Drum kit

src: i.ytimg.com

A drum kit - also called drum set , trap set , or just drum - is a collection of drums and percussion instruments others, usually cymbals, are mounted in the stands to be played by a single player, with a drumstick held in both hands, and a foot operation pedal that controls a hi-hat cymbal and a bat for a bass drum. A drum kit consists of a mixture of drums (classically categorized as membranophones, Hornbostel-Sachs high-level classification 2) and idiophone - the most significant cymbals, but can also include woodblock and cowbell (classified as high-level classification Hornbostel-Sachs 1). In the 2000s, some kits also included electronic instruments (Hornbostel-Sachs Classification 53). Also, both hybrids (mixing acoustic instruments and electronic drums) and electronic kits are fully used.

Standard modern kits (for left-handers), such as those used in popular music and taught in music schools, contain:

• Snare drums, mounted on a stand, placed between the player's knees and played with drumsticks (which may include rutes or brushes)
• A bass drum, played by a pedal operated by the right foot, which moves the batter that feels closed
• One or more toms, played with a stick or brush (usually three toms: 1 and 2 tom rack, and floor tom)
Hi-hat (two cymbals mounted on a stand), played with a stick, opened and closed with the left foot pedal (also can produce sounds with legs only)
• One or more cymbals, installed in the stands, are played with sticks

All of this is classified as non-pitched percussion, allowing for music to be printed using percussion notation, which is a loose semi-standard form there for drum kits. If some or all of them are replaced by electronic drums, ratings and positions most often remain the same, allowing a standardized teaching approach. The drum kit is usually played when seated on a drum bench or throne . The drum kit is different from instruments that can be used to produce melodic or pitched chords, although drums are often placed with other people's music, such as a guitar or a piano. The drum kit is part of the standard rhythm section used in many popular and traditional styles of music, from rock and pop to blues and jazz. Other standard instruments used in the rhythm section include piano, electric guitar, electric bass, and keyboard.

Many drummers expand their equipment from this archetype, adding more drums, more cymbals, and many other instruments including peppery percussion. In some musical styles, certain extensions are normal, for example double bass drums in heavy metal music and enlarged kits used by some progressive drummers, which may include unusual instruments such as gongs. Some players, like some rockabilly drummers, use a small kit that removes elements from the basic settings. Some player drum players may have other roles in the band, such as providing backup vocals, or, more rarely, main vocals.

Video Drum kit

History

Initial development

Prior to the development of the drum set, the standard way that drums and cymbals were used in the setting of military music and orchestra was to have different drums and cymbals played separately by different percussions. So, at the beginning of the orchestra's orchestra of the 1800s, if the score requested for bass drum, triangle and cymbal, three percussion will be hired to play these three instruments. In the 1840s, percussion began experimenting with the foot pedals as a way to allow them to play more than one instrument. In the 1860s, percussion began to incorporate several drums into a set. Bass drums, snare drums, cymbals, and other percussion instruments are all played using hand-held drumsticks. Drummers in musical theater performances and stage shows, where budgets for pit orchestras are often limited, contribute to the creation of drum sets as they try to develop ways that one drummer can do some percussion work.

Double-drums were developed to allow one person to play bass and snare with a stick, while cymbals can be played by tapping the foot on "low-boy". With this approach, bass drums are usually played with one and three beats (within 4/4). Although this music was originally designed to accompany the ongoing soldiers, this simple and straightforward drum approach eventually gave birth to ragtime music when a simple marching rhythm became more syncope. This results in greater feelings of 'swing' and dance. The drum set was originally referred to as a "set trap", and from the late 1800s to the 1930s, the drummer was referred to as a "trap drummer". In the 1870s, drummers used "hanging pedals". Most drummers in the 1870s preferred to do double drums without a pedal to play some drums, rather than using a hanging pedal. The company patented their pedal systems like Dee Dee Chandler from New Orleans 1904-05. Releasing the hand for the first time, this evolution saw the bass drum played with percussion feet standing (thus the term "kick drum"). The bass drum becomes a central part where every other percussion instrument will rotate.

William F. Ludwig, Sr., and his brother, Theobald Ludwig, founded Ludwig & amp; Ludwig Co. in 1909 and patented the first successful commercial drum drum system, paving the way for modern drum kits. It was the golden age of the drum building for many famous drum companies, with Ludwig introducing... "The ornately engraved" Black Beauty Brass Snare drum; Slingerland premiere of solid King shell radios; Leedy creates drum head & amp; self-aligning lug; & amp; Gretsch derives a three-way tension system from the Gladstone snare drum. "The wire brush for use with drums and cymbals was introduced in 1912. The need for brushes arose due to the drum sound problem overshadowing the other instruments on stage.P Drummer began using metal fly swatters to reduce the volume on the stage next to other acoustic instruments Drummers can still play numbers and groove snare rudimentary with a brush usually played with a drumstick.

20th century

In World War I, drum kits often marching bass-style drum bands with many percussion items hanging on and around them. Drum kits become a central part of jazz, especially Dixieland. A modern drum kit developed in the Vaudeville era during the 1920s in New Orleans. In 1917, a New Orleans band called "The Original Dixieland Jazz Band" recorded jazz songs that became hits throughout the country. This is the first official jazz record. Drummers such as Baby Dodds, "Zutty" Singleton and Ray Bauduc have taken the idea of ​​marching rhythm, incorporating bass drums and snare drums and "traps", a term used to refer to percussion instruments associated with immigrant groups, which include miniature cymbals, tom toms , cowbell and woodblock. They began to incorporate these elements with ragtime, which has been popular for decades, creating an approach that evolved into a jazz drumming style.

Budget limitations and space considerations in the musical theater pit orchestra led bandleaders to suppress fewer percussions to cover more percussion parts. The metal console was developed to hold Chinese tom-toms, with swing-out stands for snare drums and cymbals. Above the console there is a "tool" tray (shortened to a "trap"), used to store items such as whistles, horns, and cowbells, so this drum/kit is dubbed a "trap tool". Hi-hat stands became available around 1926.

In 1918 Baby Dodds (Warren "Baby" Dodds, circa 1898-1959), playing in a river boat with Louis Armstrong in Mississippi, had modified the marching setting of the military and experimented with playing drum rims instead of woodblocks, hitting cymbals with sticks. (1919), which was not common, and added a side cymbal on the bass drum, which became known as a ride cymbal. Drummer William Ludwig developed a "sock" or a low-top hat that was installed at the beginning after observing the drum Dodd. Ludwig noticed that Dodd patted his left leg all the time. Dodds has Ludwig upped the newly produced low hat 9 inches higher to make it easier to play, thus creating a modern hi-hat cymbal. Dodds was one of the first drummers to also play the beat-broken triplets that became the standard pulse and roll of modern cymbals. Dodds also popularized the use of Chinese cymbals.

In 1919, the US Congress passed a bill banning the manufacture and transportation of drinking alcohol. When drinking becomes illegal, it becomes popular in underground nightclubs. The type of music played in this underground company that sells alcohol is jazz. It is not seen as honorable to listen to or do jazz music, because it is African American style and at that time the United States is separated and racism is a common problem. Because jazz is seen as a great dance music, great jazz bands are becoming popular in nightclubs. In the 1920s, freelance drummers appeared. They are hired to play performances, concerts, theaters, clubs and back dancers and artists of various genres. Just as modern drummers have many different roles, so are drummers from the 1920s. One of the important roles for drummers in the 1920s is what is called in modern times as a foley artist. During a silent film, the orchestra is employed to accompany the silent film and the drummer is responsible for providing all sound effects. Drummers play instruments to imitate rifle shots, airplanes flying over, trains coming to the train station, and galloping horses etc.

The music sheets from the 1920s provide evidence that drummer devices are beginning to evolve in size and sound to support the various actions mentioned above. However, the first "talkie" or movie with audio, was released around 1927 and in 1930 most of the movies were released with the soundtrack and the silent movie era ending. The downside of this technological breakthrough is that thousands of drummers who serve as sound effects specialists are ejected from work last night. A similar panic was felt by drummers in the 1980s, when the first electronic drum machine was released.

Big Band drumming

In 1929, when stock market crashes resulted in a global depression, one of the things that helped people overcome difficult years was jazz swing music. In the early to mid 1930s, large band swings were being embraced throughout the US, becoming the most popular musical form in the country. Another factor that contributed to the success of major bands during the 1930s was the popularity of radio. The drum device plays a key role in the sound of large swing bands. Throughout the 1930s Chick Webb and Gene Krupa at the Savoy Ballroom in Harlem, increasing the power of music and visual drummers and their equipment are so popular and in demand - and they ensure that their drum kit becomes not only developed functionally but also dazzling and designed with good. The Jazz drummer is very influential in developing modern drum kit concepts and expanding the playing technique. Gene Krupa is the first drummer to head the orchestra himself and push the drum into the spotlight with his drum solos. The others will soon follow his leadership.

As world music progresses, so does the drum set. Tom-tom drums, small accident cymbals, Chinese cymbals and hi-hat cymbals are added to the drum set. Hi-hats are the main way for big band drummer to keep time. Before 1930, while playing New Orleans jazz and Chicago-style jazz, drummers would strangle cymbals on "ands" from the eighth note number as an alternative to playing a buzz roll, drum rim, or woodblock to keep time. This lethal method of keeping time by strangling the clash and the Chinese cymbals proved awkward, so the drummers of the time came up with the idea of ​​having cymbals operated on foot. This produces a snowshoe cymbal, a walking cymbal run. This allows the drummer to play the eighth notes between the right and left legs, improving the ergonomics and drumset playing facilities and helping the drummer to maintain a more stable rhythm.

Toward the end of the 1920s, hi-hat variations were introduced. One of the most popular hi-hat cymbal variations used is called "hand socks cymbal". The reason for the name "hi-hat" is because the previous version of hi-hat is referred to as "low boy". The evolution into "hi-hat" allows the drummer to play two cymbals with a drumstick as well as control how to open or close two cymbals with their feet. Pedals can also be used to play cymbals with legs only, while the right hand plays another drum. In the 1930s, Ben Duncan and others popularized the coupling tool that leads to basic drum set basic standards: bass, snares, tom-toms, and larger floor toms. In time, the feet are attached to larger floor toms, and "consolettes" are designed to withstand smaller tom-toms on the bass drum.

Bebop drumming

In the early 1940s, many jazz musicians, especially African American jazz musicians, began to diverge from popular dance music from the 1930s. Their experiments and search for deeper expression and freedom of the instrument led to the birth of a new musical style based out of Harlem called bebop music. While swings are popular music designed for dancing, bebop is a "musician music" designed to listen. During the bebop era, given that the band no longer had to accompany the dancers, bandleaders could speed up the tempo. Bebop is also much more based on improvisation, compared to massive large-scale band scores. Bebop musicians will take the old standard and rewrite the melody, adding more complex chord changes, producing new compositions.

Swing drummers like Max Roach and Kenny Clarke have strayed from the big marching band-style bass drum, finding that they are too loud and booming. Drummer Bebop continues this trend, and they start trying smaller bass drum sizes on the drum set. Bebop drummer experiments with new drum sizes and new sounds lead to an innovative concept of applying a busy 4 bass drum "4 on the floor" drama to a new, larger cymbal called ride cymbal. By focusing on keeping time on a new cymbal ride rather than a bass drum, the "feel" goes from bass drum and hi-hat heavy, to light melodic nuances that have been described as "floating over time". These drummers make it possible to express themselves in a more melodious way by playing the rhythm used by guitars, pianos and sax players using a smaller, more focused and snare new bass drum. Louie Bellson also helped in the innovative sizes and sounds of the 1940s drums by pioneering the use of two bass drums, or a double bass drum kit.

Rock drumming

With rock and roll emerging, the decisive moment occurred between 1962 and 1964 when Surfaris released "Wipe Out", and when Ringo Starr of The Beatles played his Ludwig instrument on American television. As stones moved from nightclubs and bars and to stadiums in the 1960s, there was a tendency toward larger drum kits. The trend towards larger drum kits took momentum in the 1970s with the advent of progressive rock. In the 1980s, popular drummers like Billy Cobham, Carl Palmer, Nicko McBrain, Phil Collins, Stewart Copeland, Simon Phillips and Neil Peart used drums and cymbals in large numbers. In the 1980s, some drummers started using electronic drums.

In 2010, some drummers used various additional percussion instruments, found objects, and electronics as part of their "drum" kit. Popular electronics include: electronic voice module; laptop computers are used to enable loops, sequences and samples; metronomers and tempo meters; recording device; and personal sound reinforcement equipment (eg, small PA systems for strengthening electronic drums and providing monitors).

Recording

In early recording media (up to 1925) such as wax cylinders and discs engraved with needle engraving, sound balance meant that musicians had to actually move into the room. Drums are often placed away from horns (parts of mechanical transducers) to reduce sound distortion. Because this affects the rendition of cymbals during playback, the sound engineer at that time corrects the situation by asking the drummer to play the cymbal content onto wooden beams, temple blocks, and cowbells for their loudness and their short decay.

Maps Drum kit

Components

Terminology

Broken, shell, extension, hardware

The drum package can be divided into four parts:

• Breaks : Sticks, various cymbals, snare drums, thrones (benches) and occasional bass drum pedals.
• Shells : Bass drum and tom
• Extensions : Cowbell, tambourine, bell, other instruments are not part of the standard kit
• Hardware : Cymbal stand, tribune drum, pedal

There are several reasons for this division. When more than one band plays in one gig, the drum kit is often regarded as part of the backline (the key rhythm part equipment that stays on stage all night, which often includes bass amp and stage pianos), and is shared among drummers. Often the main act of "headlining" will provide drums, as they are paid higher, may have better teeth, and in any case have a prerogative to use on their own. But sticks, snare drums and cymbals are generally swapped, each drummer carrying their own components, and sometimes others. The term breakable in this context refers to any basic component that the "guest" drummer can bring. A similar consideration applies when using a "house kit" (rare place-owned drum kit), even if there's only one band in the show.

The snare drum and cymbals are the core of the glassware , as they are very important and the individual components of the standard kit, in some way related.

• Their tone varies greatly from drummer to drummer, reflecting their own style and the style of music they play. Thus, even drummers of the same genre of music can choose different brands or sizes of snare.
• Snare drums often do not fit into a kit, for example being a metal shell or plain wood in a kit in which other drums are in a matching end result.
• Drummers tend to spend more time playing snare and cymbals than other drums.
• Thin metal cords or metal bells are easily damaged by poor technique.
• Many drummers use thinner heads on their snare than other drums.
• Often, a drummer will retain the snare drum and cymbals when upgrading the rest of the kit, or increasing the cymbals or snare while saving other drums.

Many of the same considerations apply to bass drum pedals and benches, but these are not always considered to be easily broken, especially if the band interchange time is very limited. Swapping a snare drum in a standard kit can be done very quickly. Replacing cymbals in the stand takes longer, especially if there are many cymbals, and cymbals are easily damaged by faulty installations, so many drummers prefer to carry their own cymbals.

Drum size

See the general configuration below for common drum sizes.

Traditionally, in America and England, the size of the drum is expressed as depth x diameter , both in inches, but in the UK stated otherwise. Recently, many manufacturers of drum kits have begun to express their size in terms of diameter x depth ; still in inch size.

Manufacturers use traditional American formats in their catalog including these:

• ddrum
• Drum Workshop
• Gretsch Drums
• Ludwig-Musser
• Drum Slingerland Company
• Tama Drums
• Seb Custom Drums

Those who use European size with diameter x depth include this:

• Brady Drum Company
• Mapex Drums
• Meinl Percussion
• Pearl Drum
• Premier Percussion
• Rogers Drums
• Sonor
• Yamaha Drum

For example, a tom hanging 12 inches in diameter and 8 inches will be described by Tama as 8 inches - 12 inches, but by Pearl as 12 inches - 8 inches, and the standard diameter of a 5 inner Ludwig snare drum is 5 inches ÃÆ'â € "14 , while the British Premier Manufacturer offers the same dimensions as: 5 ------------------------------------ --------

Drum

Snare drum

Snare drum is the heart of drum kit, especially in rock, because of the use of snare to play backbeat. It provides the strongest regular accents, played by the left hand (if the right hand), and the spine to fill much. This produces a distinctive sound because the rigid cable snare bed is held under pressure to the bottom of the lower drum head. When the stiff wire "moves" (held under pressure), they vibrate with the snare-side of the drum skin (head) when the head is struck, creating a sharp hum, staccato, along with the stick sound hitting the head.

Toms

Tom-tom drums, or tom in a nutshell, is a no-no-trap drum and is played with a stick (or whatever instrument music style is required), and is the most drum in most kits. They provide most of the drum fills and solos.

They include:

• Traditional double-headed Toms, from various depths
• Floor tom (generally the widest and largest tom, which also makes it the lowest tom)
• single headed concert tape
• Rototoms

The smallest and largest drums with no snares, such as octobane and gong drums, are sometimes considered toms. The general configuration naming (four pieces, five pieces, etc.) is largely a reflection of the number of toms, because only the drums are conventionally calculated, and these configurations all contain one snare and one or more bass drums, (though irregular every standard use of 2 bass/kick drums) balance is usually in tom.

Bass drum

Bass drumming (also known as "kick drum") provides a regular but often varied foundation for rhythm. Drum bass is the lowest pitched drum and usually provides a basic beat or timing element with a basic pulse pattern. Some drummers can use two or more bass drums or use a double bass drum drum with a single drum. Double bass drumming is an important technique in many heavy metal genres. Using a drum drum drum drum allows the drummer to play a double bass drum with just one bass drum, saving space in the recording/performance area and reducing time and effort during setup, retrieval, and transportation.

More drums

Octobans are smaller toms designed for use in drum kits, extending the tom range upwards in pitch, especially by its depth; as well as diameter (usually 6 "). The octobans pearl brand is called" tom rocket ", the instrument is also called

Timbales are tuned much higher than toms of the same diameter, and are usually played with very light, thin, non-pointed sticks. They have relatively thin heads and a very different tone from tom, but are used by some drummers/percussion to expand the tom range upward. Or, they can be equipped with a tom head and tuned as a shallow concert tom. Mini timbales and mini timbales attacks are damping-diameter timbales designed for the use of drum kits, allowing smaller diameters for thicker heads to provide the same pitch and head tension. They can be recognized in the 2010 genre and in the more traditional form of Latin, reggae & amp; many styles of world music. Timbales was also used on occasion by drummer Led Zeppelin John Bonham. Gong drum is a rare extension for the drum kit. Single-headed mountable drums look similar to bass drums (about 20-24 inches in diameter), but have the same purpose as floor toms. Similarly, most percussion drum percussion can not be played easily or in accordance with the drum rod without endangering the head and bearing edges, which are not protected by drum metal drums, such as snares or toms. For use in drum kits, they may be equipped with metal drum heads and played with care, or played by hand.

Cymbal

In most drum kits and drums/percussion kits cymbals are as important as the drums themselves. The oldest idiom in music is a cymbal, and is used throughout the ancient Near East, very early in the Bronze Age period. The cymbals are most closely related to Turkish and Turkish work, where Zildjian (the name means cymbal smith) has been predominantly making them since 1623.

The beginner's cymbal package usually contains four cymbals: one trip, one accident, and a pair of hi-hat. Some contain only three cymbals, using a collision/ride instead of a separate ride and accident. The size follows strictly given in the General configuration below.

Most drummers immediately extend this by adding another crash, splash, china cymbal/effects; or even all of the latter.

Ride cymbal

Cymbal rides are most commonly used to maintain a constant rhythm pattern, every beat or more often, as required by music. The development of this riding technique is generally credited to Baby Dodds.

Most drummers have one main journey, located near their right hand - within easy playing range, as it is used very regularly - most often the size is 20 "but, 16" -24 "diameter is not uncommon.This is most often heavy cymbals, or weights but some drummers use symbal, sizzle or other exotic or lightweight metal cycles, as the main pedestal or just on their device, especially for jazz, gospel or ballad/Folk sounds.In the 1960s, Ringo Starr uses symbal sizzle as a second trip, especially during guitar solos.

Hi-cap

The hi-hat cymbals (nicknamed "hats") consist of two cymbals mounted facing each other on a metal pole with folding support legs that keep the hollow supporting cylinders standing. Like the bass drum, hi-hat has a foot pedal. The bottom cymbal remains in place. The upper cymbals are mounted on a thin pole inserted into a hollow cymbal cylinder. The thin pole is connected to the foot pedal. When the foot pedal is pressed, the mechanism causes the thin pole to move downwards, causing the cymbals to move together. When the foot is lifted off the pedal, the cymbals move apart, due to the mechanism of the pedal spring. Hi-hat can be sounded by hitting the cymbals with one or two sticks or just by opening and closing cymbals with feet, without hitting cymbals. The ability to create a rhythm on hi-hat by foot alone allows the drummer to use both sticks on drums or other cymbals. Different sounds can be created by "opening the hi-hat" (without a pressed pedal, which creates a noisy sound dubbed "careless hat") or a closed "hi-hat" sound (by pressing the pedal down). In addition, a high hat can be played with a rather depressed pedal.

A unique effect can be made by hitting an open hi-hat (ie, where two cymbals are separated) and then closing the cymbals with the foot pedal; this effect is widely used in disco and funk. Hi-hat has a function similar to cymbal ride. Both are rarely played consistently for long periods at the same time, but one or the other is used to keep the rhythm moving faster (for example, the sixteenth note) most of the time in a song. Hi-hat is played with right hand drummer right hand stick. Changing between ride and hi-hat, or between good and sound "slimmer" with no, often used to mark changes from one part to another, for example; to distinguish between verses and choirs.

Crashes

Crash cymbals are usually the strongest accent markers in the kit, marking crescendos and climax, vocal entries, and mood swings/swells and effects. Crash cymbals are often accompanied by hard kicks on the bass pedals, both for musical effects and for supporting strokes. It provides a more complete sound and is a commonly taught technique.

In very small kits, in jazz, and at very high volumes, cymbal driving can be played with techniques and crash cymbal sounds. Some hi-hats will also provide useful crashes, especially thinner caps or those with very severe tapers. At low volume, producing a good collision of cymbals that is not very suitable for it is a highly skilled art. Alternatively, crash/ride and ride/crash cymbals are specially designed to combine both functions.

Other cymbals

Cymbal effect

All cymbals other than rides, hi-hats and crashes/splash are usually called cymbal effects when used in drum kits, although this is a non-classical or colocial designation that has become a standard label. Most extended kits include one or more splash cymbals and at least one chinese cymbal. The main cymbal maker produces a cymbal extension package consisting of one spark and one porcelain, or more rarely a second collision, splash and porcelain, to match some of their starter packs of rides, accidents and hi-hats. But any combination of options can be found in the market.

Some cymbals can be regarded as effects on some devices but "basic" in other component sets. A swish cymbal may, for example function, as a prime mover in some musical styles, but in larger kits, which include conventional ride cymbals as well, it may be considered a cymbal effect per se. Likewise, Ozone crashes have the same goal as standard crash cymbals, but are thought to be a cymbal effect due to their scarcity, and holes cut into it, which gives a darker and more resonant attack.

Accent cymbal

The cymbals of any kind used to give accents rather than the usual patterns or grooves are known as accent cymbals. While cymbals can be used to provide accents, the term is applied more precisely to cymbals whose primary purpose is to give an accent. Accent cymbals include cymbal cymbals, small bell dome cymbals or those that have clear loud/oriental singing such as special velvet and splash cymbals as well as many chinese types as well, especially smaller or thinner ones.

Other acoustic instruments

Other instruments that are regularly incorporated into the drum kit include:

• logs and cowbells. It's traditional in classic rock. In addition, they are used in many different forms of music
• Rebana, especially mounted on hi-hat above the cymbals; ordinary tambourines may be used, or specialty manufactured tambourines for the use of drum kits
• Timbales can be used to extend the range of tom-toms, especially when drummers have them for other music settings; the traditional timbale is set much higher than the tom of the same diameter, so the result is not always the most ideal (see also Timbales # Non-traditional use)
• Gambang or glockenspiel
• Tubular bell
• Gong
• Orgestra bell/bell bar
• Triangle.
• Objects found, including wrenches, brake drums, buckets, cardboard boxes, and jams and kerosene cans (anything that ordinarily squeezed percussion to produce sounds, patterns, and grooves for setting)

See also Expanded Kit below.

Electronic drum

Electronic drums are used for various reasons. Some drummers use electronic drums to play in small places such as coffee shops or church services, where very low volumes for bands are desired. Since the electronic drums do not fully create an acoustic sound (apart from the quiet sound of the stick that touches the sensor pad), all drum sounds come from the keyboard amplifier or PA system; thus, the electronic drum volume can be much lower than the acoustic kit. Some drummers use electronic drums as an exercise instrument, as they can be heard with headphones, allowing drummers to practice in an apartment or in the middle of the night without disturbing others. Some drummers use electronic drums to take advantage of the various sounds that can be generated by modern drum modules, ranging from the sound of the original drum samples, cymbals and percussion instruments (including instruments that are not practical to take to small performances, such as gongs or tubular bells) , for electronic and artificial sounds, including non-instrument sounds like ocean waves.

A fully electronic set is also easier to hear than an acoustic drum, assuming that the electronic drum module has a predetermined level of drummer in his office; Conversely, when the acoustic kit is examined, most drums and cymbals need to be miceded and each mic needs to be tested by the drummer so that the level and tone adjustment can be adjusted by the sound engineer. In addition, even after all the drums and individual cymbal microphones are checked, the engineer needs to listen to the drummer playing the standard groove, to check that the balance between the kit instruments is correct. Finally, the engineer needs to set up the monitor mix for the drummer, which the drummer uses to hear his instruments and instruments and vocals from the rest of the band. With complete electronic devices, many of these steps can be eliminated.

The use of drum electronic drum equipment can range from adding one electronic pad to an acoustic kit (for example, to having access to potentially impractical instruments, such as large gongs), to using a mixture of acoustic drums/cymbals. and electronic bearings, to use an acoustic kit in which drums and cymbals have triggers, which can be used for electronic drums and other sounds, to have electronic kits exclusively, often arranged with rubber or mesh drum pads and "cymbal" rubber on site ordinary drum kit. The electronic set is fully weighted and requires less space to transport than the acoustic kit and can be adjusted more quickly. One disadvantage of electronic devices entirely is that it may not have the same "feel" as an acoustic kit, and drum sounds, although they are high-quality examples, may not sound the same as acoustic drums.

Electronic drum pads are the second most widely used type of MIDI performance controller, after an electronic music keyboard. Drum controls can be built into drum machines, they may be stand-alone control surfaces (eg, rubber drum pads), or they can mimic the look and feel of acoustic percussion instruments. Pads built into drum machines are usually too small and brittle to play with a stick, and are usually played with a finger. Special drum pads such as Roland Octapad or DrumKAT can be played by hand or with a stick, and are often made to resemble a common form of a drum kit. There are also percussion controllers such as vibretone-style MalletKAT, and Don Buchla Marimba Lumina.

As well as providing an alternative to the conventional acoustic drum kit, electronic drums can be incorporated into the acoustic drum kit to complement it. MIDI triggers can also be plugged into acoustic drums and percussion instruments. Bearings that can trigger MIDI devices can be self-made from piezoelectric sensors and exercise pads or other parts of foam rubber.

This may be in two ways:

• Triggers are sensors that can be attached to an acoustic drum kit component. In this way, an electronic drum sound will be generated when the instrument is played/hit, as well as the original sound voiced by the available instrument, if desired.
• The trigger pad can be installed with other kit components. These bearings do not make significant acoustic sounds themselves (if not modified to do otherwise), but are used purely to trigger electronic sounds from the "drum brain". They are played with the same drumstick as used on other drum kit components.

In both cases, the electronic control unit (voice module/"brain") with matching drum sound/model or synthesized, amplification equipment (PA system, keyboard amp, etc.) And monitor stage speakers required for drummer (and band members and audience other) to hear electronically generated sounds. View Triggered drum device.

A trigger pad can contain up to four independent sensors, each capable of transmitting information that describes the time and the dynamic intensity of the stroke to the drum/brain module. A circular drum pad may have only one sensor to trigger, but a cymbal rubber-shaped cymbal pad of 2016 often contains two; one for the body and one for the bells in the cymbal center, and possibly a trigger cymbal choke, to allow the drummer to produce this effect.

Trigger sensors are most commonly used to replace acoustic drum sounds, but they can often be used effectively with an acoustic kit to add or complement instrument sounds for session or show needs. For example, in live performances in difficult acoustic spaces, the trigger can be placed on any drum or cymbal, and is used to trigger similar sounds on the drum module. These sounds are then amplified through the PA system so that the audience can hear it, and they can be amplified to any level without the risk of audio feedback or bloody problems associated with microphones and PAs in certain settings.

Electronic drum sounds and cymbals themselves are heard by drummers and possibly other musicians at close range, but nevertheless, the foldback system (audio monitor) is usually fed from an electronic sound rather than a live acoustic sound. The drum can be very muted (made for less resonance or subduing sound), and the adjustment and even the quality is less important in the latter scenario. In this way, most of the live atmosphere of the show is preserved in a big place, but without some of the problems associated with a pure reinforced drum microphone. Triggers and sensors can also be used in conjunction with conventional or built-in microphones. If some kit components prove more difficult to "mike" than others (eg, "Tom" is too "booming"), the trigger can be used only on more difficult instruments, balancing the drummer/band sound in the mix.

Trigger and drum pads, on the other hand, when placed in a conventional set-up, are most often used to produce sounds not possible with an acoustic kit, or at least not with what is available. Any sound that can be sampled/recorded can be played when the pad is hit, by setting the recorded sound to a specific trigger. Records or samples of barking dogs, sirens, broken glass and recording stereo aircraft taking off and landing have all been used. As more and more clear electronics are generated, there are synthesized human sounds or parts of songs or even audio movies or video/digital images that (depending on the device used) can also be played/triggered by electronic drums.

Virtual drum

Virtual Drums are a type of audio software that simulates the sound of a drum kit using a synthesized drum kit sound or a digital sample of an acoustic drum sound. Different drum software products offer recording functionality, the ability to choose from some special acoustic drum kits (eg, jazz, rock, metal), as well as the option of merging different songs into sessions. Some software for personal computers (PCs) can turn any hard surface into a virtual drum device using only one microphone.

Hardware

Hardware is the name given to metal stands that support drums, cymbals, and other percussion instruments. Generally this term also includes a hi-hat pedal and a pedal drum or pedal, and a drum bench, but not a drumstick.

The hardware is brought along with sticks and other accessories in the trap box, and includes:

• Cymbal is standing
• Hi-hat standing
• Floor legs
• Tom-tom drum brackets or arms
• Snare drum stand
• Pedal drum bass or pedal
• Scroll key
• A variety of accessories such as spare parts, cymbals, wire meshes, tension washing machines, etc.

Many or even all the tribunes can be replaced with a drum rack, especially useful for large drum kits.

Drummers often install their own drum sets on stage and adjust to their own level of comfort. The main tour groups on the tour often have drum technology that knows how to set up the hardware and drum instruments in the desired location and layout.

src: images-na.ssl-images-amazon.com

General configuration

Drum kits are traditionally categorized by number of drums, ignoring cymbals and other instruments. Snare, tom-tom, and bass drum are always counted; Other drums such as octobans may or may not be counted.

The size of the drums and cymbals given below is typical. Many drummers differ slightly or radically from them. Where no size is given, it is because there are too many variations to call a typical size.

Three pieces

A three-part drum set is the most basic set. The conventional three-piece kit consists of bass drum, 14 "diameter, 12" -14 "hi-hat drums, 12" -9 "diameter, 12-inch" hanging tombs, and suspended cymbals, in the range of 14 "-18" , both mounted on the bass drum. These kits were common in the 1950s and 1960s and are still used in 2010 in small acoustic dance groups. This is a common configuration for kits sold by mail order, and, with smaller drums and cymbals, for kits for children.

Four pieces

The four-piece kit extends three parts by adding one tom, second hanging tape mounted on the bass drum (popular user is Chris Frantz from Talking Heads) and often shifts cymbals, or by adding floor toms. Usually other cymbals are added as well, so there is a separate ride and a crash cymbal, either on two stands, or a cymbal mounted on the bass drum to the right of the player and the crash cymbal on a separate stand. Standard cymbal sizes are 16 "crashes and 18" -20 "rides, with the most common 20" rides.

Four parts with floor tom

When the tom floor is added to make a four piece kit, tom floor is usually 14 "for jazz, and 16" otherwise. This configuration is usually common in jazz, classic rock and rock and roll. Notable users include Ringo Starr in The Beatles, Mitch Mitchell in Jimi Hendrix Experience, and John Barbata in Turtles. For jazz, which usually emphasizes the use of ride cymbals, the lack of second hanging tom in a four-piece kit allows the cymbals to be positioned closer to the drummer, making it easier to hit.

Four parts with two hanging toms

If the second hanging tom is used, then the diameter of 10 "diameter and 8" for fusion, or 13 "diameter and one inch deeper than tom 12" diameter. If not, tom hanging diameter 14 "added to 12", both are equal to 8 ". In any case, both tom are most often installed on bass drums with smaller than two on the hi-hat (on the left for drummer right hand. This train is very useful for smaller spaces where space is limited, such as coffee shops and small pubs.

Five pieces

The five-part kit is the full entry-level device and the most common configuration. This adds the third tom to the drum bass/snare drum/two tom sets, making three toms in all. A fusion kit will usually add a 14 "tom, tom floor or tom hanging on the holder to the right of the bass drum, in both cases, making tom lineup 10", 12 "and 14". It has three tom lets drummers have low tone, medium-register and higher tones, which gives them more options to fill and solo.

Other fixtures usually have 12 "and 13" hanging toms plus 14 "hanging tomes on stands, 14" floor toms, or 16th floor toms. "For depth, see Tom-tom drum # Modern tom-toms. popular to have hanging tom 10 "and 12", with tom floor 16 ". This configuration is often called hybrid splicing. The bass drum is most often 22 "in diameter, but the rock kit can use 24", 20 "fusion, 18" jazz, and in larger bands up to 26 ". A second cymbal crash is common, typically one or two inches bigger or more small from 16 ", with the larger of the two on the right for the right-handed drummer, but the big band can use a crash up to 20" and up to 24 "or, very rarely, 26". The rock kits may also replace more cymbal rides bigger or hi-hat bigger, usually 22 "to ride and 15" for cap.

Most five-part devices, more than entry level, also have one or more cymbal effects. Adding cymbals outside the basic ride, hi-hat and one damage configuration requires more extras than standard drum hardware packages. Therefore, many higher-cost kits for professionals are sold with little or no hardware, to allow the drummer to choose the booth as well as the drum drum he likes. At the other extreme, many cheap entry-level kits are sold as a five-part device complete with two cymbal sticks, most often one straight and one boom, and some even with standard cymbal packs, benches and a pair of 5A drumsticks. In 2010s, digital kits are often offered in a five-piece kit, usually with one plastic cymbal trigger and one trigger cymbal ride. The fully electronic drum does not produce an acoustic sound outside the tap of a quiet stick on a plastic or rubber head. Trigger-bearing is connected to a synth or sampler module.

Small package

If tom is completely removed, or the bass drum is replaced by a pedal-operated beater on the bottom tom tom and tom hang removed, the result is the "koktil" (lounge) kit of two parts. Such equipment is especially well-liked in music genres such as jazz trad, rockabilly, and jump blues. Some rockabilly kits and beginner kits for very young players ignore the hi-hat stand. In rockabilly, this allows the drummer to play standing rather than sitting.

Although this kit may be small with respect to the amount of drum used, the drum itself is most often the normal size, or even larger in the case of a bass drum. Kits using smaller drums in smaller and larger configurations are also manufactured for specific uses, such as boutique kits designed to reduce the visual impact generated by large kits or due to limited space in coffee shops, > travel kit to reduce luggage volume, and junior kits for very young players. The smaller drums also tend to be quieter, again adapting to smaller places, and many of these kits extend this by muffling extras that allow quiet or even quiet exercise in hotel rooms or bedrooms.

Expanded package

Common extensions beyond this standard configuration include:

• Cymbal effect, especially cymbal cymbals and cymbal chin
• Double bass drum. Double bass drum or double bass pedal is standard for several genres, especially in heavy metal music
• Extra pull or tom rack
• Extra crash cymbal
• Crash/ride cymbal in addition to the main driving
• Second floor, bigger or smaller
• One or more octobans or a pair of mini timbale
• A second hi-hat pair is installed as a cable cap or x-cap
• Cymbal stack
• Individual tiger, wind or chau gong
• Some cymbals rise. A sizzle cymbal, thinner and bigger than a main ride, was once common as a second journey or an accident/ride, even in a four piece piece, but now less so (jazz drummers, however, may still have two or more cymbals, in a small kit)

See also other acoustic instruments above. Another versatile extension that is becoming increasingly common is the use of some electronic drums in conventional, especially conventional kits.

Less extensions are commonly found primarily, but not exclusively for very large kits, including:

• Some snare drums, usually in the form of a side snare. A side snare is usually positioned to the left of the drummer (across the floor tom and to the left of the hi hat). The side trap is used equally for the cymbal effect, when additional and different sounds are required. Generally only one side snare is used on the kit, if any at all.
• Some bass drums outside the double bass drum setting
• Gong drums (single head baseball drums, played with a stick or a hammer)
• Set of gongs, set, or not set
• Sound effects like lightning sheets
• One or more crotales
• Instruments "borrowed" from orchestral percussion, such as timpani
• Instruments "borrowed" from marching band percussion, such as the bass drum set used in the drumline

src: barkingdrum.com

Accessories

Stick

Sticks are traditionally made of wood (mainly maple, hickory, and oak) but more recently metals, carbon fibers and other exotic materials have been used for high end market sticks. The prototypical wooden drum stick is primarily designed for use with snare drums, and optimized for playing snare rudiments. Sticks come in a variety of weight and tip designs, 7N is a common jazz stick with nylon tip, while 5B is a regular tipped wooden stick, heavier than 7N but with the same profile, and common standards for beginners. Numbers range from 1 (toughest) to 10 (lightest).

The meanings of the two numbers and letters vary from manufacturer to manufacturer, and some of the sticks are not described using this system at all, known simply as Smooth Jazz (usually 7N or 9N) or Rock Speed ​​ > (usually 2B or 3B) for example. Many famous drummers support sticks made for their specific preferences and are sold under their signature. In addition to drumsticks, drummers will also use brushes and rutes in jazz and softer music. Less frequently, other beaters such as hammer trolleys (known as drummer kits as "soft sticks") can be used. Not infrequently rock drummers use the "wrong" tip (butt) stick for heavier sounds; some makers produce tipless sticks with two ends.

The stick bag is the standard way for a drummer to bring a drumstick to live performances. For easy access, a stick bag is usually mounted on the tom floor side, just within reach of the right hand drummer for the right-handed drummer.

Muffles

The drum stunner is a mute type that can reduce ringing, the frequency of a booming ringtone, or an overall volume on a snare, bass, or tom. Control the ring is useful in the studio or direct setting when the unwanted frequency can collide with other instruments in the mix. There are internal and external damping devices located on the inside or outside the drumhead, respectively. Common types of mufflers include dampening rings, gels and masking tape, and improvisation methods, such as placing a wallet near the edge of the head. Some drummers muffle the sound of the drum by putting the cloth over the drumhead.

Snare drums and tom-toms Common ways to damp snare or tom include placing objects on the outer edge of the drumhead. A piece of cloth, wallet, gel, or fitting ring made of mylar is a common object. Also used is an external clip exhaust that works using the same principle. Internal mufflers located on the inside of the drumhead are often built into drums, but are generally considered less effective than external dampening, as they hold back the initial tone, not just reducing its sustainability.

Bass drum Bass muffling can be accomplished by the same muffling technique as the snare, but the bass drum in the drum kit is more often muted by adding a pillow, sleeping bag or other soft filling in the drum, between heads. Cutting a small hole in the resonant head can also produce a more muffled tone, and allows manipulation in internal muffling. The EQ Evans pad puts the pad against the batterhead and, when struck, the pad moves from the head for a moment, then returns to rest against the head, thus reducing sustain without strangling the tone.

Silencer/mute Another type of muffler drum is a piece of rubber that matches the entire drumhead or cymbal. This disrupts the contact between the stick and the head that muffles the sound even more. They are usually used in the exercise setting.

Cymbals are usually muted with fingers or hands, to reduce the length or volume of rings (eg, cymbal choke techniques that are an essential part of heavy metal drums). Cymbals can also be muffled with special rubber rings or with a DIY approach such as using masking tape.

Perusahaan dengan produk meredam:

• Remo
• Drum Mutiara
• Tama Drums
• Vic Firth
• Aquarian
• HQ Percussion
• Evans
• Cymbomute

Historical Uses Muffled drums are often associated with funerals too, such as the funeral of John F. Kennedy and Queen Victoria. The use of muffled drums has been written by poets such as Henry Wadsworth Longfellow, John Mayne, and Theodore O'Hara. Drums have also been used for therapeutic and learning purposes, such as when an experienced player will sit down with a number of students and by the end of the session have all relaxed and played complex rhythms.

Stick holder

There are different types of rack mount accessory, including a bag that can be attached to a drum and an oblique skewer, which can hold a pair of sticks.

Sizzlers

Hotter ices are metal chains or chain combinations hanging on cymbals, creating a distinctive metallic sound when cymbals are struck similarly to a sizzle cymbal. Using a sizzler is a non-destructive alternative to drill holes in the cymbal and put the metal rivets in the hole. Another benefit of using a "hot" chain is that the chain can be released and the cymbal will return to its normal sound (on the contrary, the cymbals with the rivets should be removed rivets). Some sizzlers have a spinning arm that allows the chain to be quickly lifted from a cymbal, or lowered onto it, allowing its effect to be used for multiple tracks and removed for the other.

Cases

Three types of protective cover are common for drum kits:

• The drum bag is made of strong fabrics like cordura or from cloth-backed vinyl. They provide minimal protection from shock and impact, but they protect the drums and cymbals from deposition. They are enough for drums that are transported by private vehicle to go to local shows and sessions. They are often the only option for young drummers just getting started.
• Medium price hard cases have similar construction to suitcases, generally made of fiber composites. Offers more protection than bumps than cloth bags.
• The case of aviation or road cases is standard for professional tour drummers.

As with all musical instruments, the best protection is provided by a combination of hard casing with bearings like foam beside drums or cymbals.

Microphone

Microphones ("microphone") are used with drums to pick up drums and cymbals for sound recording and/or to pick up drum kit sounds so they can be amplified through PA systems or sound reinforcement systems.. While most drummers use microphones and amplification in live shows in 2010, so the sound engineer can adjust and balance drum and cymbal levels, some bands play in quieter music genres and play in small places like coffee shops. acoustic, without microphone or PA amplification. Small jazz groups such as a jazz quartet or a trio of organs playing in small bars often only use acoustic drums. Of course if the same small jazz groups play on the main stage of the great jazz festival, the drums will be turned off so they can be customized in a mixed sound system. The middle-ground approach is used by some bands that play in small places; they do not tune any drums and cymbals, but only the mic instruments desired by the sound engineer to be able to control in the mix, such as bass drum and snare.

In "miking" a drum kit, a dynamic microphone, which can handle high levels of sound pressure, is usually used for close-mic drums, which is the main way to drum mics for live performances. Condenser microphones are used for overhead and microphone spaces, a more common approach with voice recording applications. Close miking drums can be done by using a stand or by mounting a microphone on the drum rim, or even using a microphone built into the drum itself, which eliminates the need to stand for this microphone, reduce clutter time and set-up, and isolate them.

In some musical styles, the drummer uses an electronic effect on the drum, such as an individual noise gate that disables the microphone that is attached when the signal is below the threshold volume. This allows the voice engineer to use a higher overall volume for the drum device by reducing the number of "active" microphones that can generate unwanted feedback at one time. When the drum kit is fully miced and reinforced through a sound reinforcement system, the drummer or sound engineer can add other electronic effects to the drum sound, such as reverb or digital delay.

Some drummers arrive at the venue with their drum kit and use the mic and mic stands provided by the sound engineer venue. Other drummers carry all their own microphones, or selected microphones (for example, good quality drum drums and good mic for snare) to ensure they have good quality mic for every show. In bars and nightclubs, the microphones provided by the place can sometimes be in a state of flux, due to heavy use they experience.

Spy

Drummers using electronic drums, drums, or hybrid electric acoustic kits (which combine traditional acoustic drums and cymbals with electronic pads) typically use monitor speakers, keyboard amplifiers or even small PA systems to hear electronic drum sounds. Even a drummer who plays an acoustic drum can fully use a monitor loudspeaker to hear his drums, especially if he plays in rock or hard metal bands, where there is a huge volume on the stage from a heap of powerful guitars. Because drum kits use deep bass drums, drummers are often given a large speaker cabinet with a 15 "subwoofer to help them monitor the bass drum sound (along with full range monitor speakers to hear the rest of their equipment).Some sound engineers and drummers prefer to use the system electronic vibrations, colloquially known as "butt shaker" or "throne thumper" to monitor the bass drum, as this lowers the stage volume.With the "butt shaker", "knock" of any bass drum attack causes vibration in the drum stool, with this way drummers feel tap them in the posterior, rather than hear it.

Bass drum equipment

A number of accessories are designed for bass drum (also called "kick drum"). Ported tubes for bass drums are available to take advantage of the design of the bass reflex speakers, in which the tuned ports (carefully measured holes and tubes) are inserted into the speaker enclosure to improve the bass response at the lowest frequency. Available bass drumhead patches, which protect the drumhead from the impact of a felt hitter. A bass drum cushion is a fabric bag with stuffing or stuffing that can be used to change the tone or resonance of a bass drum. A cheaper alternative to mengg

Source of the article : Wikipedia