts. Best keep them in a
labelled container, perhaps with a lid. Its easy these
days to take photographs, so if you have any worries
about the way something is put together, keep a
pictorial record.
Rhythmvisited the workshop of Yard Gavrilovic
who, as well as being Steve Gadds long-serving tech,
runs the Vintage DrumYard in Clacton-On-Sea, Essex
[www.vintagedrumyard.co.uk], where he restores,
VintageDrumYardsYard Gavrilovic
supplies and customises drum equipment. We got
the man himself to show us how he goes about
thoroughly cleaning up a single drum, and since
Yards stock is mostly vintage, the drum in question is
a 1970s 13"x9" Ludwig tom. Being old, this drum
required some pretty heavy-duty cleaning. But you
can follow the same procedure with any age of drum
and a newer drum most likely wont need the more
abrasive treatments.
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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS
Yard:Each tension rod is given a good twist in wire
wool which gets off the rust spots if there are any. If
they have grease on them, we put them in a tub
again with white spirit and let them soak well before
rubbing through with a toothbrush. Then take them
out and let them dry off fully. I very rarely use
Vaseline or any lubricant because I find that
encourages them to de-tune. Many kits come with a
dab of Vaseline (or other lubricant) today theyre
really just covering themselves against cross-
threading. The main thing is not to leave any damp
on them always dry them thoroughly.
Yard:If the shell has a wrap and is in poor condition
Ill give it a bit of T-Cut to start with to clean some of
the grime off. On a wrap, T-Cut wont take the top layer
off because its plastic, so it is quite safe. Some people
say only ever put it onto the cloth, but I sometimes put
it straight onto the wrap. You can also use T-Cut on a
lacquer finish, its not as vicious as people make out,
but always do a test bit hidden away somewhere,
opposite the badge say, at the back usually under a
lug or mounting bracket that has been taken off.Whenever using a liquid always do a test area in case it
reacts. Then use a wax-free polish to buff up, whether
its a wrap or lacquer finish, and wipe off any residue.
The cloth used for cleaning shells and chrome
should be as soft as possible so as not to scratch the
The most popular products with our experts are car
wax, Windex, Mr Sheen and Pledge furniture polish.
Tom Willhelm (Daniel Adairs tech), agrees: I use
Pledge furniture polish on both lacquer and wrappedshells. I spray the Pledge onto a diaper and then apply
that to the surface to clean the shell. I prefer a diaper
as it is less likely to scratch it. Drum restorer Jeremy
Peake uses Mr Sheen, which is also a degreaser, for
lacqueredandwrap finishes. If a wrap is dull Jeremy
surface (eg: a cotton T-shirt). Semi-synthetic fabrics
with nylon, polyester, etc, can scratch a glassy smooth
lacquered finish. A popular alternative is nappies as
theyre made to be ultra-soft. It should also be notedthat there are many drummers who avoid using any
cleaning products unless absolutely necessary. For
most drummers with relatively new/modern drums,
simply buffing with a soft cloth will work wonders,
maybe with the addition of a mild cleaner/polisher.
LUG CASES
Yard:To polish up the lug case we have a special jig
with holes drilled in it. Over the years weve added
different holes specifically to take each type of lug. The
lug slots in there and it stops it from moving about while
you clean it. We use really fine, zero wire wool, dry with
no cleaning agent. You can also use chrome cleaner, but
it leaves a white residue/dust, so you have to be careful
to buff all of that off. We find you usually dont need to
use chrome cleaner once youve cleaned it thoroughly.
For most drummers with relatively new/modern drums, simply buffing the shellswith a soft cloth will work wonders
Clean tension rods withfine wire wool
1
TIPTAM RANKIN(VINTPREM)
Dip the tension rod ends inVaseline before assembly.
To lube or not to lubeThe use of lubricants on tension rods is
controversial, with different drummers
firmly in the for or against camps. On
the one hand lubes may help to prevent
rusting while making tuning smooth with
less chance of cross-threading. On the other
hand, as Yard says, they can promote de-
tuning and the build-up of gunge. Perhaps it
depends on how hard you play and whether
you are prepared to keep tuning up or using
lug-locks, etc? Whatever you decide, here
are some further pointers.
Daniel Adairs tech Tom Willhelm says,
I use a bicycle degreaser to clean any grime
or grit off lug casings and tension rods. If
they are dirty with just dust or stick shavings
I will use a diaper sprayed with Pledge polish
to clean the lug casings. I use a silicone spray
for lubrication of the tension rods.
A J Nosek, who techs for Andy
Hurley (Fallout Boy/The Damned Things),
uses WD-40 inside (lug boxes) and/or
light based oil lube or mechanical grease
for bolts, something to lock out any
moisture and maintain the interior
metals from corrosion.
SHELLS
TENSION RODS
1
1
2
2
Carefully buff chromewith finest wire wool
Lug case is secured onspecial customised jig
T-Cut applied to cloth iscarefully used to restorea wrapped shell
Car wax can be usedfor polishing up theshell exterior
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IMPROVE YOUR GEAR:MOT YOUR DRUM KIT
METAL HOOPS
Yard:Generally, if it is quite a rough-looking hoop, I
will rub it down with wire wool first. Wire wool gets
rust spots off, which you normally get around the
tension bolt holes. You can also use chrome cleaner,
which I do quite often. I use vehicle Autosol Metal
Polish and Autosol Shining, making sure to get off
the residues. You let it dry and then buff it off with a
cloth. All buffing is done with old T-shirts.
BADGES
Yard:If I need to take a badge off then I will, but
you need a special grommet tool. For your MOT its
best to put masking tape on the badge so you dont
mess it up. Run a blade round it carefully. Then you
can rub away to your hearts content and you wont
damage the badge.
BEARING EDGES
Yard:I rub a bit of Colron Finishing (furniture) wax
on the bearing edges. It takes out that little bit of
dryness. It doesnt really do anything for the tuning,
but it helps the head to slide and seat slightly better.
AJ Nosek explains: I usually coat exposed wood bearing
edges with a thin layer of Vaseline, enough to smooth/
cover but not saturate. If the edge has any minor
damage, soft sand paper (220+) with light pressure
will fix it without losing the angle/precision cut.
uses a car colour reviver, then Mr Sheen and a cockpit
shine spray. Preston Prince offers: If slightly scuffed
with light scratching and blemishes I tend to wipe with
a sponge lightly soaped in Fairy Liquid. I might even
T-Cut the shells, then buff with a car wax or polish to
pull out the blemishes. Good Charlottes Dean
Butterworth says he uses Windex to clean the shells,
lacquered or wrapped. If the finish is particularly dull
Dean says hell buff with wood polish or Windex.
Jazz-funk legend Ndugu Chancler says, For drums
with lacquered or covered shells I use a lemon oil and
a spray furniture wax with a soft cloth, or baby diaper
to wax and keep the shells clean and shiny. On the
lugs I will use a chrome polish to keep them shiny and
protected from rust. Once the drums have a nice
protective coating of wax, I keep the shells dusted. To
bring back a dull shine I use a paste or cream wax with
a buffer. I never use any abrasive cleaners or scouring
pads on any equipment. If you keep the equipment
clean you wont need to use harsh cleaning agents.
Ndugu makes a good point, that if you clean your
gear daily you wont have to do much for your yearly
MOT. Laurie Jenkins says he gives Kasabian drummer
Ian Matthews DWs a once over daily with Pledge to
keep the sparkle. And A J Nosek gives Andy Hurleys
drums a thorough wiping with a clean, dry (soft)
towel after every performance to make sure moisture
doesnt build up, especially around lugs/under rims. I
use Carruba liquid wax or furniture polish to improve
the shine; mild detergent soap in warm water to get
off deep grime, but I make sure its completely dry
before casing/travel/storage.
Chrome hoops canbe cleaned with finewire wool if necessary
1
Run a blade aroundit carefully
2
Apply maskingtape to badge for
protection
1
Thinly apply ColronFinishing Wax to thebearing edges
1
TIP NDUGU CHANCLER(MICHAEL JACKSON)
The best maintenance for yourequipment is to keep the gear storedand transported in cases that fit aswell as protect it from any abuse.
TIP SWISS CHRIS(JOHN LEGEND)
Moisture is a big enemy of thechrome parts of the kit. I clean thoseparts monthly or bi-monthly, but Ireally should do it weekly.
TIP CORA COLEMANDUNHAM (PRINCE)
Cora swears by cloth baby diapersand Windex (the ninth wonder of
the world) for drum cleaning jobs.
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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS
Tools and products used by Yard for Project 2:1. Multi-surface polish
2. Toothbrush3. Spare parts
4. Pliers
5. Wax
6. Rust remover
7. Soft paintbrush8. 3-in-1 oil
9. Window cleaner
10. Label remover
11. Silicone spray
12. GT85 lubricant13. Cream cleaner
14. Phillips/at screwdrivers
15. Vaseline
16. WD-40
17. Super Lube18. Cymbal cleaner
19. Methylated spirits
20. Washing-up liquid
MOT YOURDRUM KIT
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WORDS:GEOFF NICHOLLS
PHOTOS:JAMES CUMPSTY
Disclaimer:minors should only use these tools and products under the supervision of a parent or guardian.
16
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20
HOW TO MAINTAIN YOUR BELOVED GEAR: HEADS, CYMBALS AND HARDWARE
PROJECT 2
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IMPROVE YOUR GEAR:MOT YOUR DRUM KIT
TIPDAVE MATTACKS
(SESSION LEGEND)
Regularly check the plastic sleeveat the top of the cymbal stand. If itsworn through it can lead to key-holing of the centre of the cymbal.
Once a head has been distorted it will be dulled and
impossible to tune evenly. However, heads are
expensive and drummers have always tried to prolong
their life. Some suggest that a hair drier or even a hot
air gun used carefully can mould the head back
into shape. Southampton drum dealer Steve White
(www.swdrums.fsnet.co.uk) explains: Tune it a little
higher than usual. Carefully play a hot air gun over it
and watch any dimples disappear. Always do this
outdoors. Keep the gun moving and take care not to
overheat the head. Then let the head cool down andwipe it over with solvent, dunk it into fairly hot water
and scrub with Cif and a sponge scourer pad. Dry the
head thoroughly before re-fitting.
When re-fitting your bass drum hoops, position
them with the claw hooks in the same place you took
them off to minimise wear. And always fit a rubber or
fabric hoop guard/protector to spare your wooden
hoop from your bass drum clamp jaws.
Do not re-use old headswhich are distorted
as they will not tuneproperly
Cymbals are perhaps the most controversial area of
maintenance, as many drummers refuse to clean them.
And many others would be horrified by the notion ofusing any type of scouring action or product on them.
Yard says, I never use cymbal company polishes, they
are too abrasive. Note that some cleaners can remove
logos. However, Yard says, We do give cymbals a quick
spray polish and buff with a circular motion to remove
thumbprints, etc. Any wax free-furniture polish is good,
like Mr Sheen or Johnsons Wax its not waxy, its just
the name! Being wax-free it doesnt leave a smear. It
also prevents oxidisation the blue powder stuff.
Spray furniturepolish onto thecymbal
Wax-freefurniture polish
is best for this
Buff the cymbalswith a circularmotion
This canalso prevent
oxidisation
1
3
2
4
DRUM HEADS
CYMBALS
TIPPRESTON PRINCE(TIKI DRUMS)
If a (removed) head bows or isfloppy in the middle, its life is over.The only way to get sound out is ifyou keep tightening and invariablyyou choke the drum.
So now youve gotyour drums backin fine fettle. Nowfor our second
drum MOT project, we willmove on to drum heads,cymbals and hardware.Once again we will turn toSteve Gadds long term, UK-based tech, Yard Gavrilovic,owner of Vintage DrumYardin Essex. We will also heartechniques, views and tips from
our broad team of experts
drummers, techs, dealersand restorers.We drummers are lucky in that our instrument
generally only needs the lightest of maintenance. A
swift dust-off with a soft cloth is all thats required
most of the time. And when it comes to cymbals there
are many drummers who not only never clean them,
but actively feel cleaning them is wrong. When we
asked Yard about this, he admitted: If Gadd turned up
and I had cleaned his cymbals hed say, Have you lost
your mind? Another session legend, Dave Mattacks, is
equally averse. He says, Dont use cleaners of any
sort on cymbals just look after them.
But then there are other drummers who like their
cymbals to be shining like new at all times. So the
first thing to be aware of is that opinions about
maintenance may differ quite sharply. In particular
some drummers are extremely wary of using any
product that is in any way abrasive on any part of
their kit. You will have to decide for yourself where
VintageDrumYardsYard Gavrilovic
you stand on this. But if you do try out a new
cleaning product, always do a small test patch on a
hidden area first. And always use the softest cotton
(not synthetic) cloths/rags for polishing and buffing.
Picking up from last month, Yard continues, You
can now reassemble the drum with new heads. I
never put old heads back on, because once they
have been seated and stretched there may be
strange quirks.
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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS
Use a paint brush toclean out fluff and dust
1
Make sure all nutsand clamps are tight,
properly adjusted andsqueak free
3
Use WD-40 with a finespray nozzle to direct the
spray into tight corners
2
Be sure the heel platehinge is also secure
and squeak free
4
BASS DRUM & HIHAT PEDALS
Yard says, Give pedals a wipe over and get a paint
brush in between the footplate and base to sweep out
any dust. If a pedal is gungey I clean it with WD-40spray with a nozzle which can get into the awkward
areas. I may give the chain a light oiling to ease it up a
bit, but its not crucial.
Preston Prince explains: I strip and degrease
pedals every year using meths. It cleans it all away
without any trace. Then I re-grease them and set them
up in front of a good movie or drumming DVD, when
its raining outside. Sad I know, but I flippin love it! I
just use a classic grease, I have a massive pot of the
stuff. Silicone spray also works for lubrication.
Preston doesnt use WD-40 on moving joints, claiming
everything will eventually come loose. He also offers
this tip on looking after hardware: Dont over-tighten
your hardware. Just tighten until the nuts feel firm.
CYMBALS CONT.
Yard: Always keep your cymbals clean and dry, then
they shouldnt get patches of blue/green oxidisation
on the surface. But if that does happen you would
have to rub the area gently with finest wire wool. This
works for minimal rust. If it gets serious, youd best
throw the cymbal away!
Tom Willhelm, drum tech for Nickelbacks Daniel
Adair says, If cymbals just have fingerprints I use
KickN Brass Cymbal Cleaner. Spray it on and wipe
clean with a soft cloth. Crazy Johns Brilliant Cymbal
Cleaner is great for cleaning pyro dust and stick
marks. It requires a decent amount of elbow grease,
but gets the cymbals back to a shiny state. Preston
Prince says, I use Fairy Liquid and a sponge, no
polishing. Let the cymbal dry completely then put it
back in its bag.
Many drummers use branded cymbal cleaners,
including Jeremy Peake, A J Nosek (tech for Andy
Hurley of Fallout Boy) and Swiss Chris (John Legend),who says, I love Sabian cymbal cleaner. Good
Charlottes Dean Butterworth uses Paiste cymbal
cleaner. Cora Coleman-Dunham says, Depending on
the finish I use Sabian or Zildjian cleaner and
sometimes Windex (original) and cloth baby diapers.
Ian Matthews of Kasabian is in the never clean em
camp. But Ians tech Laurie Jenkins admits that, Two
cymbals which have brilliant finishes get a light clean
occasionally to remove sweat marks or the odd drink
which has been known to fly!
For cleaning I only use Windex to get fingerprints
and marks off, confides Ndugu Chancler. But Ndugu
also protects his metals by keeping each cymbal in its
own individual Cymbag, which acts as protector,
separator and muffler.
Tiki Drums Preston Prince doesnt useWD-40 on moving joints, claimingeverything will eventually come loose
Small oxidisedpatch on cymbal
1
Carefully ruboxidised patch with
finest wire wool
2
Oxidisedpatch is
removed!
3
HARDWARE
REMOVING STICKY TAPE
TIPSTEVE WHITE
(DEALER/RESTORER)The type of bass pedal thatfolds down should not be stored/transported with other stands as thechains can get tangled and buckled.
TIPSWISS CHRIS
(JOHN LEGEND)
John Legend drummer Swiss Chrisadmits that when it comes tomaintaining his hardware he uses asmall towel and Vaseline for the basspedal and hi-hat chains.
Weve probably all been guilty of putting stickytape on heads, shells and even cymbals at some
time, and removing it can be a nightmare. Yard
suggests, To remove gaffer tape use white spirits.
Let it soak a while. The spirits will soak through
TIPPRESTON PRINCE(TIKI DRUMS)
Do not clamp down on yourcymbals with wing nuts. These both
choke and can damage the cymbalhole. Check out Buddy Rich and hisopen sound on cymbals: no felts,no wing nuts, he just allowed hiscymbals to breath and sustain.
gaffer cloth tape. But cheaper PVC tape is a bit
harder, you have to cut into it to let the spirits in
then very carefully use a paint scraper or chisel.Its not a five-minute job. Get the residue off
afterwards with meths. WD-40 claims also to
safely remove tape. Some types of tape, gaffer for
example, will lift off with heat also.
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IMPROVE YOUR GEAR:MOT YOUR DRUM KIT
STANDS
For all hardware I use Pledge Multi-Surface Cleaner,
as well as Windex or any glass or metal surface
cleaner, says Tom Willhelm. I use Silicon spray for
any surfaces that need lubrication and also to
lubricate snare strainers.
Ian Matthews says, Hardware might get a dose of
GT85 to loosen some sticky bolts here and there.
Ians tech, Laurie Jenkins, adds: All the hardware,
including the gong stand, is generally cleaned with
Label Remover. It instantly gets off sticky residues,
such as smoke oil, which seems to get everywhere.
Preston Prince says he may do a little re-greasingon the wing nuts and adjustable shafts of stands. He
continues: Wire wool is not an enemy if you get the
correct grade. It can transform chrome to its former
glory. Use Liberon Steel 0000 Ultra Fine.
Cora Coleman-Dunham agrees: Once my rack and
hardware are in place, Ill give them a wipe down with
lowest grade steel wool and then with my cloth baby
diaper. Steve White adds, Any surface rust on
chrome can be removed with a brass wire brush, not
steel bristles as they scratch. Be aware that chromium
is poisonous and can lead to blood poisoning if a
splinter or flake is not removed immediately after you
have caught your finger on it.
On cymbal stands and all hardware I use Windexand a small towel, says Swiss Chris, while Jeremy
Peake uses Mr Sheen to shine up cymbal stands and
other hardware with perhaps some liquid metal polish
beforehand. Dean Butterworth also uses chrome
polish on his hardware as does Ndugu Chancler.
SNARE STRAINERS
Yard cautions, If you try to take a strainer apart you
may not be able to to put it back together. Most
modern strainers are quite cheap, so its usually
better to buy a new one which you can put on in a
few minutes.
Preston Prince agrees: I de-grease them, or, if
battered, replace them. Dean Butterworth says he
also replaces strainers when they get old. Tom
Willhelm uses silicon spray to lubricate strainers, while
Jeremy Peake uses Mr Sheen and spray grease,
sparingly applied, if deemed necessary. A J Nosek is
thorough: I take off strainers and clean, re-lube and
re-attach them as often as needed. On tour thats once
a week minimum. I use WD-40 and/or light oil lube or
mechanical grease.
Steve White says, Any stiffness is usually solved
with a quick squirt of WD-40, but make sure you
wipe away the excess with a rag. I use cord for tying
on snare wires rather than (plastic) strips cut from
drum heads. Strips are smooth and can slip. I useplenty of cord in case of breakage, then you have
some spare. I clamp the loop in the cord in the butt
end then pass the two ends through the snare gate
and the holes in the wire plate, then tie the ends
together using a reef knot, then a half-hitch. Nothing
can slip as it is a complete circle. I do the same for
the throw-off side.
"If you try to take astrainer apart youmight not be able to
put it back togetherUse window cleaner to
clean your stands
A quick squirtof WD-40 can solve
any stiffness inthe strainer
TIPDAVE MATTACKS
Regularly check the string ortape that attaches your snare wires tothe snare release and butt end.
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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS
BUYERS GUIDEEvery month inRhythm, our expert reviewers cast
their eyes, ears, and stick-wielding hands over the
best new gear, and theyve been doing so since 1985.
So we reckon we know a thing or two about what to
look for when it comes to buying new gear. Gear canbe, of course, a very subjective choice for the player,
and ultimately you should be guided by your own
ears. We highly recommend taking time to get
yourselves to a bricks-and-mortar drum store. You
will nd these places staffed by the friendliest and
most knowledgeable folk, who can help you with
what youre looking for. Crucially, too, you will get
the opportunity to try gear out before splashing outyour hard-earned dosh. But here weve rounded up
the advice of our gear experts in a few key areas, to
give you some important pointers.
Advice from Rhythms experts on how to buy the gear thats right for you
DRUM KITSHOW TO BUY
An entry-level drum kitLook for a five-piece, full-sized kit, most probably
made in China. Many are virtually identical, just
bearing the different names of the variousimporters/retailers. Based originally on the first
Pearl Export kit from 1983, some have the original
Pearl-style double tom holder and oblong lugs,
others have modern oval or small square lugs.
The number of tuning lugs on each drum is
crucial. For accuracy and evenness of tuning, kicks,
snares and floor toms should ideally have eight per
side rather than six, and small toms five or six rather
than four or five. Shells are usually nine-ply
Philippines mahogany or similar. Premiers Olympic
marque has thinner, more resonant six-ply shells.
Matching wood snare drums look good but arent
necessarily better sounding than steel. Kits arrive
unassembled with a set-up instruction pamphlet. You
have to put the heads on the drums and tune them.
This is fairly straightforward, but its worth buyingfrom a good dealer who will give you sound advice.
Packages should include everything to get you
started: stool, sticks, snare and hi-hat stands, bass
drum pedal and at least one cymbal stand. Also, a
basic 16" cymbal and 14" hi-hats.
HOW TO BUY
A budget drum kitWhile beginner kits are mostly generic, budget kits
are the slightly more expensive entry-level kits from
the dedicated drum companies the designer
labels, if you like. They are mostly made in China or
Taiwan and with their distinctive design touches
lugs, tom mounts, badges and the like you can feel
like you own a proper Pearl, Tama or Gretsch. The
idea is to build brand loyalty from the bottom up.Shells are still cheaper semi-hardwoods, such as
poplar or basswood, but they are often a bit thinner
and better finished than the shells of beginner kits.
Look for a wider range of sizes including
contemporary 22"x18" bass drums plus a bigger
choice of coloured plastic wrap finishes which
should be fully glued to the whole shell, not patched
on with double-sided tape.
You should still get a decent hardware package,
often including a stool/throne. Small toms are usually
mounted off the bass drum, though some kits have
up-market isolation mounting brackets. Bass drums
should have enclosed, drum key-tightened tension
claws rather than old-fashioned T handle types. Andbass and snare drums should have a respectable eight
lugs per head, though floor toms may only have six.
HOW TO BUY
A mid-range drum kitThis is the biggest sector, with the greatest number
of kits all vying for your hard-earned coin. For 20
years, the semi-pro kit sector has been dominated by
the Pearl Export. However, as we compiled this
guide, the Export had been superseded by the
Vision. The Vision has proven itself a worthy
successor to its hugely successful forerunner, hence
its new position at the top spot of the semi-pro
category. Today, semi-pro kits are most often madein China, sometimes Taiwan or Mexico (Pacific), but
dont be put off; the quality is amazing for the price.
You should be able to get a hard gigging, reliable and
good-sounding kit for your money.
Look for a choice of shell packs, with or without
DW Design pro kit
has fantastic buildquality and alsorepresents goodvalue for money
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SNARE DRUMS
hardware, such as stands and pedals. Dont expect to
get budget cymbals included youll need to choose
those separately. Extra toms are also often available
for extending your kit at a later date, should you
choose to, although choices will be quite limited.
Bass and snare drums should have eight or 10
lugs per head, commensurate with professional kits.
There will often still only be 12 lugs on floor toms,
though. Stands and pedals are better designed,
sturdier and usually double-braced. Hardware and
shell fittings, as well as the overall aesthetics, will
reflect the unique styles and idiosyncrasies of each
company, whether that be Sonor, Pearl or whoever.
HOW TO BUY...
A pro kitWhen you finally get your professional kit, you should
be confident that youre getting the best shells and
hardware that your company of choice is able to offer.
The shells will be premium-grade timber, which allows
them to be thinner for better resonance while
retaining their strength and roundness. They will most
often be North American or Canadian rock maple, or
Scandinavian birch. Theres often the choice of
straight-sided (unsupported), or supported shells with
internal reinforcing rings. The bearing edges should be
perfectly level and cut with extreme care. Drums will
most definitely be fitted with pro-standard heads.
There should be a good range of colours and
finishes (lacquers, waxes, quality wraps) and shell
sizes. Manufacturers usually offer standard shell packs
of the most common sizes at reduced prices, but you
should also be able to make up the exact kit you want,
without compromise, from any shell size on offer. The
company will encourage you to buy its top range ofhardware, but theres no obligation you may prefer
the pedals of a different company, want lighter stands
or prefer a rack. You will also, of course, have to
choose cymbals separately to accompany your kit.
HOW TO BUY
An electronic kitAt the cheaper end of the electronic kit spectrum,
actual playing experience is not going to be much
like that of an acoustic kit, so dont get too worked
up about the difference beween them. These kits
exist to give you tools to work with at home, helping
you sharpen your technique and try out new ideas.
At the higher end of the market, electronic kits
from Roland and Yamaha offer some very fine
sounds stuffed into their modules. If youre
interested in more serious studio applications then
these are definitely the ones to look at.
Getting into electronic drums has never been
cheaper, and even the least expensive of those
listed here has something specific to commend it.
Mesh heads typically make for more rewarding
playing, and if you should grow out of the soundof the stock module you can always upgrade it to
a better unit later on.
The quality of racks used in the entry-level section
tend to vary somewhat. The most basic racks will be
fine for bedroom practice. However, if jams with
mates or even performance is on the cards, youll
need to aim slightly higher to get a kit thatll take the
abuse. Things like quality of clamps, rack design and
ease of set-up become important factors here.
If youre considering an e-kit for live performance,
there are a few things to bear in mind. While mixing
acoustic with electronic (hybrid) is widespread,
particularly on bigger gigs, exclusive use of the e-kit
is largely consigned to home practice and studios forthe vast range of easily available sounds.
To sound good live, the e-kit needs serious
amplification to the point where the cost, weight and
complications of amplification can outweigh any
advantages, certainly on smaller gigs. Although PA
technology has come on in recent years, for most
local gigging bands with a small compact PA and tiny
monitors, adding an e-kit will severely test its limits.
Yamaha and Roland weigh in with robust drum
amps around the 400-500 mark. These work
pretty well for personal monitoring. But many
drummers go for PA-style wedge monitors.
If you are playing the sort of modern music that
requires more electronic or programmed sounds
then the e-kit can be preferable. And, if loud enough,an electronic kit gives you the option to change kits
and nail the feel of a particular record.
HOW TO BUY...
A wood snare drumMore and more drums are now made from maple
and the wood often comes from North America,
which ensures itll be of reasonably high quality.
Birch is also used and Yamaha even offers oak as
an option. Shells are ply construction, but you maynotice some of them are thicker, with more plies
than on cheaper drums. A heavier shell tends to
produce marginally more volume and a higher
fundamental pitch, both sound characteristics
generally regarded as positives when it comes to
snares. Shell material is also key. Maple is known for
its warmth, walnut is wickedly dark and mahogany
packs a deep tone. Birch, meanwhile, carries a tonne
of attack. The wood used isnt the only factor that will
shape the drums sound, though number of plies,construction methods, depth and plenty more details
will make a difference to the snares tone. Theres
something for everyone just get down to your local
drum store and use your ears!
Once you begin to look beyond the 100 price
point, every aspect of the snare drums on offer
should improve. Lugs and tension rods should
preferably have nylon-isolating washers and
gaskets, while hoops will usually be triple-flanged
steel sometimes with thicker 2.3mm gauge metal
rather than the bog-standard 1.6mm offering. Try
out the different snare strainers/throw-offs to see
which feels smooth and looks like it wont break
its the only mechanical part and it can see a lot ofaction. When it comes to mid-range snare drums,
the choice is vast. The snare drum is the most
important drum in the kit. While many drummers
will own just one kit, they may have a collection
of snare drums, if only because they take up a lot
less space. Accordingly, there is a baffling amount
of choice at the mid-level range, thanks to drum
manufacturers putting out snares in just about every
size and colour that they can.
HOW TO BUY...
A high-end wood snareWhy should you shell out a whole heap of cash for amore expensive snare? Wont your trusty old model
do? Well, heres a few pointers that may convince you
to spend the extra pennies.
Increasing the number of plies adds to the
expense and, at the same time, makes the snare
drum slightly louder and drier with a raised pitch.
These are qualities that many drummers find
attractive in a snare, more so than with the rest of
their kit perhaps, where sustain and depth of tone
are prized.
A thicker shell also allows for higher tension, with
the attendant extra stress on the shell, which is often
required of a snare drum. Conversely, for a darkersound go for a thinner shell (like Sonors Delite) that
has a deeper fundamental tone with a more
resonant and colourful timbre.
In the end, the most expensive snare drums do
not necessarily sound appreciably better than theLudwigs Brick wood snare has a birch shell, whichcarries plenty of attack
Roland offers agreat budget
e-kit in theTD-1K
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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS
more modest, professional level snare drums. The
main difference is that no expense has been spared
in producing them. When youre splashing out for a
special snare the build quality, finish and attention to
detail should be beyond reproach. The designer ethic
is also evident in high-priced wood snares, with a
myriad choice of finishes available, Rolls Royce-silent
snare strainers and top quality lugs and hoops.
Exotic woods may also be available from some
manufacturers, which will again push the price up.
HOW TO BUY...
A metal snare drumWhile you may own a favoured all-purpose
snare drum, it can be extremely useful to have a
selection for different gigs and styles, particularly
for recording.
Metal shells include those made from steel,
stainless steel, brass, bronze, aluminium and even
copper. Brass is historically prized in the world of
snares, but the brighter timbres of aluminium or
steel might suit you better.
Some shells are spun in a single piece rather
than having a vertical butt-weld. Beaded shells, like
the classic Ludwig Supraphonics, are actually two
spun halves joined at the centre bead. A spun shell
should resonate better than a welded shell, but its
a subtle difference.
CYMBALSHOW TO BUY
Budget cymbalsLets be honest, sweet-sounding hats, crashes and
rides cant yet be made for peanuts. The raw
materials and workmanship that goes into creating
cymbals doesnt come cheap. So, while even the
most miserly sum will buy you round metals, they
will definitely fall short of sounding like the real
thing. If youre even halfway serious about your kit
and youre confident in your commitment, save up
and buy the absolute best you can. If youre sure that
youll stick with drumming, dont skimp on your
cymbals youll only outgrow them in five minutes
and want to upgrade, making those bargain metals
a waste of money in the end.
Most entry-level cymbals come in a pretty limitedchoice of models. Therell be no 6" razor-thin ice
splash to get your hands on here itll be a case of
medium-weight gear in the most popular sizes.
However, thats more than enough to get you
started, so dont be too fussy. While the lure of gear
marketed with the aid of big-name endorsers is hard
to resist, at the entry level its important not to get
blinded by logos. Sure, your favourite Mr Bigshot
might be pictured with XYZ, but there might be a
better option for you at this price-point. With the
choice of instruments less extensive in this sector,
keep an open mind and do your research before
parting with your cash.
HOW TO BUY
Mid-range cymbalsThe mid-level cymbal market is, as with all such
sectors, a never-ending hotbed of activity. Its here
that advances in technology bring rewards in terms
of increasingly good kit for not much cash, and the
trickle-down effect of high-level instruments is to be
found. So while you can spend vast amounts more
on a set of metals, theres much good stuff to be
had from the cymbals at this price-point. If youre a
semi-regular gigger and an occasional studio user,
you can equip yourself very nicely without having to
take out a second mortgage.
While tin has little metallic allure elsewhere, as far
as cymbals go its important stuff and higher levels of
it in the base material mean extra sweetness (all elsebeing equal). In this bracket its interesting to note the
difference between materials on offer. Sabian has
done well to offer the XS20 line (made from high tin
B20 bronze) at the prices it does. Although your ears
should always be the judge, its an impressively
semi-pro foundation to be working from. Theres
more choice of individual cymbals in the various
ranges here than at the entry level. So if you
specifically need heavier rides, or lighter, fancier
hi-hats, youll have to look to spend money on gear in
this price bracket. Metal-friendly rides with big bells
and cool hats like Meinls Soundwave Amuns become
available at mid-level, and are well worth the dough.
HOW TO BUY
All-rounder cymbalsClassic all-rounder cymbals, such as Zildjian Avedis
and Paiste 2002s, provide the player with a good
combination of warmth and
brightness, and this makes them
extremely versatile. By no
coincidence, the classic
all-rounder ranges tend
to be the most popular
sellers for each
manufacturer and this
fact is reflected in the
enormous wealth ofchoice in the cymbals
available. Since classic
all-rounder cymbals
occupy the middle-
ground in terms of
frequency, they are drawn from a fairly wide tonal
band that sits somewhere close to warm cymbals atone end, and errs on the aggressive side at the other.
Its extremely important to remember when buying
cymbals that the sound they come with is their sound
for life. Unlike drums, you cant modify or tune a
cymbal (other than to its detriment by, say, cracking
one in order to make it deliberately discordant), so
what you hear is what you get. You should never rush
into buying a cymbal until youre absolutely sure that it
provides the sound you need. Most drum stores have
demo rooms where you can test instruments in peace
its a good idea to use one to test out the sound of
the cymbal. If the demo room is not free, make an
appointment to come back when it is and ask the store
to hold the cymbal until youve had a chance to try itout. Above all else, though, listen. In keeping with this,
dont assume that your cymbal set has to be sourced
from a single manufacturer. You should try to ignore
the logos and let your own ears decide.
Modern all-rounders, eg: Zildjian As, in general
have a more assertive top end that enables them to
cut through contemporary, highly-amplified
backlines without sounding one-dimensional. This
doesnt just mean loud modern ranges cater for a
wide variety of players, spanning genres as disparate
as jazz and metal. Such cymbals have only evolved
slightly from more traditional designs, so their
heritage is usually easy to trace. Individual cymbals
can also be mixed and matched with existing models.Youll often find name players extolling the brands
virtues, but its critical that you ignore such strong
persuasion and let your ears decide.
HOW TO BUY
Warm cymbalsIts worth doing your research before you invest in
warm cymbals as there is a lot of choice out there.
Warm cymbals, for example Zildjian Ks, Meinl Byzance
etc, deal in subtleties, (both tonal and dynamic) to a
far greater degree than brighter cymbals. And, while
they tend to be less capable of piercing volume than
their bright counterparts, you can guarantee that any
cymbal above 18" is going to be loud when hit with allyour might. Its more a question of frequencies and
warm cymbals operate in the darker area of the tonal
spectrum. There is no single type of warm cymbal
sound that is considered ideal; rather there are
qualities that should all be present in each cymbal, but
DW Design BlackNickel Over Brasssnare has a 1mmbrass shell, withnickel plate
Zildjian New KRides are classedas warm cymbals
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PLUS
not necessarily in the same proportions. This balance
of warm musicality, trashy overtones and dark
undertow is commonly referred to as the cymbals
complexity. Rides usually give a woody rather than
glassy stick sound, hi-hats are more mellow and
silvery as opposed to cutting and crashes tend to be
rich and harmonious instead of penetrating.
Many, if not all, warm cymbals are handmade. This
guarantees a certain uniqueness to each cymbal.
However, dont assume that two models of a particular
cymbal will be the same because the chances are they
will differ. Always take your existing cymbals with you
when you are trying out a new cymbal so that you can
hear whether everything blends to your liking or not.
HOW TO BUY
Aggressive cymbalsAggressive cymbals do pretty much exactly what it
says on the tin that is provide cutting, powerful
sounds to slice through layers of guitar at high
volume. If this is where your gig is at,
then this type of cymbal is ideal.
When investing in a noisy set of
metals, however, make sure that the
rest of your kit matches the cymbals
in intensity, because if the cymbals are
too loud and wipe out the sound of the rest
of your drums, you wont be getting too many calls.
Be aware, though, that the trade-off for the sort of
extreme performance you get from an aggressive
cymbal is a shortening of versatility. Although that
heavy 24" monster ride might be just the ticket to cut
through a sizeable wall of Marshall stacks on a full
stage, in the pokey back room of the Red Lion it
could be a little overwhelming, particularly if its jazz/
funk night. You have been warned. These cymbals
have been designed to deliver brutal amounts of
volume and also withstand punishment. This means
that they are heavier than regular cymbals so quite
apart from the fact of lugging them around, they
also require a fairly physical action to actually play.
You would also be extremely unwise to expose
yourself to the volume levels that such cymbals
generate on a regular basis without investing in
some good hearing protection too.
HOW TO BUY
DrumsticksThe high-end sector is dominated by the popular big
name brands. However, with more manufacturers
producing pro-quality sticks than ever before, youve
never had such a choice. The quality comes in the
form of different woods (eg: hickory, maple, oak),
although the type of machining used in their
production, the forming of good quality, consistent tip
shapes and good matching in both pitch and weightare important across the board. Decide on a stick that
feels great in your hands dont just use what your
favourite drummer plays unless, of course, that feels
best for you. The weight and balance points can vary
greatly, so at first pick a 7A, 5A or 5B and then choose
a shorter, longer or heavier gauge stick from there.
However, if youre going to be playing heavier styles
of music and you dont opt for one of the fine synthetic
models out there, you will be shelling out money on
sticks on a fairly regular basis. There are many
lower-priced models on the market that exhibit some
high-end characteristics for a fraction of the price.
When selecting a good budget drumstick you must
above all else see how good they feel in your hands.The balance and grip of a stick can be just as good in
the budget models so if you dont mind the odd
blemish or slight sniff of a second then save yourself
some dosh! It would also be advisable if you tend to
shred your sticks rather too easily to consider stocking
up with a few budget sets and see if anyone notices
any difference. Itll be kind on your pocket and, you
never know, you might even find your perfect stick!
HOW TO BUY...
A bass drum pedalWhereas sticks are an extension of the hands and
wrists, a pedal provides a mechanical link between
your foot and kick drum. It is therefore essential thatyou are completely comfortable with your pedal.
Almost all manufacturers produce strap-driven
variants of pedals and direct-drive appears to be
coming back into vogue, echoing some of the classic
pedals of yesteryear such as Ludwigs Speed King. One
quality shared by all modern pedals is their quietness
of operation annoying squeaks are a thing of the
past. Remember: its just as important to develop good
technique as it is to have a state-of-the-art pedal.
Many classic recordings feature inspired bass drum
performances from drummers playing pedals which
are laughably flimsy by todays standards. The breadth
of choice in kick pedals is astonishing, and prevailing
musical trends mean most pedals are being designed
to be played harder and faster than ever.
HOW TO BUY...
Drum headsSingle-ply tom batters are usually of medium weight,
generally made from a single 10-mil film of Mylar. This
is sufficiently strong for the average player, while
retaining a responsive tone, plenty of character and
overtones, allowing a wide tuning range without
choking or flapping. Single-ply heads are brighter and
more open. Unlike snare batters, most of which are
coated for brush and stick response, tom batters are
just as often clear. For a faintly darker, warmer, less
ring-y sound, go for coated. If you want a livelier head,
ideal for much of todays music, go for the clear
version. These heads have greater resonance than
double-ply/reinforced heads, but if youre a heavy
hitter you may find they lose their vitality and punch
too quickly, in which case you should consider heavier,
twin-ply heads that can withstand a punishing stick
workout particularly on the snare. If single-ply heads
provide the right sound but arent quite strong
enough, try reinforcement. This usually takes the form
of a circle/dot of Mylar stuck to the centre of the head.This strengthens the area thats hit most often and
hardest while interfering least with the sound. This is
because the centre is the dead spot of the head
whereas the perimeter is where you get most ring. For
a harder-wearing, attacking sound, double-ply heads
are best. Theres a trade-off though: you get more
attack but less resonance and faster decay.
In recent years weve seen the emergence of
dedicated bass drum heads with in-built dampening.
This may be a perimeter flap of Mylar or more
substantial rings of felt or foam. Such heads cancel out
some of the edge resonance and higher overtones to
focus on the deeper and more attacking thud suited
to modern music. Often these heads are paired withresonant front heads, which are also dampened, and
may have a porthole. A plain black/white logo head
often works fine, though. Such head systems may be
enough on their own to subdue the bass drum for
miking, and certainly for un-miked situations.
Whatever batter head you prefer, the choice of
resonant head will also make a big difference to the
overall sound. The thinner the head, the more resonant
and livelier the drum. Some drummers like to use
resonant heads that are one gauge lighter than their
batters, others prefer to have the same top and
bottom. Be aware, though, coupling heavy twin-ply
batters with extremely thin resonants can cause
tuning nightmares.Drummers who regularly change their batter heads
sometimes leave the same resonants on for years.
This is okay up to a point, but resonants do eventually
lose their sparkle and you may find that a change may
buck up your sound a substantial amount.
Aggressive metals such asT-Cymbals Metalshop Extremedeliver brutal volume
DW 9000 is a greatkick pedal, but youstill need goodtechnique!
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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS
21BUDGET KITHACKS
WORDS: TOM BRADLEY
Inject new life into your gear and playing
without handing over your lifes savings
Its fair to say that being a drummer doesnt come cheap and even getting close
to your dream set-up can be an expensive, long and frustrating quest. Perhaps if
we had been warned of this unquenchable thirst for expensive shiny things, we
would have thought twice about picking up our first pair of sticks? Were joking,
of course, but with the cost of living on the rise, holding off from replacing your
kit every time you fancy a change is a prudent move. But what can you do when
you grow tired of the same set-up and your playing becomes stagnant as a
result? Its completely possible to add a fresh spin to your seen-better-days gearwithout breaking the bank, and supercharge your playing in the process. Here
are a few simple tips, tweaks and hacks to open up extra dimensions in your
sound and playing without having to sell the family silver
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IMPROVE YOUR GEAR:21 BUDGET GEAR HACKS
1REVITALISE YOUR HARDWAREMOT your gear! Keeping your hardware in good condition will
not only keep it looking good but also make it last longer. Replacing
worn tension rods, lugs and washers is important for both tuning and
playability. Youll feel like youre playing a brand new kit again. So what
are you waiting for? Get yourself a bottle of hardware cleaner, a squirt
of WD-40, a cloth and some good old-fashioned elbow-grease and get
to work! Why not try giving rusty parts a good soak in white vinegar to
bring them back to their former glory?
2EXPERIMENTWITH DIFFERENT HEADS
Replacing your drum heads will give a new lease of life to your
kit, making it sound fresh. There are a wealth of varieties that give us
an incredible amount of choice when it comes to tailoring our sound.
The main choices being single vs double ply and clear vs coated. As a
rule, the thicker the drum head, the shorter the sustain. Really thick
heads (like a Remo Pinstripe) are great for rock and metal. Whereas
a thinner head (like a Remo Ambassador) will give you a much more
open sound and as a result is often used for jazz. The bottom heads
(or resonant heads) are generally much thinner than the top (batter)
but it can be rewarding to try different combinations on both top and
bottom. You could even lose the bottom head entirely for a classic
70s-style concert-tom sound, Phil Collins style!
3TREAT YOURBEARING EDGES
The bearing edge is the part of the shell that comes
into contact with the head and upon which the head
is seated. These can be cut to different angles and
thicknesses to give a different tonality and/or
resonance to the drum. Its wise to have these re-cut
professionally to avoid damage to your precious
drum, although they can also be sanded back to
great effect. You could also try rubbing wax
(beeswax or paraffin wax is best) into the bearing
edge when changing the heads. This fills pores in
the wood and lubricates the contact between the
shell and drum head. This will help it seat more
evenly and should also make tuning easier.
4ADD SOMEPERCUSSION
TO YOUR SETUPAdding extra elements to your set-up
can make a huge difference to yourplaying in terms of inspiration and
orchestration of ideas. These elements
could include percussion instruments such as cowbells,
tambourines, woodblocks or even a side snare, mini timbale
set, roto toms, octobans or bongos. You name it! Percussion
brackets can be purchased (like the LP Gajate bracket) which
allow a bass pedal to connect to any percussion instrument of
your choosing. This can open up your limb independence to a
whole new level. Left-foot clave anyone?
5EXPERIMENTWITH ELECTRONICS
Since the popularity of Simmons electronic
drums in the 80s, trigger pads have been
commonplace in the industry, through many
genres. This trend of adding external triggers to
your existing set-up to create a hybrid kit has
now become a necessity for almost anyone
working as a pro drummer. The good news is, these
triggers are cheaper than you may expect and will
unlock a world of potential in both your kit and your
playing. No need to go out and buy a huge e-kit as there
are much smaller and cheaper modules available, designedspecifically for hybrid set-ups. Small triggers can be added to acoustic drums for
layered sounds or separate pads could give you extra percussion sounds,
sub-drops, loops, or absolutely anything you can think of.
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6GET SOME HEARINGPROTECTION
The right hearing protection will not only reduce the risk of
tinnitus and other hearing problems but will also filter sound
frequencies to give you a more pleasing sound from your kit.
A good pair of closed-back headphones will
block out higher frequencies and
can even give the effect of
boosting bass frequencies
(try a pair of Beyer DT100s
or Vic Firth Stereo
Isolation Headphones).
Custom moulded ear
plugs or IEMs (in-ear
monitors) will also
bring the best out of
your drum sound but
for a higher cost.
9TAKE A LESSONSometimes its not the kit, but the player. A
couple of lessons from the right teacher could not only
inspire new musical ideas but also allow you to draw the
best sound from your drums. There are many facets of
both hand and foot technique that can be used to
achieve the most suitable sound for any given musical
situation. For instance, heel up vs heel down on the bass
pedal for dynamic range. Also, our grip can have a
noticeable affect on the weight of a note. Think also
about the position in which you strike the drum or
cymbal. Do you hit your snare dead centre? Slightly off
to one side? Are you playing a rim-shot? These choices
allow us to tailor our sound and create differenttonalities without even reaching for the tuning key.
7LEARN TO TUNEYOUR DRUMS WELL
Most drummers hate tuning. It can be difficult, but just like your playing
it takes practice and patience to master. Try not to get too hung up on it
and spend hours trying to make your kit sound like your favourite
drummers. What you hear when you listen to
them on record is a super-polished and
produced drum sound, impossible
to replicate to the naked ear.
For a medium tuning, take the
resonant head up quite high
(ensuring an even tuning
across the head), then
start with the batter head
finger-tight and tune up
evenly a very small
amount at a time until you
reach your desired pitch.
8PICK UP A SETOF DRUM MICS
A budget set of drum mics wont break the bank but will
give you the ability to alter the sound of your kit to a
whole new level. No need for a fancy studio, just a few
mics and a small mixer or PA will do. Using a pair of
headphones you will be able to EQ your drums and add
effects such as reverb and delay, providing hours of funand inspiration. And thats before youve even pressed
record! If you dont have the funds to pay for expensive
recording software such as Logic or Pro Tools, Audacity is
a free alternative that will have you recording to a click
track or your favourite songs in no time.
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IMPROVE YOUR GEAR:21 BUDGET GEAR HACKS
13BUY A NEW DRUM THRONEOften overlooked as an important component in your set-up, the
right throne will make you feel more comfortable at the kit, allowing youto spend more time behind it. Stool height is also incredibly important for
posture as well as the height of your drums and
cymbals (check out the interesting things Billy
Ward has to say about kit set-up in his DVD, Big
Time). Try to ensure youre not going
out of your way to reach any particular
part of your kit too. This can apply especially
to crash cymbals, floor toms and hi-hats. For
those of you that use a double pedal,
experiment with the
auxiliary pedal on the
outside of the hi-hat
pedal so that youre
not twisting yourselfinto unnatural
positions to play.
10TRADE YOUR GEARSwap an old snare for a mates old ride, or part-ex
that dusty old Pearl Export at your local music store. The
beauty with drums is, unless theyve really been neglected,
theyll sound as good now as they did out of the box. A bit of
TLC and some new heads and youre ready to go at a fraction
of the cost. Be careful when buying second-hand cymbals, as
they could easily be damaged or weakened from years ofabuse. Look very carefully over the whole cymbal for hairline
cracks and also check for key-holing in the centre. These
can quickly develop into dangerously large cracks.
11CHANGE THETONE OF YOUR DRUMS
Times have changed since throwing tea towels on your toms was all the rage.
There are many products on the market now to help us rein-in unwanted
overtones or even control the amount of sustain desired from a certain drum.
Popular options include RTOMs Moon Gel or Remo O-Rings. It is simple tocreate your own O-Rings by cutting up your old drum heads. And of course,
never underestimate the power of a good roll of gaffer tape. Tissue paper can
also be folded up tight and taped down to mimic the job of Moon Gel.
12REVIVEOLD CYMBALS
Cracked cymbals can be drilled to prevent
further damage and there are companies
like CymbalMagic.com that can create
splash or FX cymbals from beat-up
crashes. Or leave those cracked oldmetals as they are and experiment with
them. Due to their trashy nature, broken
cymbals lend themselves to creating
cymbal stacks. Save yourself money on a
new cymbal and test-run a few combinations
of your old and new cymbals.
14ADD SUSTAINTO YOUR DRUMS
If you have a drilled bass drum with mounted toms, try
using a snare stand for your rack tom as an alternative
( la Travis Barker) to give it more resonance. Not only will
this get the tom singing, it will also allow you to position it
much lower. For maximum resonance, clamp the edge of
the tom hoop within the tips of the snare basket, rather
than placing it completely within it. Floor toms can also
benefit from a similar treatment by adding cushioned
rubber feet. Products such as Booty Shakers can also
help to add more sustain.
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15CHANGE YOURBASS DRUM BEATER
Different material types, shapes and sizes of beater
will affect the levels of attack or pitch your bass drum
produces. Felt/wood/vintage bomber styles are all
available. On a budget, try wrapping a sweat band or
sock around your beater to replicate the soft sound of
a calf skin vintage bomber. It is also important
to ensure that the height of the beater is
hitting as close to the centre of the drum
as possible. This will give the fattest tone
available and feel better under-foot. Two
or three-sided beaters are available that
will allow you to change your bass drum
sound in an instant. This can be particularly
useful in a live scenario where you dont
have time to mess around between songs
but would like to keep your options open.
16EXPERIMENT WITHYOUR SNARE STRAINER
The snare strainer determines how tight or loose your
snare wires sit against the resonant head of your
snare drum. This will not only affect sensitivity and
dynamic range but can also give the effect of changing
the pitch of the drum. It is very important not to
choke the drum by tightening the strainer too much.
Snare wires are also available in various sizes,
thicknesses and materials which can
allow you to further tailor the
sound of your snare. Heres
a tip: to replicate the
famous Steve Gadd
snare sound, tune
down the batter
head to a low pitch,
loosen the snare
strainer and
slacken off the four
tuning pegs nearest
the snare wires on
the resonant head.
17TRY SOMEDIFFERENT STICKS
Stick choice affects not only the feel of the kit but also the
tone. Thicker sticks give you a broader sound and a lower pitch.
The opposite applies for thinner sticks. Generally speaking,something like a 5B will work very well for a driving rock style
versus, for example, a 7A for a jazzier touch. Nylon tipped sticks
will also give a brighter stick definition, especially on cymbals.
Hold a stick up to your ear and give it a flick with your finger.
Now try this with your other stick and see if the pitch is higher
or lower. A pair of sticks should be pitch-matched during the
manufacturing process but this is not always the case. If you
have multiple pairs of sticks, try
to match them as closely as
you can to each other
to ensure continuity
in your sound.
18GET A NEWBASS DRUM PEDAL
It is always important to have the right tools for the job. There are
so many different products on the market now that it has become
much easier to find a pedal suitable for your playing style. Pedal feel
is very important to a drummer and you should take the time to find
a pedal that works for you or set up your existing pedal as best you
can for your preferences. For players that like speed, you shouldtighten up your springs and use light beaters. In contrast, less busy
players would probably prefer a weighted beater, set to a loose
spring setting.
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IMPROVE YOUR GEAR:21 BUDGET GEAR HACKS
19ADD SIZZLE
TO YOUR CYMBALSCymbals can be drilled and riveted for very little cost. This
can add a special characteristic to any cymbal and make
it sustain beautifully. Alternatively, when lots of rivets are
added, the sound becomes very short this works well for
smaller cymbals or trash-stacks. Once again, if you dont
fancy wielding the power tools anywhere near your precious
pies then take them to a cymbalsmith who will be happy to
oblige you for a small fee. For a less permanent solution,
simply use a bath chain or two and hang them over the
cymbal. These can be picked up from any hardware store
and usually come in different weights and sizes which can
help you to achieve different pitches and lengths of decay.
These come in really handy in the studio for a quick tonal
change. They work wonders on crashes for ballads or tojazz up your ride sound.
21PLAY WITH OTHER PEOPLE!Lets not forget that sometimes all you need to make your kit
sound better are a few other musicians. Practising at home or in the
studio can only get you so far. Even for the more seasoned players,
try your hand at a new style. Go to a jam night and play with people
that you dont know. Maybe join a big band? Or try your hand at
something with a Latin flavour? The key is to take yourself out of yourcomfort zone and constantly push your playing to the next level.
20REPLACE YOUR HOOPSChanging your hoops can be an easy and relatively
inexpensive way to alter the tone of your existing snare ortoms. There are a number of different weights, materials
and manufacturing processes that produce a range of drum
hoops; the most familiar being triple-flanged and die-cast.
Not only could the right rims help you find that sound
youve been searching for, but with a choice of steel, brass,
zinc or aluminium, plus various different plating options,
they can add an eye-catching aesthetic to your kit. It is also
important to note that old hoops can become warped and
may actually needreplacing. As with head selection,
combinations of top and bottom hoops can be
experimented with to achieve different tonalities.
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WORDS:GEOFF NICHOLLS
RHYTHMS VINTAGE GEAR PAGES STARTED BACK IN 2006 AND WEVE SINCE
FEATURED OVER 160 OLDIES SOME RARE AND VALUABLE, MANY MORE
MODEST BUT EQUALLY TREASURED. SO JUST HOW HARD IS IT TO FIND AND
SAFELY LAND YOUR OWN VINTAGE PRIZE? OVER THE NEXT FEW PAGES,
PREVIOUS CONTRIBUTORS TO RHYTHMS VINTAGE GEAR PAGES SHARE
THEIR EXPERIENCES A ND KNOWHOW
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IMPROVE YOUR GEAR:HOW TO BUY VINTAGE DRUMS
MIKE ELLIS: Online auction and sale sites [eBay, Gumtree,
Craigslist, Preloved.co.uk etc] are a good place to start. There are a
few Facebook trading pages as well where prices tend to be lower.
PRESTON PRINCE: Its still the USA where the bargains are.Craigslist is the big one. However, quite a few people have taken
chances and lost money due to scammers.
PETER FOSKETT: What used to be seen in second-hand shops
has been soaked up by eBay. Its a great source of gear and
information. Ive learned a lot about vintage gear in the last 10
years from simply reading peoples descriptions. Consider the
competition on eBay with other potential buyers. So when a kit is
described as Ludwig Super Classic 13", 16", 22", then you are
immediately up against all the Ludwig collectors. So look for gear
that has not been well described: Drum Kit, eg: by an owner who
is not sure what they have. That might throw up the odd bargain.
DAVE MCREADY: Try searching different spellings of well-known
brands on eBay, Facebook, and Gumtree.
ALAN BUCKLEY: The web is one of the last places I would look
because you cannot see what you are getting. On the web you have
to know what you are buying.
GARRY ALLCOCK: Some of the older drum shops still do part-
exchanges. and second-hand shops of any sort might have a drum
under the counter You have to ask.
PETER FOSKETT: Car boot fairs, charity shops, local auctions they are unlikely to know the true value and the auction is less
likely to attract competition and even your local rubbish tip and
skips! A couple of my best finds came from placing a wanted ad for
old or vintage drums in the local supermarket.
SIMON WAGSTAFF: Bargains can be found anywhere. A lot of it
is luck. I recently went into a local music shop and picked up a
Hayman Vibrasonic for 20! It needed a bit of TLC but sounds
great. The good stuff will normally be with existing collectors
though, so network!
RICHARD THOMAS: Attend both UK vintage drum shows - the
UK National Drum Fair (www.ukdrumfair.com) and Sir Alans
Vintage and Custom Drum Show (www.siralandrums.co.uk).
ANDY YOUELLFounder of Drumarchive.
com, the definitive source of
historic drum catalogues.
GARRY ALLCOCKBirmingham big band
legend, vintage drum
collector and player, Garry ischairman and treasurer of
the UK National Drum Fair
(www.ukdrumfair.com).
SIR ALAN BUCKLEYDoyen of British collectors, a
true English eccentric with
by far the biggest UK
collection. Curator of the
Classic Drum Museum andthe Vintage and Custom
Drum Show (www.
siralandrums.co.uk).
MIKE ELLISDrummer and techie, runs
Blenheim Drums specialising
in vintage and modernPremier hardware, spares
and parts, drum repairs
and restoration (www.
blenheimdrums.yolasite.com).
PETER FOSKETTFastidious rescuer and
renovator of modest
British-made drums from
the 1950s to the 1970s.
DAVE MCR EADYScottish drummer and
Olympic-Premier enthusiast,
founder of www.
vintageolympic.co.uk.
ROBIN MELVILLERespected Cumbriandrummer and long-time
Ludwig fan, collector
and player.
JEREM Y PEAKEThe Fen Tiger, great
enthusiast, drummer andclever renovator of modest
UK drums.
PRESTON PRINCEDrummer, drum maker and
teacher, owner of Tiki
Drums, Hove.
DAVE SEVILLEFounder of the Old
Drummers Club, the
essential newsletter for
vintage drum enthusiasts
and traders.
RICHARD THOMASDrum enthusiast, regular
player; with wife Jayne
trades gear and spare parts
as Boozey and Hawkeye.
SIMON WAGSTAFFUK National Drum Fair
committee member,
Slingerland nut and
tireless organiser of
NDF vintage vault.
AS REGARDS BUYING VINTAGE, OR SIMPLY OLD/INTERESTING GEAR, WHERE
WOULD YOU LOOK, ESPECIALLY FOR FIRSTTIM E BARGAINS?
1 . WHERE TO LOOK?
O N L I N E
O U R E X P E R T S
O F F L I N E
English Rogers kit in BlackPearl, circa 1961/1962
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JERE MY PEAKE : Look for something that you have some
knowledge about.
DAVE MCREADY: Everything has a value, and stuff that looks
knackered can usually be restored.
RICHARD THOMAS: Clean vintage UK and USA drums.
Also some of the old Japanese gear is nice. Not re-wrapped
and no extra holes. Cymbals: vintage A and K Zildjians, Black Label
Paiste 2002s and old Paiste 602s. Dont buy cracked or keyholed
cymbals.
ANDY YOUELL: I always like to get a complete set. This often
involves searching around for matching hardware and other
matching items. At the moment Im trying to pull together a set of
(unplayed) Premier Donut heads for my early 1980s Resonator.
PETER FOSKETT: The easiest projects are where you find a
complete unmolested kit thats been wrapped up in someones loft
for years. All it needs is a good clean and maybe new heads. Luck
like that comes along rarely, and working on a limited budget Ive
focused on British-made drums Premier, Olympic, Beverley, John
Grey, Ajax, etc. They are accessible and if something is missing
theres a chance you will find a replacement part.
DAVE S EVILLE: Contemporary buyers have the benefit of some
excellent sources of information Mike Ellis, DrumArchive, Rhythm
etc. You wouldnt walk into an antique store and spend big money
without doing some research. Swot up from reliable sources or
repent at leisure. There will always be villains trying to charge topmoney for dubious drums, but many are okay and the rest, if not
saintly, are dumb rather than malicious!
MIKE ELLIS: This can be tricky especially with very old items, but
www.drumarchive.com is a great resource for ID issues.
DAVE MCREADY: Google it or ask someone in the know. There
are plenty of forums on the net. Beware, not all sources are what
they claim to be!
SIMON WAGSTAFF: Identifying drums can be tricky, especially
with badges/transition periods and no serial numbers.
PETER FOSKETT: Beware if youre making a decision from just a
photograph and description. On the whole, sellers are honest. Ivemade some great purchases on eBay. Its a good source for parts.
JERE MY PEAK E: Ask for more photos or go along and take a look.
Know your subject or do your research.
WHAT SHOULD YOU LOOK FOR?
HOW CAN YOU BE SURE TO IDENTIFY
ITEMS CORRECTLY?
2. THE KNOWLEDGE
3. AUTHENTICITY
ALAN BUCKLEY: Collect catalogues, they are the only reliable source of
information. Or sometimes the experts who have been collecting for
years. But even so-called specialists do not always know the dates. Even I
make mistakes.
ANDY YOUELL: On drumarchive.com weve got hundreds of catalogues
from all the major (and some not-so-major) brands. I might even say it is
the ultimate reference source for vintage drums. I dont do as much on the
web as I used to. I gave the Asba site (www.asbadrums.com) to a guy in
France. I shut down vistalites.com and gifted the domain to Ludwig.
JERE MY PEAKE: Forums and Facebook can be helpful, though
sometimes people are not as knowledgeable as they think they are.
Eventually you get to know key people who really know their stuff. Oftenthey have an encyclopaedic knowledge of a particular brand and love to
share that knowledge. The best resource for catalogues is undoubtedly
the irreplaceable www.drumarchive.com. I also enjoy Dave Sevilles Old
Drummers Club publications and the websites run by enthusiasts.
SIMON WAGSTAFF: There are plenty of books, some of the best being
the Slingerland, Gretsch and Rogers books, all written by Rob Cook (www.
rebeats.com). For advice on dating drums and what to look for, www.
vintagedrumforum.com is good. But the best advice is to talk to collectors.
PRESTON PRINCE: Knowledge takes time, you cant just dial it in. Get
Rob Cooks books. They are wonderful resources with plenty of insights.
Steve Maxwells archived listings of historical sets is also good (www.
maxwelldrums.com).
RICHARD THOMAS: Wikipedia, Geoff Nicholls drum books, also
Modern Drummerand Rhythmmagazines.
MIKE ELLIS: The Drum Bookby some no-hope chancer called Geoff
Nicholls is a great reference tool!
ROBIN MELVILLE: Books on US vintage stuff by Rob Cook and Harry
Cangany. Also, Ned Ingberman has an excellent website (www.
vintagedrum.com) with loads of information. Tam Rankin runs a website
(www.vintprem.moonfruit.com) devoted t