Drum Kit
A drum kit (also called a drum set, trap set, or simply drums) is a collection of drums, cymbals, and sometimes other auxiliary percussion instruments set up to be played by one person. The drummer typically holds a pair of matching drumsticks, and uses their feet to operate hi-hat and bass drum pedals.
A standard kit usually consists of:
- A snare drum, mounted on a stand
- A bass drum, played with a beater moved by a foot-operated pedal
- One or more tom-toms, including rack toms and/or floor toms
- One or more cymbals, including a ride cymbal and crash cymbal
- Hi-hat cymbals, a pair of cymbals that can be played with a foot-operated pedal
The drum kit is a part of the standard rhythm section and is used in many types of popular and traditional music styles, ranging from rock and pop to blues and jazz.
History[]
Early development[]
Before the development of the classic drum kit, drums and cymbals used in military and orchestral music settings were played separately by different percussionists. In the 1840s, percussionists began to experiment with foot pedals as a way to enable them to play more than one instrument, but these devices would not be mass-produced for another 75 years. By the 1860s, percussionists started combining multiple drums into a kit. The bass drum, snare drum, cymbals, and other percussion instruments were all struck with hand-held drumsticks. Drummers in musical theater appeared in stage shows, where the budget for pit orchestras was often limited due to an insufficient amount of money able to purchase a full percussionist team. This contributed to the creation of the drum kit by developing techniques and devices that would enable one person to replace multiple percussionists.
Double-drumming was developed to enable one person to play both bass and snare drums with sticks, while the cymbals could be played by tapping the foot on a “low-boy”. With this approach, the bass drum was usually played on beats one and three (in 4/4 time). While the music was first designed to accompany marching soldiers, this simple and straightforward drumming approach led to the birth of ragtime music, when the simplistic marching beats became more syncopated. This resulted in a greater swing and dance feel. The drum kit was initially referred to as a “trap set”, and from the late 1800s to the 1930s, drummers were referred to as “trap drummers”. By the 1870s, drummers were using an overhang pedal. Most drummers in the 1870s preferred to do double-drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems, such as that of drummer Edward “Dee” Chandler of New Orleans in 1904 or 1905. This led to the bass drum being played by percussionists standing and using their feet, hence the term “kick drum”.
William F. Ludwig Sr. and his brother Theobald founded Ludwig & Ludwig Co. in 1909 and patented the first commercially successful bass drum pedal system.
In 1912, drummers replaced sticks with wire brushes and, later, metal fly swatters as the louder sounds made by using drumsticks could overpower other instruments.
20th century[]
By World War I, drum kits were often marching-band-style bass drums with many percussion items around them and suspended from them. Drum kits became a central part of jazz, especially Dixieland. The modern drum kit was developed in the vaudeville era, during the 1920s, in New Orleans.
Drummers such as Baby Dodds, Zutty Singleton, and Ray Bauduc took the idea of marching rhythms and combined the bass drum, snare drum, and “traps” – a term used to refer to the percussion instruments associated with immigrant groups, which included miniature cymbals, tom toms, cowbells, and woodblocks. They started incorporating these elements into ragtime, which had been popular for a few decades, creating an approach that evolved into a jazz drumming style.
Budget constraints and space considerations in musical theater pit orchestras led bandleaders to pressure percussionists to cover more percussion parts. Metal consoles were developed to hold Chinese tom-toms, with swing-out stands for snare drums and cymbals. On top of the console was a “contraption” tray (shortened to “trap”), used to hold items like whistles, klaxons, and cowbells. These kits were dubbed “trap kits”. Hi-hat stands became available around 1926.
In 1918, Baby Dodds, playing on Mississippi River riverboats with Louis Armstrong, modified the military marching setup, experimenting with playing the drum rims instead of woodblocks, hitting cymbals with sticks (which was not yet common), and adding a side cymbal above the bass drum, which became known as the ride cymbal. William Ludwig developed the “sock” or early low-mounted hi-hat after observing Dodds' drumming. Dodds asked Ludwig to raise the newly produced low-hat cymbal nine inches to make them easier to play, thus creating the modern hi-hat cymbal. Dodds was one of the first drummers to play the broken-triplet beat that became the standard rhythm of modern ride cymbal playing. He also popularized the use of Chinese cymbals. Recording technology was crude, which meant loud sounds could distort the recording. To get around this, Dodds used woodblocks and drum rims as quieter alternatives to cymbals and drum skins.
In the 1920s, freelance drummers were hired to play at shows, concerts, theaters, and clubs to support dancers and musicians of various genres. Orchestras were hired to accompany silent films, and the drummer was responsible for providing the sound effects. Sheet music from the 1920s shows that the drummer's sets were starting to evolve in size to support the various acts. However, by 1930, films with audio were more popular, and many were accompanied by pre-recorded soundtracks. This technological breakthrough put thousands of drummers who served as sound effects specialists out of work, with some drummers obtaining work as foley artists for those motion-picture soundtracks.
Components[]
Drums[]
Bass drum[]
Accessories[]
Sticks[]
Sticks are traditionally made from wood (particularly maple, hickory, and oak), but more recently, metal, carbon fiber, and other materials have been used for sticks. The prototypical wooden drum stick was primarily designed for use with the snare drum, and optimized for playing snare rudiments. Sticks come in a variety of weights and tip designs; 7N is a common jazz stick with a nylon tip, while a 5B is a common wood tipped stick, heavier than a 7N but with a similar profile, and a common standard for beginners. Numbers range from 1 (heaviest) to 10 (lightest).
The meanings of both numbers and letters vary from manufacturer to manufacturer, and some sticks are not described using this system at all, just being known as Smooth Jazz (typically a 7N or 9N) or Speed Rock (typically a 2B or 3B) for example. Many famous drummers endorse sticks made to their particular preference and sold under their signature.
Besides drumsticks, drummers will also use brushes and Rutes in jazz and similar soft music. More rarely, other beaters such as cartwheel mallets (known to kit drummers as “soft sticks”) may be used. It is not uncommon for rock drummers to use the “wrong” (butt) end of a stick for a heavier sound; some makers produce tipless sticks with two butt-ends.
A stick bag is the standard way for a drummer to bring drumsticks to a live performance. For easy access, the stick bag is commonly mounted on the side of the floor tom, just within reach of the drummer's right hand, for a right-handed drummer.
Muffles[]
Drum muffles are types of mutes that can reduce the ring, boomy overtone frequencies, or overall volume on a snare, bass, or tom. Controlling the ring is useful in studio or live settings when unwanted frequencies can clash with other instruments in the mix. There are internal and external muffling devices which rest on the inside or outside of the drumhead, respectively. Common types of mufflers include muffling rings, gels and duct tape, and improvised methods, such as placing a wallet near the edge of the head. Some drummers muffle the sound of a drum by putting a cloth over the drumhead.
Snare drum and tom-tom Typical ways to muffle a snare or tom include placing an object on the outer edge of the drumhead. A piece of cloth, a wallet, gel, or fitted rings made of mylar are common objects. Also used are external clip-on muffles. Internal mufflers that lie on the inside of the drumhead are often built into a drum, but are generally considered less effective than external muffles, as they stifle the initial tone, rather than simply reducing its sustain.
Bass drum Muffling the bass can be achieved with the same muffling techniques as for the snare, but bass drums in a drum kit are more commonly muffled by adding pillows, a sleeping bag, or other soft filling inside the drum, between the heads. Cutting a small hole in the resonant head can also produce a more muffled tone, and allows the manipulation of internally placed muffling. The Evans EQ pad places a pad against the batterhead and, when struck, the pad moves off the head momentarily, then returns to rest against the head, thus reducing the sustain without choking the tone.
Silencers/mutes Another type of drum muffler is a piece of rubber that fits over the entire drumhead or cymbal. It interrupts contact between the stick and the head, which dampens the sound. They are typically used in practice settings.
Cymbals are usually muted with the fingers or hand, to reduce the length or volume of ringing (e.g., the cymbal choke technique which is a key part of heavy metal drumming). Cymbals can also be muted with special rubber rings or duct tape.
Historical uses Muffled drums are often associated with funeral ceremonies as well, such as the funerals of Queen Victoria and John F. Kennedy. The use of muffled drums has been written about by such poets as Henry Wadsworth Longfellow, John Mayne, and Theodore O'Hara. Drums have also been used for therapy and learning purposes, such as when an experienced player will sit with a number of students and by the end of the session have all of them relaxed and playing complex rhythms.
Stick holder[]
There are various types of stick holder accessories, including bags that can be attached to a drum and angled sheath-style stick holders, which can hold a single pair of sticks.
Sizzlers[]
A sizzler is a metal chain, or combination of chains, that is hung across a cymbal, creating a distinctive metallic sound when the cymbal is struck, similar to that of a sizzle cymbal. Using a sizzler is the non-destructive alternative to drilling holes in a cymbal and putting metal rivets in the holes. Another benefit of using a "sizzler" chain is that the chain is removable, with the cymbal being easily returned to its normal sound.
Some sizzlers feature pivoting arms that allow the chains to be quickly lowered onto, or raised from, the cymbal, allowing the effect to be used for some songs and removed for others.
Cases[]
Three types of protective covers are common for kit drums:
- Drum bags are made from robust cloth such as cordura or from cloth-backed vinyl. They give minimal protection from bumps and impacts, but they do protect drums and cymbals from precipitation. They are adequate for drums transported in private vehicles to local gigs and sessions. They are often the only option for young drummers who are just starting out.
- Mid-price hard cases are of similar construction to suitcases, commonly made of fiber composite. The offer more protection from bumps than cloth bags.
- Flight cases or road cases are standard for professional touring drummers.
As with all musical instruments, the best protection is provided by a combination of a hard-shelled case with interior padding, such as foam, next to the drums and cymbals.
Microphones[]
Microphones ("mics") are used with drum kits to pick up the sound of the drums and cymbals for a sound recording and/or to pick up the sound of the drum kit so that it can be amplified through a PA system or sound reinforcement system. While most drummers use microphones and amplification in live shows, so that the sound engineer can adjust the levels of the drums and cymbals, some bands that play quieter genres of music and in small venues, such as coffeehouses, play acoustically, without mics or PA amplification. Small jazz groups, such as jazz quartets or organ trios that are playing in a small bar, will often just use acoustic drums. Of course, if the same small jazz groups play on the mainstage of a big jazz festival, the drums will be miced so that they can be adjusted in the sound system mix. A middle-ground approach is used by some bands that play in small venues: they do not mic every drum and cymbal, but only the instruments that the sound engineer wants to be able to control in the mix, such as the bass drum and the snare.
In miking a drum kit, dynamic microphones, which can handle high sound-pressure levels, are usually used to close-mic drums, which is predominantly the way to mic drums for live shows. Condenser microphones are used for overheads and room mics, an approach which is more common with sound recording applications. Close miking of drums may be done using stands or by mounting the microphones on the rims of the drums, or even using microphones built into the drum itself, which eliminates the need for stands for such microphones, reducing both clutter and set-up time, as well as better isolating them.
For some styles of music, drummers use electronic effects on drums, such as individual noise gates that mute the attached microphone when the signal is below a threshold volume. This allows the sound engineer to use a higher overall volume for the drum kit by reducing the number of "active" mics which could produce unwanted feedback at any one time. When a drum kit is entirely miked and amplified through the sound reinforcement system, the drummer or the 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 mics and mic stands provided by the venue's sound engineer. Other drummers bring all their own mics, or selected mics (e.g., good-quality snare and bass drum mics), to ensure that they have good quality mics on hand. In bars and nightclubs, the microphones supplied by the venue can sometimes be in substandard condition, due to the heavy use they experience.
Monitors[]
Drummers using electronic drums, drum machines, or hybrid acoustic-electric kits (which blend traditional acoustic drums and cymbals with electronic pads) typically use a monitor speaker, keyboard amplifier, or even a small PA system to hear the electronic drum sounds. Even a drummer playing entirely acoustic drums may use a monitor speaker to hear the drums, especially if playing in a loud rock or metal band, where there is substantial onstage volume from large, powerful guitar stacks. Drummers are often given a large speaker cabinet with a 15" subwoofer to help them monitor their bass drum sound (along with a full-range monitor speaker to hear the rest of their kit). Some sound engineers and drummers prefer to use an electronic vibration system, colloquially known as a "butt shaker" or "throne thumper" to monitor the bass drum, because this lowers the stage volume. With a "butt shaker", the "thump" of each bass drum strike causes a vibration in the drum stool; this way the drummer feels their beat on the posterior, rather than hears it.
In-Ear Monitors are also popular among drummers since they also work as earplugs.
Bass drum gear[]
A number of accessories are designed for the bass drum. The bass drum can take advantage of the bass reflex speaker design, in which a tuned port (a hole and a carefully measured tube) are put in a speaker enclosure to improve the bass response at the lowest frequencies. Bass drumhead patches protect the drumhead from the impact of the felt beater. Bass drum pillows are fabric bags with filling or stuffing that can be used to alter the tone or resonance of the bass drum. A less expensive alternative to using a specialized bass drum pillow is to use an old sleeping bag.
Gloves[]
Some drummers wear special drummer's gloves to improve their grip on the sticks when they play. Drumming gloves often have a textured grip surface made of a synthetic or rubber material and mesh or vents on the parts of the glove not used to hold sticks, to ventilate perspiration. Some drummers wear gloves to prevent blisters.
Drum screen[]
In some styles or settings—such as country music clubs or churches, small venues, or when a live recording is being made—the drummer may use a transparent Perspex or Plexiglas drum screen (also known as a drum shield) to dampen the onstage volume of the drums. A screen that completely surrounds the drum kit is known as a drum booth. In live sound applications, drum shields are used so that the audio engineer can have more control over the volume of drums that the audience hears through the PA system mix, or to reduce the overall volume of the drums, as a way to reduce the overall volume of the band. In some recording studios, foam and fabric baffles are used in addition to, or in place of, clear panels. The drawback with foam/cloth baffle panels is that the drummer cannot see well other performers, the record producer, or the audio engineer.
Carpets[]
Drummers often bring a carpet, mats, or rugs to venues to prevent the bass drum and hi-hat stand from "crawling" (moving away) on a slippery surface, which can be caused by the drum head striking the bass drum. The carpet also reduces short reverberations (which is generally but not always an advantage), and helps to prevent damage to the flooring or floor coverings. In shows where multiple drummers will bring their kits onstage over the night, it is common for drummers to mark the location of their stands and pedals with tape, to allow for quicker positioning of a kit to a drummer's accustomed position. Bass drums and hi-hat stands commonly have retractable spikes, to help them grip surfaces such as carpet, or rubber feet, to remain stationary on hard surfaces.
Practice equipment[]
Drummers use a variety of accessories when practicing. Metronomes and beat counters are used to develop a sense of a steady beat. Drum muffling pads may be used to lessen the volume of drums during practicing. A practice pad, held on the lap, on a leg, or mounted on a stand, is used for near-silent practice with drumsticks. A set of practice pads mounted to simulate an entire drum kit is known as a practice kit. In the 2010s, these have largely been superseded by electronic drums, which can be listened to with headphones for quiet practice and by kits with non-sounding mesh heads.
Tuning equipment[]
Drummers use a drum key for tuning their drums and adjusting some drum hardware. Besides the basic type of drum key (a T-handled wrench) there are various tuning wrenches and tools. Basic drum keys are divided into three types which allows for tuning of three types of tuning screws on drums: square (most used), slotted, and hexagonal. Ratchet-type wrenches allow high-tension drums to be tuned easily. Spin keys (utilizing a ball joint) allow for rapid head changing. Torque-wrench keys are available, graphically revealing the torque given to each lug. Also, tension gauges, or meters, which are set on the head, aid drummers to achieve a consistent tuning. Drummers can tune drums "by ear" or use a digital drum tuner, which "measures tympanic pressure" on the drumhead to provide accurate tuning.
Notation and improvisation[]
Drum kit music is either written in music notation (called "drum parts"), learned and played by ear, improvised, or some combination of any of all three of these methods. Professional session musician drummers and big-band drummers are often required to read drum parts. Drum parts are most commonly written on a standard five-line staff. As of 2016, a special percussion clef is used, while previously the bass clef was used. However, even if the bass, or no, clef is used, each line and space is assigned an instrument in the kit, rather than a pitch. In jazz, traditional music, folk music, rock music, and pop music, drummers are expected to be able to learn songs by ear (from a recording or from another musician who is playing or singing the song) and improvise. The degree of improvisation differs among different styles. Jazz and jazz fusion drummers may have lengthy improvised solos in every song. In rock music and blues, there are also drum solos in some songs, although they tend to be shorter than those in jazz. Drummers in all popular music and traditional music styles are expected to be able to improvise accompaniment parts to songs, once they are told the genre or style (e.g., shuffle, ballad, blues).
Recording[]
On early recording media (until 1925), such as wax cylinders and discs carved with an engraving needle, sound balancing meant that musicians had to be moved back in the room. Drums were often put far from the horn (part of the mechanical transducer) to reduce sound distortion.
In the 2020s, drum parts in many popular music styles are often recorded apart from the other instruments and singers, using multitrack recording techniques. Once the drums are recorded, the other instruments (rhythm guitar, piano, etc.), and then vocals, are added. To ensure that the drum tempo is consistent at this type of recording, the drummer usually plays along with a click track (a type of digital metronome) in headphones. The ability to play accurately along with a click track has become an important skill for professional drummers.
Similar Instruments[]
References[]
External Links[]
You Are a Drummer - free drum education resource