What affects the sound of a plate? What is the best way to remove the noise of a small drum.

In the center of the plate there is a hole intended for fixing the tool on a special rack or to attach a belt.

Among the main techniques of the game: Boots with various chopsticks and beaters on suspended plates, steam plates are blowing each other, the game is broken. The sound stops from the applied to the musician plates to his chest.

As a rule, the blows of the plates fall on a strong share, simultaneously with a large drum. Their batchs are written nearby. The sound of plates in Forte sharp, brilliant, wild, in Piano - mysteriously rustling and much softer. In the orchestra, the plates are primarily emphasized by culmination, but often their role is reduced to colorful rhythm or special visual effects.

On the jargon, the musicians sometimes refer to the kit "iron".

Encyclopedic YouTube.

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✪ Music 3. Musical Instruments Symphony Orchestra - Academy of Engineered Sciences

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Paired plates

Alloys for plates

Plates produce from 4 main alloys, the basis of each of them is copper: bell bronze (Bell Bronze), making bronze (Malleable Bronze), brass (BRASS) and nezilber (Nickel Silver, copper, zinc and nickel alloy).

Bell Bronze (Bell Bronze), B20

Also known as the bell metal, this is a alloy, which is traditionally used to create a plate of high quality, gongs, and, how to understand the name, bells. As a rule, it is indicated that the alloy is made from one piece of tin to the four parts of the copper. This composition is most common. Some manufacturers of bells, gongs and plates use small, but significantly changing the nature of the alloy, elements, namely silver, gold and phosphorus. This alloy refers to the so-called two-phase - it is meant that a certain part of the tin did not dissolve in the "grains" of copper, and is located between them. Thus, the metal acquires hardness, but becomes more fragile than single-phase alloys, it also affects how the metal reacts to the forging (Hammering) and the sharpening (lathing) of the metal. Thus, the use of mechanized production methods is very limited.

PAISTE SIGNATURE ALLOY), known as sound alloy and patented in many countries, is issued from the general range. The US patent is particularly interesting, as it discusses the comparative advantages of bell and forging bronze (see below), and indicates that Paiste owns secret technology, which allows to make sheet metal plates. In large orchestras, as a rule, plates from bell tower bronze, which have a large dynamic range than any other are used.

Examples: Sabian HH and HHX, Sabian AA and AAX, most of the Sabian Signature, Zildjian A and A Custom, Zildjian K and K Custom.

Maple Bronze (Malleable Bronze), B8

This is an alloy of tin and copper, containing no more than 8% tin. This is a single-phase alloy and it can be a cold rolling method that it is impossible in the case of bell joint bronze (the exclusion of the average price level of the new generation of Sabian XS20; they are made by leaf rolling alloy B20, which significantly reduces the cost of production, without significantly loss of sound Q20 casting plates). This alloy is available in finished form as a sheet metal of various categories and levels of thickness. Most academic series plates are made from forging bronze, which is suitable for this material. A forging buckets of good quality can be launched into wide production, are advantageous acquisition and, since their sensitivity is lower than that of bell bronze, more suitable for beginner musicians. Starting from the middle of the XX century, attempted to create top-quality plates from forging bronze, initially in order to save. As they say in the already mentioned PAISTE patent: "Less than three decades ago, experiments with conventional bronze sheets or plates were conducted, which contain 8 weighing tin parts. As a result, it was confirmed and recognized as the right "rule of old bronze". It is necessary to understand that by careful processing of a plate, you can achieve significant results in a qualitative relation, using a bronze sheet or a plate, which contains 8 weighing tin parts, but these results cannot even close to what they achieve with traditionally made plates that contain 20 Weighing pieces of tin. " Not everyone will agree with this disappointing statement written by a significant time after creating a very successful Paiste 2002 series. In particular, top quality plates from forging bronze turned out to be particularly suitable for hands-free music. The best of them are currently approaching, and some declare that they have achieved the results equal to the quality of the best plates from bell bronze. [ ]

Examples: Harpy H, Meinl One Of A Kind, Meinl Custom and Amun, Meinl Lightning and Raker, Meinl Classics and Separate Generation X, Meinl Trooper and Cadet, Meinl Meteor and Marathon B18, Orion Solo Pro and Solo Pro Master, Orion Viziuss, PAISTE 2002 and Giant Beat, Paiste 802 and Alpha, Paiste PST8 and PST5, Paiste 502 and separate Exotic Percussion, Pearl Pro, Sabian B8 and B8 Pro, Sabian Pro Sonix, Sabian APX, Saluda Glory, Zildjian ZXT and ZBT.

Brass (BRASS)

Some of the best traditional gongs and plates of China type are made from brass, but mostly this alloy is used to make plates for beginners and toys, as well as for "demonstration" plates that some impact manufacturers provide for demonstration in shop windows. The usual brass for plates is about 38% zinc in copper, an alloy, easy to handle, easily accessible in the market in the form of sheets and the cheapest raw material for a plate that is commonly used. The timbre of sound is warm, but dim, compared to any bronze and very few drummers use such plates.

Examples: Harpy B, Meinl HCS and Marathon M38, Orion Twister, Zildjian Planet Z, Sabian Solar and SBR, PAISTE 302, Paiste PST 3, 101 BRASS and some Exotic Percussion; Pearl, Royal and Stagg.

Nezilber (Nickel Silver)

This is an alloy of copper and nickel (usually without silver), and for some types of student plates, about 12% of nickel is used. Very few specialized top-level plates are also made from this alloy, as well as Honey, which acquire a more modern and exotic sound.

Nezilber is amenable to forging and available in the form of sheets, has a bright sound, but without flickering and sensitivity of bronze alloys with tin. In the first half of the 20th century, the nickel alloys were produced and used in a much larger scale than now, and most of the old records were made, most likely, using plates that contain a significant amount of nickel.

Examples: Some models of Foremost, Meinl Streamer and Marathon N12, Paiste 402, Trowa and some Exotic Percussion, Sabian Signature Glennies Garbage, Saluda SSX, some Zilco.

Other metals

Also, plates are made of bronze with the addition of silicon and aluminum, but these alloys did not get much spread.

The German company MEINL uses four different bronze. These are B20 alloys (80% copper, 20% tin, silver traces), B12 (88% copper, 12% tin, silver traces), B10 (90% copper, 10% tin, silver traces), B8 (92% copper, 8% tin, silver traces).

MEINL FX9 is an alloy of copper, manganese, tin and aluminum, which is used in the production of the new Meinl Generation X series, released in 2003. Previous models of this series have been made of forging bronze. MEINL describes the FX9 alloy (69% of copper, 15% manganese, 15% zinc, 1% aluminum) not as bronze, which should mean that it does not undergo copper. At the same time, there is an opinion that the word "bronze" should be used for two-phase alloys, which are used in these situations.

SALUDA GH alloys are a series of four different alloys, each is based on copper and consists in general from eleven elements. All of them have already been discontinued. Saluda describes them as "flexible bronze" (FLEX BRONZE).

Unlike plates, some gongs are made of several metals fused together. Many different metals are used. Parts of some of the traditional gongs, as the best of the "pacifle" gongs are made from the gland-based alloys.

Secret alloys

In the past alloys used by some masters, were carefully protected secrets. Modern chemical analysis made this approach impossible, nevertheless, some sources still make such statements. The manufacture of plates contains many secrets, but the composition of the alloy does not apply to them.

Plate manufacturers

Main article: List of shock tools manufacturers

30.04.2010

Plates (CYMBALS) - This is more or less flat metal plate is usually round shape made from a special alloy. Plates are used in many ensembles, ranging from the symphony orchestra, shock ensembles, jazz bands, ending with rock bands and military orchestras. Drum installations typically include at least Crash (Crash Cymbal.), Hi-Hat (HI-HAT) andRide (Ride Cymbal).

Most modern plates - tools of uncertain height, that is noise. However, there are and tonic plates, that is, those that give a certain note. Among the modern plates are small plates in the form of a bowl. There are also cROTALY (crotales., Latin crotalum) - Sets of tonal plates, in which flat plates with a diameter of about 10 cm with a nipple in the center. Such tools are little similar to modern plates and sound like small tonal bells. However, they are made by manufacturers of plates from plate alloys; In addition, there are "intermediate" tonal noise tools (for example, a ZIL BELL Effect of Zildjian).

Building plates

Understanding the structure will help you choose the plates for your installation.

In the structure of the ordinary plate allocate: dome (or base, or bell, bell. ) I. body (bow. , "bias"). In the middle of the dome, it is usually located a hole required for fastening a plate. The body of the plate is conventionally divided by the zone " crash. "(closer to the edge) and zone" ride "(closer to the dome) - in accordance with how the plates are usually played.

Only three surfaces for the drummer strike, from which the sound of the plate depends:

• when playing the dome, the sound is almost a bell.
• in the ride zone, the sound of the plate is not disclosed immediately, so the sound here will be clearer.
• when playing in the crash zone, the plate immediately demonstrates its full sound, so the clarity is reduced by increasing the power of the sound.

The two main and most obvious parameters affecting the sound of a plate are, of course, the size and its weight (thickness).

Plate size - It is its diameter, usually indicated in inches. Large plates, as a rule, give a loud sound, long sustain (the sound will "faded longer") and a smaller attack, compared with small plates. The value also has domar size: Plates with larger, more profiled domes produce more overtons (call) and louder.

Weight (thickness) He strongly affects the volume of sound, clarity / articulation, the overall sound and power of the plate. Thinner plates have a quick attack (as a thin metal begins to fluctuate faster) and it sounds more juicy. Thin crash."and give an explosive and juicy sound, but thin ride"You give more tones and rather" begins ", not giving special definition. In general, thin plates are better at low or average volume. Heavy plates have a wider and loud sound; heavy crash."and give a greater attack and better cut through, and heavy hat.'S I. ride"You give a clear and clear articulation, so every blow is heard. Average plates are a compromise solution" for all occasions ", but it may be better to have both thin and heavy plates to get a maximum of diversity.
Conclusion: Heavy plates give a greater volume, sustain and sound height.

Profile Tarelki. (Profile) - Another important parameter (see Figure above). The greater the profile value, the higher the sound. Low sounds merge well with music. High sounds are sharper and better suitable with a loud game.
Conclusion: The higher the profile, the higher the sound, bright and teething sound.

Narrowing (Taper) - the degree of reduction of metal thickness from the center to the edge of the plate, on which more " crash."Eva" or more " ride"Oh" sound. Metal thickness crash."She smoothly decreases immediately from the center to the edge of the plate, and the thickness of the metal ride"OI is almost the same and comes only to the very edge of the plate.

In form Plates can be very different. The dome usually happens in the form of a bowl or nipple, but its dimensions can vary from almost imperceptible to about half of the radius of the plate. Nevertheless, in common types of plates, the dome most often has the shape of the bowl and the diameter of about 1/5 diameter of the plate.
The dish body may have a different form, usually dependent on the type of plate. On the axis of the opening in the dome of the plates, there are most often round, but there are oval, octagonal and other forms.

The plate profile can be absolutely flat, curved, have a cone shape, but most often it is an ellipsoid (a bowl form), like the form of the dome, only with a much larger curvature radius. The edge of the plate can also be curved up (in type plates china.) And down. In addition, sometimes additional actions are made above the plates so that in some way or another to influence the timbre of the sound, for example, the holes are done, rivets are inserted or the metal parts of the other shape are attached.

Make plates with casting, sharpening, forging, pressing, after which they are sometimes minted with the help of cars or manually. The slightest deviations in the curvature of the metal create mechanical stresses in it, which can seriously affect the sound. The size and location of the forging strikes are sufficiently important: the more diverse curvature of the metal from the forging, the more juicy sound. Therefore, the plates of manual forging are more appreciated: they have the location and force of forging forging more diverse and unpredictable.

Alloys for plates There are most different. 4 main alloy are isolated, the basis of each of them is copper: bell bronze (Bell Bronze), making bronze (Malleable Bronze), brass (brass) and nezilber (Nickel Silver, copper, zinc and nickel alloy).

Marking Plate

Modern labeling plates includes a series, weight, type of plate and diameter.

For example: 14 "A.CustomMedium.Crash (A.Custom - Name of a series of firm platesZildjian,Medium - indication on the weight of the plate,Crash - Type of Plate).

Weight designation plates are usually chosen from a row extra-Thin. ("super-thin") or paper-Thin ("Slim as paper") - thin. ("thin") - medium.thin. ("halftone") - medium. or without labeling ("middle") - medium.heavy. ("Floor") - heavy. ("Heavy") - eXTRA-heavy. ("superheavy").

Sometimes other adjectives are used, indicating weight: studio. ("For Studio" \u003d medium.thin., halftone), stage. ("For a concert" \u003d medium.heavy., light heavy), rock ("for rock" \u003d heavy., heavy) power ("Powerful" \u003d heavy., heavy) metal ("for metal" \u003d eXTRA-heavy., super heavy).

Also in marking you can meet the following words:
bell. ("bell"), bright ("bright"), brilliant. ("brilliant"), crush ("crushing"), dark. ("gloomy"), deep. ("deep"), dRY ("dry"), fast. ("With a quick attack"), fULL ("full"), fusion ("fusion"), light ("easy"), power ("powerful"), projection. ("cutting"), thrash. ("Punching"), tight ("dense"), tRASH ("dirty") and others.

Similar designations for each manufacturer's company their own, they must help when choosing a plate, pointing to the specifics of its sound. If you deal with signature.-Seria, the marking of the plate consists only of the name of its own, often without indication of weight or tone.

Types of plates

Crash type plates (Crash)

Sound: produce a powerful broadband outon sound when playing.

Application
A pair of such plates is used as orchestral plates, and the sound is removed by hitting the plates about each other, hence the English name hand Cymbals..
One or more single suspended plates crash. Apply in shock installations, and the sound is most often used by the shoulder impact of the wand along the edge of the plate.
In both cases, plates like crash. Used mainly for playing accents.

View
Type plates crash. They produce the most varied weights, from the thinmost to very heavy, but the edge of the plates should be thin enough. In general, for profile type plates crash. Characteristic is the largest thickness of the dome, smoothly decreasing to the edge, due to which crash.'And have a dense broadband sound. Typical size (diameter) crash.-Thero - 16 "or 18", although large manufacturers offer plates from 14 "to 20", and the order produce plates from 8 "to 28". Couples of orchestral plates usually have a diameter from 16 "to 21", but the pairs are produced up to 5 ".

Hi-Hat (Hi-Hat)

High-Hat (eng. hi-Hat. or hihat.), often referred to simply "Hat", - another type of paired plates having orchestral plates in their origins and, then, low-Sock.
High-Hat is a pair of plates (according to the profile of the same as crash.), fixed on a special rack with a foot mechanism, allowing you to strike one different plate, and the design of this rack has changed little since its creation.

Sound
There are open (dishes diluted) and closed (plates come into contact, since the pedal is pressed) the position of High-Hat, and the sound is removed as a blow of the sticks in both of these positions, and by pressing the foot on the pedal, as a result of which the plates hit each other.

View

Driving design
Initially, there was an idea to "save a musician" playing on plates, and combine its function with the "main" drummer. As a result, the mechanism for colliding plates was invented - the so-called low-Sock- Representing a pedal actuator installed on the floor to which a pair of orchestral plates was mounted. Such a device made it possible to free up the hands of the drummer's hand to play on other drums. The plates themselves were at the floor, so it was impossible to play with chopsticks. Later, one of the legendary pioneers Jazz Gene Krupa together with Armand Zildjian invented the modern stand design, where the plates were located horizontally above the small drum.

Generally distinguish pedal actuators sOCK. ("hit") and type choke ("Put"): In the first of them, the lower plate is mobile, and in the second - the top. Modern actuators are usually second type. In addition, there are cable drives that allow you to fasten a pair of plates almost anywhere and manage their collision pedal through the cable. Modern racks for hi-Hat. Also have a special adjusting screw, which lifts one side of the bottom plate, so that when you press the pedal, the plates are disordered at the same time along the entire circumference, but as if starting from one edge. This direction of collision is necessary so that the air is faster from the space between the plates.

Dimensions of plates
Before the 1960s, High Hat 14 "and, less often, 13" were produced. In the early 1970s, heavy rock drummers, first of all John Bonham, began to use 15 "-e High Hat. In the late 1970s, Sabian released its revolutionary 10" mini Hats.who gave a clear cutting sound, perfect for writing in the studio. Later, manufacturers began experimenting with rivets inserted into the lower plate, but by the end of the 1990s it turned out that all these tricks did not take place, and now in the overwhelming majority of cases, 13 "or 14" plates are used without rivets.

Technical solutions for rapid air outflows
Another interesting idea was an attempt to provide a quick outflow of air from the space between the plates - in order to get a clearer sound. Two technical solutions have taken place: holes in the bottom plate and a curved plane. The last solution has two options: the edge of the plate itself can be curved or between the plates insert an additional element of the wavy shape.

Modern High Hati is usually much harder to modern crash.-Terlock, which reflects the general trend towards the weighing of the hate and relief crash.'to her. The latest innovation was the use of different plates in one High-Hate, and some drummers use together plates from different series, from different manufacturers and even different sizes.

Ride Type Plates (Ride)

Term ride Apply to designation as a plate of diskage in the drum part (i.e., to indicate a plate, with the help of which rhythms) and the type of plate itself. Many manufacturers of plates make not only type plates ride, but also type ride / Crash. or cRASH / RIDE.. In the same time ride- Pattern, that is, a rhythmic canvas, often play on the plates of other types - china., sizzle, swish, pang. and even crash..

On the other hand, nothing prevents the use of a type plate ride as crash., that is, to play accent on it. A strong blow to the edge ride "and gives a powerful and long fading sound. For example, Keith Moon generally used only ride-Tellites, the largest of which served also crash.'Ami. In general, the division of basic plates on crash. and ride - This is a fairly modern solution. Old plates called only in size and weight, otherwise they did not name anything at all, but how to use it, each drummer solved for himself.

Sound
When playing a plate type ride gives a long ringing, a somewhat hissing sound, unlike a quickly ploking sound crash.'to her.

View
Most often used ride'S diameter 20 ", but the standard are considered to be sizes from 18" to 22 ". Large manufacturers are manufactured ride'S diameter from 16 "to 26", but it is possible to find ride'S right up to 8 ".
The more thicker rideThe better it sounds in loud music, and, unlike crash.'To her, the edge of the plate ride Usually quite thick. Often ride - the largest plate in the installation, but sometimes drummers as the second ride Use type plates china. or sizzlewhich in this case are more, but thinner ride'but.

Sizzle type plates

Type plates sizzle (translated from the English. "Sweep", "cheeky") - this ride'S, to which any rattles are added to change any rattles, most often rivets or chains.

Sound
At the same time, the sound, of course, becomes more loud and cutting, but the dynamic range is reduced, since with a very quiet game there may be not enough energy so that the rattles are fluid.

View

First option- Rivets. Rivets are installed in the holes done in the plate, so that the rivets can fluctuate, but did not fall out. In classic sizzle-Tellic rivets are located in several (usually four or more) holes that are evenly located along the edge of the plate.

There were other options for rivets, but "passed" only one is the location on a plate of only three rivets in the holes along the edge of the plate, near. Such plates who have been referred to the great future in the late 1980s and early 1990s, survived the peak of their popularity, so without becoming a replacement ride-Thero.

There were many attempts (mostly unsuccessful) to insert rivets into the lower plates of High-Hats, in the plate plates crash., splash. and even bell-splash.. Currently, except ride"OH, rivets are used in type plates swish and sometimes pang.which are more often used to play in the style of fusion and in jazz. Some manufacturers say that if they take rivets from their plates, then its timbre will be restored, despite the holes. In most cases, it is not so, and the holes make the sound worse, although some classic plates really restore their timbre.

Second option - Application of chains, without additional holes. Undoubted advantage is that chains can be easily removed by turning a plate into ordinary ride. Such rattles have the appearance of ball chains and happen two types:
- chain (rivet sizzlers), which is mounted in one end at the rack, and the second hangs on the plate,

Whole design (shain sizzlers) from chains that are attached on a horizontal bar. The bar is put on the rack so that the chains touches the surface of the plate.

Splash type plates (splash)

Type plates splash. - one of the main types of the effect - plates (along with plates china.) - These are small and thin plates.

View and sound
By construction splash. represents very thin and small crash., and the body of the plate practically does not change the thickness of the dome to the edge, and the dome is slightly thicker, so the published sound is perceived as "empty" and less dense than " crash.But, nevertheless, cutting and with a very sharp attack.

Splash-plates are used to play accents, most often syncous, and they are usually played very hard. For a more quiet game, some manufacturers offer thin splash.'And, in which the profile is similar to crash.But the edge of them turns out so thin that with carelessly strong impact the plate can break.

China.-Tarles diameter 12 "and less often called china Splash, and sometimes mini chinese. There are, however, china Splash"And which differ in form from classic china.

Another way to use plates splash. applied to them together with other plates when a type plate splash. It is installed on the same rack so as to have a constant contact with the second plate.

Usually splash.-Terlines have a diameter from 6 "to 12". Some manufacturers make plates marked as splash., diameter up to 22 ", although they would rather need to be called thin crash.'Ami. However, the most popular sizes for splash. There are 10 "and 8".

Chain type plates (China)

Sound
Type plates china. ("Chinese") in Western music - these are plates whose sound is usually described as containing "dirty" tone than they look like a gong.

View
Real plates type china. They have a cylindrical or truncated dome (that is, in the cross section of a rectangular or trapezoidal) form, and the edge of the plates will be turned up, that is, against the main direction of bending of the body. The body of the plate itself practically does not change the thickness of the dome to the edge, and the central region, including the inside of the dome, usually not polished. However, some china.-Tello does not have some of these signs, so it is possible to determine whether the timbre can be definitely determined - the sound happens rather from China than from Turkey, the birthplace of the traditional Western production plates. Some manufacturers, however, distinguish china., swish and pang.and others denote all these three types in one word china., although actually plates swish and pang. Combine some characteristics of Turkish and some Chinese design.

Plates china. Release from 6 "to 27" in diameter. 12 "plates" and less often called china Splash or mini chinese. Sometimes these plates suspend the dome up, as well as ordinary, but more often all the same dome down. As part of the shock installation, they are considered to be the effects.

It is known that some ordinary plates, if you hang them down the dome, can give a dirty tone, which, however, is far from the brilliant "Chinese" timbre. And on the contrary, plates china.if you suspend the dome down, can give greater latitude of timbres, but you need to play carefully because there is a possibility of split if the edge turned china. With this suspension falls under a strong blow.

Playing by china.-Teros as crash.- and ride-tar, and for the latter you need a dome, so some china. They have a turned dome so that you can hang them up, but the edges turned down and did not fall under the blow.

SWISH and PANG plates

Type plates swish and pang. - These are the plates of the "Chinese group", designed more for the game ride-pali (i.e., conducting rhythm, rhythmic canvas), which appeared more or less as a result of cooperation between Gene Krupa and Avedis Zildjian Company.

View
AND swish and pang. have turned edge like china., and similar timbre, but the usual round dome. Nevertheless, some (but not all) manufacturers call them too china..
Ordinary sizes for plates swish - from 16 "to 22", and pang. - from 18 to 20. "

Sound
Swish has a higher tone than pang., more blurred and with a less notable ringing, and there is a suspicion that the names of these plates come from the sound of them. Difference in Temmbra swish and pang. essential because originally plates swish sold with rivets (see sizzle-Tellic), and pang. - without rivets. Naturally, some brave drummers immediately tried to remove rivets from swish, as well as insert rivets in pang.. After some time, both types of plates in the usual and in sizzle-Thevers, which gave two different timbre.

At the end of the twentieth century, interest in these plates completely fell, but at the very beginning of the new century swish-Tellis appeared again in the directories of leading manufacturers, for example, Zildjian and Paiste, and pang.-Telli in principle can be purchased from several less well-known firms, for example, Istanbul. However, as mentioned earlier, in the catalogs of some manufacturers, for example, Sabian, you can find many models china.who "China" only by name, and in form and timbre are actually swishLine.

* Other varieties of plates

Finger plane plates

Finger plates, or zil. (Turkish. zil. - "Plate"), was originally used in the abdomen dance. Set zil.-Tellic consists of four plates worn on the fingers (paired each hand). Plates are attached to the fingers using a rubber band: one is put on the middle finger, the other is on the big one.

Zil-Therki make more often from brass than from bronze, about 2 diameters ". Driving a dancer dance belly differ" silver tone "and" Golden tone " zil.'OV, know a whole range of game techniques for them and can have several sets for different dances.

In modern music zil.'S are rarely applied. In this case, they are called simply "finger plates" and are used to give music "Middle Eastern" sound.

Classification of plates
in terms of quality and cost

Plates are sold separately from installation and come:

• SUB-ENTRY LEVEL,
• Entry Level,
• Student Level.
• Pro Level.

The standard set of plates for beginner on installation of five drums consists of 20 "Ride Cymbal, 16" Crash Cymbal, and a pair of 14 "Hi Hats.

If you do not plan to sit in beginners, and already know how to skip something, it is better to skip the plates from the lower categories and buy a decent option.

1. SUB-ENTRY LEVEL CYMBALS ($ 100 to 150 per set)

The plates in this price category usually do not contain bronze, alloy of brass sounding or nickel-plated silver. Quickly dump, and since very thin, then short-lived.

• PAISTE 302.
• Sabian Solar.
• Pearl Cymbals.
• Meinl Marathon.
• Meinl Headliner.
• Camber
• Yamaha Cymbals.
• ZILDJIAN PLANET Z.

2. Entry Level / Beginner Cymbals ($ 150 to $ 250 per set)

Many models are a pretty good choice. Most of the alloys used contain bronze B8 / CUSN8 (92% copper, 8% tin). Standard Dimensions of Set 14 "Hi-Hats, 16" Crashes and 20 "Rides. The set can contain splash and china plates. This is the best option for the very first installation.

• Zildjian ZBT.
• Sabian B8.
• PAISTE 502, 802
• Meinl MCS.

3. Student Level Cymbals ($ 200 to $ 300 per set)

Wide selection of models, the best choice to start, but if you change your level set entry / Beginner., it is better to leave this option without attention and turn to more expensive plates. Plates student Level.strong entry / Beginner.But there is no big difference. All the same alloy B8 is used.

• Sabian B8 Pro.
• Sabian XS20
• Zildjian ZXT.
• Paiste Alpha.
• Tosco by Sabian (B20 alloy)
• Alchemy A.r.t. (by Istanbul Agop, B8)
• Meinl Raker
• Meinl SoundCaster

4. Professional LEVEL CYMBALS ($ 300 per set and higher,
as a rule, on sale each plate separately)

Bronze alloys are used. The "European" alloy B8 sounds brightly, while "Turkish" B20 alloy (20% tin and 80% copper) is more tonally saturated. Over time, the difference between these alloys has become vague, and now there are often their combinations.

• Avedis (a), a Custom by Zildjian
• AA, AAX, HHX AND EVOLUTION BY SABIAN
• Sound Formula, Dimensions, Signature, Innovations by Paiste
• MEINL M-SERIES
• Meinl One Of A Kind

* Rock Cymbals.

Specially designed series with pronounced loud sound and high frequencies.

• Sabian Aa Metal X
• Sabian Pro Sonix.
• Zildjian Z Custom
• PAISTE RUDE.
• Zildjian Z.
• Bosphorus Gold.
• Meinl MB20.
• Meinl MB10.
• Meinl MB8.

* Jazz Cymbals.

In this classification, the plates have a dry sound with "dark" tones and are designed to execute music in the style of jazz.

• Sabian HH (Hand Hammered)
• Paiste Traditionals.
• Zildjian K (Kerope)
• Zildjian K Custom
• Zildjian K constantinople.
• Bosphorus Antique, New Orleans, TURK, TRADITIONAL, VERSA, MASTER, HAMMER
• Wuhan.
• Istanbul Agop.
• Istanbul Mehmet.
• Turkish
• SPIZZ (SPIZZICINO)
• MEINL AMUN, BYZANCE

An article about how to choose the plates for the drums.

How to find exactly those plates that are needed and how to find them among a wide variety of models of various manufacturers?

First, think about what kind of sound requirements and the sensations of the plate you prevent (pure or dirty, dark or bright, powerful or neat must be). What is the musical context in which you are going to use it (style, number of group tools and their volume). Applications that you create (personal style of play, the main pace and rhythms, the volume, sensation during the dish in a plate).

Secondly, shut up (with the dictionary) literature on plates, visit music forums and sites of plates of plates:

• And many others in search engines

On many sites you can listen to the sounds of plates and download them. Before you throw to buy a plate of the company that your favorite drummer uses, look and listen to the goods from other manufacturers. For example, most of my favorite drummers use or enjoyed, at one time, Zildjian plates. I am absolutely not suitable for their sound and the choice in the series does not suit. For a long time I played on Sabian plates, after I used meinl plates, now I play on the paiste plates, since they, nevertheless, are suitable more than others.

On the sites of manufacturers, there are many footnotes on the sets of plates, which are used by different drummers; So, try to listen to the same plates from different people and in different musical contexts, but suddenly it turns out that you need absolutely not what you have already gathered to spend money.

Well, we go to those criteria that will help you find the desired sound. Take the most attention to the size and thickness.

These characteristics are basic, as they determine the sound of the plate as a whole: height, sound tone and sustain (sound duration).

As interconnected: the same smaller model will sound higher and shorter than a larger plate.

In turn, the thin and thick plate of the same size sounds like this: thin - lower and shorter, and fat - above and longer. Also, thin plates sound quieter than thick.

The plate may sound very bright or very dark, which depends on the predominance of low or high frequencies in its sound. Low - dark, high - brightly. In any plate there are those others, but in different proportions, which depends on the material of the manufacture (alloy), the shape of the plate (the closer to the plane, the lower, darker and warmer, the closer to the cone, the higher, brighter and sharper) and processing methods (manual or machine forging and sharpening, polishing, surface treatment).

Accordingly, the frequency range is allocated (narrow or wide). The wider the range, the more the sound than the range already, the more compact, and the plate sounds more definitely.

A wide range suggests that a plate in most applications will sound adequately. A narrow (or close to it) The range of the plate suggests that it may not be under all harmony, but on the other hand such a plate will not "be lost" for powerful "drive" guitars even in very heavy music. The range is very well listening, if the plate of Mullet or chopsticks "spend" from silence to a loud "shshsh". Thus, "okay" in this way, you first hear the measuring buzz of low or medium-low frequencies, then the increase in the average and, finally, the "splash" of the high middle and high frequency splash.

Each plate has its frequency mix, from very pure (clear) to a very complex (dirty).

These terms are determined by the predominance of any frequencies in the mix of plates or their "equal frequency proportions. The main "voice" of the plate is determined by this mix. Neither the one nor another mixing options are the only true; They are perfectly listened in combination of plates. Sometimes it is necessary to have a very clear and clear sound of crash plates, and sometimes, it just does not do without a "dirty" crash-riding and vice versa. It all depends on what and how you play.

Anatomy plates and its influence on the sound

"Bowl" (Bell) - Center Plate; The shape and size of it determine the sound of a plate. A large and high "cup" makes the plate "above" and louder. Little and low (flat), respectively - quieter and "darker" (below). Usually the bowl produces a high pure tone with small overtones. It is used to play rhythmic figures (meaning the game on Ryde (Ride) to the plate).

"Edge" (edge) - a blow on the edge implements the most complete and loud sound of a plate. The region is the most delicate part of the plate, as in most cases (Crash, Splash, Crash-Ride, China) is the most played part of the plate. Accordingly, do not play superfluous and do not dilute without necessary, so as not to remember, do not drive or not break the plate.

Most often from the bowl to the edge, the plate is gradually thinned, since the thin edge reacts faster and more vibrates, which affects the greater volume. The bowl is usually thicker than the edge so that it can be used in rhythmic articulation, but there are also plates from which the surface from the bowl to the edge is equally thin. As a rule, these are models with not very loud, warm, thick, shrinking sound and assume use in such styles like Jazz, Country, Latin, Reggae, Drum'n'Bass.

The "surface" (surface) plates produces the largest amount of vibrations, and, accordingly, determines the sound of the plate. Due to the game at different points of the surface and different tools (sticks, brushes, mullets), you can extract completely different sounds both in volume and in character.

Summarizing okay again all the moments you need to know and from which you need to repel when choosing a plate:

• Music style
• The number of tools in the group and their sound
• Already available plates (if you dock something to the kit)
• Your drum sticks (thin sticks do not fit to thick plates, and thick sticks "kill" thin plates)
• The size of your drums (big plates overlap the sound of small drums and vice versa)

And most importantly: choose that sound you want to hear and which you want to enjoy

Characteristics of plates and their sound:

All that can be read below is not a complete and unconditional instruction for the successful selection of the required set of plates. Yes, in fact, it is hardly possible for several reasons:

Much depends on the music, which is supposed to be executed, not every plate is capable equally well to fit into the sound palette of different styles;
Even more depends on the personal habits and preferences of the drummer itself, the effect on the sound of such a purely individual characteristics, like a sound-recovery manner, handling, impact strength and even addiction to a certain model of sticks - all this is capable of changing enough to change the color and the intensity of the tool sound
Therefore, the main task of this material is to give some understanding of the basic parameters of the plates, as objective, so subjective to help on their basis, to determine the main criteria for which they then begin the selection of their personal setup. "

Size and thickness

These are the most obvious parameters that determine the height and duration of the sound of the plate. And the dependence here is also traced quite simple: with all other equal (i.e., provided that there are in mind the models of the same series), the boom size means a lower tone, and the thick thickness increases the color color. As for the duration of the sound (sustain), then, the thicker and more plate, the longer the sound.

In this case, it means not the mass of the plate, and its thickness is proportional to the size. Variation of this ratio allows manufacturers to achieve very diverse, finely nuanced results within one model range. Those. When using the same alloy and manufacturing technology, it becomes possible to obtain a wide range of plates with different shades of sound. The simplest weight of the weight on the sound can be described as follows: when the thickness increases, the volume increases, the frequency spectrum reproduced by a plate is slightly narrows, the sound itself becomes "cleaner" and more clear, and the duration of the sound increases. With an increase in size, the volume also rises, but the sound becomes more "blurred", albeit in a wider frequency range; On the sustain, the increase in size affects the positive way. For the most, probably, visual example of the impact of the weight of the plate on its sound, you should take two opposites:
- A very small and very thick plate will have an average volume, very clear and long sound (since the increase in mass in general always has an influence on sound characteristics than comparable size changes);
- A very large and very thin plate will sound on the average arrangement and "blurry", the sound will have a large number of overtones in the entire frequency spectrum, and the duration of the sound will remain long.
On this example, it is very clearly visible how large sustain can be achieved, while using different methods of manufacture: in the first case, the duration of the sound increases due to the increase in thickness, and in the second - by increasing the size of the plate.

Frequency spectrum

The frequency range of any dish conditionally can be divided into 3 parts, roughly top, bottom and middle. First about the second and third part of the spectrum. The upper and lower border on the hearing is easiest to determine as follows: The lowest reproducible frequencies can be heard by hitting a plate with a litter wand with a soft felt head, and high oracleon is easy to reproduce with a blow of a thick end stick in the plane, as much as possible parallel surface of the plate.

The spectrum of sound is one of the most important, resulting characteristics. A wider spectrum means a more indefinite, but very "filling" sound, while the narrow frequency range is expressed in a "specific", focused saound. By the way, as for High Heta, a very interesting dependence between the thickness difference between the upper and lower plate and the spectrum of the sound of the pair is traced here: the more this difference, the wider the frequency range of the sound, with all the consequences of this.
Now about the main component of the sound, which, in general, and defines the "character" of a certain model - about the middle part of the reproducible frequency spectrum, the idea of \u200b\u200bwhich can be made by hitting with the average force along the edge of the plate. In this case, if the presence of the mid-frequency component is not enough, then the sound for rumor will be determined as very "clean", since the low-frequency and high-frequency components of the sound will sound almost independently of each other in the absence (or minor presence) "connecting link" in the form of medium frequencies . Conversely, if the presence of "mid" in the overall spectrum of sound is great, then the extreme (upper and lower) tones will significantly influence each other, as if "flowing" one in another with "mediation" strongly resonant "mid". Then the sound of the plate is more likely to determine as "dirty", with a decent number of "sand". But this is who someone else like ...

Volume

This parameter, in the extreme values, can be determined in this way:

How quiet can be played in a plate without losing the characteristic sound characteristic;
To what extent can you play on this model, while its sound does not lose the purity and good readability of the main tone.
Probably, the last item can be illustrated as follows. If, let's say, there are 3 crash in the set "A, 2 of which refer to the category" Heavy "(or" Power "), and the third to the class" Thin ", then trying to use them equally, sooner or later you will feel clear discomfort From the sound of Thin Crash. The inverse situation, with the presence of 2 "light" class and one - from Power Range, just perfectly moderates the first item: more "a powerful plate, in all likelihood, it will not sound in chance because it will not be" Rather "to the level of volume when it really starts to sound truly.

We cope with the rattling, set up the drum, correctly store, etc.

At one or another stage of his career, each drummer faces questions regarding the tool and technology of the game: how to remove the unwanted rattle of the springs of the working drum, how to polish the plates, or how to make the sound of the barrels of the bulk.

To help you achieve better results and quickly cope with problems, we accounted for a list of answers to the most frequent issues arising from drummers at one time or another. As an expert, Jeff Nichols from Black Sabbath and his friends.

So, let's begin.

In what conditions to keep the drum?

Simon Jayes says from The London Drum Company: "In stock we have about 120 small drums. All of them lie without cases and always configured. I believe that it is not necessary to upset or reduce the tension of the drums. I am sure that the storage of drums in the customized state retains them in shape. So less likely that they will be upset when you start playing them. Tensioning devices are always in active state so that the springs are not damaged and remained stretched. "

"The only golden rule when storing drums is to avoid dampness and humidity at any cost. Drums can transfer extreme temperatures - cold and heat, but the main thing is that your room is dry and ventilated (if possible). Then your drums will be in excellent condition. And, of course, once a few months they need to lubricate, wash dust and the like. "

What is needed to play in the electronic drum installation live?

Simply put, the electronic drums sounded well at the concert, they need a serious strengthening. No matter how expensive, your high-quality e-drums, you can lose a lot in sound, if there is no decent amplifier. Even a cheap acoustic installation has a much greater dynamic range than an electronic, and in small rooms does not need to be strengthened at all. Although PA technologies have become very common in recent years, for most beginner groups with compact PA and weak monitors, the use of electronic drums will become a serious test of limits.

Since the drums have a wide range of extremely penetrating dynamics, you need special amplifiers that can cope with the widest frequency range. In fact, you will need good active offices and sabbufer, the total price of which will be from $ 800 to $ 1,700.

Yamaha and Roland systems will cost $ 650- $ 830. They are well suited for personal monitoring. But still many drummers are focused on more professional monitors. Expert on electronic drums Simon Edgoose advises: "I would recommend to purchase two Mackie SRM450 or something of the same level for use as small monitors. Only so you can hear yourself. The trick is to start the dynamics about half the power (it is necessary to take with a reserve, the columns should not work at the maximum). Then you will get an excellent sound. A large column operating on half volume sounds much better than a small volume. "

Do you need to clean the plates?

In addition to sound, there are two more points relating to cleaning plates: (1) How safe is for them; And (2) How do you want your "iron"? Musical activity is very important image. Some groups require crystal purity and tidy, others rather, rather than grunging.

Regardless of your preferences, the plates should always be dry. Increased humidity at rehearsal points and in concert halls, sweaty hands and acid deposits are a serious threat to "iron". Peer drummers use cotton gloves, wipe the plates with a soft cloth and store them in special covers. Modern covers with wool pads retain plates warm and dry.

Nevertheless, how carefully you did not care about your "hardware", over time it is dirty. Dirt rolls in the groove, and the sound becomes another. In terms of sound there are arguments both and against cleaning.

The famous British drummer Steve White shares his experience: "I am especially not worried about cleaning plates. I like when Patina accumulates on them, as it softens the ringing characteristic of new plates. This is my subjective opinion, but if I was going to clean my "iron", I would use warm water and a little detergent. Everything else can scratch it. "

Indeed, Patina on plates gives them a softer sound, which has to like many drummers. "Patina" is an uncertain term. This is a special appearance, a combination of various chemical compounds on copper and bronze alloys, including oxides, sulphides, carbonates, sulfates. Do you remember the characteristic green color of the statue of freedom? - It is made of copper. Unlike rust on items from iron, Patina does not destroy, but, on the contrary, protects copper and bronze from destruction.

Companies produce plates dazzling clean and shiny. So they have a very attractive appearance, and it seems that so they sound much better. However, this is not quite true, but rather, the psychological effect.

If you still want to clean your "iron", be careful. Dear plates are made of strongly tempered alloy, many have special protective coatings. Some cleaning substances can cause scratches, and too intense polishing may affect the nature of the sound.

Plates with chips can sound less high frequency. And for many players who love the dark mysterious timbre traditionally associated with very old Zildjians, this is a plus.

Many bass-drum pedals and Hai-Hat have plugs installed to counter the problem, but let's look at possible reasons. If your leg gives stronger than you want, it creates unwanted tension in your posture, which affects execution. If you have big legs (and you're high), it can aggravate the problem, but the reason is most likely in the other. Something makes you click on the pedal when you already want to stop the pressure. This is most likely tension. Ideally, the knee angle should be a little more than 90 °, that is, your shin must be tilted a little ahead. This gives you freedom and determines whether your heel will be raised or not to move up and down without tossing the leg. But if your entire body is tilted forward, the corner in the knee can fall below 90 ° to an acute corner of the caller.

The aforementioned causes are caused by nervous voltage. The more you are tense, the more you will "go" forward, and if you are more relaxed, then you will sit evenly. In general, if for any reason you are tense, that is, the natural tendency to "go" ahead. It can affect your position during the game, so you may notice that in the small drum you are not exactly in the center. Or you just can notice how your shins are "slid" forward, so the knee angle becomes more than 90 °. In this case, it can be too big angle for efficient power and manageability during the game.

In any case, there are two items that you can adopt. First, write down on video (or at least take a picture) your game and carefully analyze what is happening. Secondly, carefully examine professional players with a good posture.

Why do the hole in my bass drum?

The cutting of the hole in the front increases the attack, reduces the duration of the note and reduces the resonance. At the end of the 60s and 70s, the drummers were completely removed from the front part and used various attenuators for muffling, together with a similar location of microphones and using multiple microphones.

In the 80s drummers returned back the front part, but cut out the "porthole". Today, some drummers return to the use of a solid front part.

Also in the 70s such rock legends like Kozi Powell played on smaller 14-inch deep barrels with large diameters, i.e. 24 or 26 inches. Today's drummers are wondering why they cannot get a sound as in 26x14 of 22x18 (or even from 20x20). You will get a deep sound, but you will never have such a blow and cotton, like a 14-inch drum.

Ian Peis from Deep Purple adds:

"There are many points that should be considered when setting up a large drum, damping and configuring microphones. First, the only case in which you can cut the hole in the front, it is for the microphone. Acoustic, bass drum sounds better with two solid parts. This gives a depth, long-lasting note and "warm" is that the microphone does not really like! Personally, I love the sound of the bass drum of the "Old School" (with solid parts), but I understand that in the modern world of music with strengthening it will often won't work, as well as trying to "cure" sound with the help of a microphone.

The size of the bass drum is also important. Smaller drums - 20 or 22 inches easier to control, as they operate at a higher frequency than larger drums. For a lifting of a smaller bass-drum with a "porthole", equip it with something like Remo PowerStroke, and the plastic disorder is almost to the point when they begin to look wrinkled. This will give a powerful, energetic sound. It is very useful (and for me it is absolutely necessary) to have good monitors that allow you to hear the bass drum correctly, since most of the volume of acoustic drum is eliminated in order to place the microphone.

Big drums have their own problems, but if you are configured correctly, they will give you more satisfaction and, if required, more powerful sound. You must use more internal might in order to eradicate overtones and the pride inherent in the drum. And I really could not find a method that would work perfectly for each drum. The beater for bass drum is also important: if the beater is soft - you lose the pulse, if you are hard - you lose depth.

Many of us are currently moving back in shallow drums. The idea is that the closer the wall to each other, the faster the front wall reacts to the blow of the beater. My stage sets have a bass barrel of 26x14 inches, and I use 24x14 in the studio. On our last album, I used 24x14 with solid walls and reached that I think this is the best sound I ever recorded. Remember: if the drum sounds good for your ears, it will probably sound well and through the microphone. "

Can I fix damaged plates?

If you continue to play a cracked plate, it is very likely that the crack will be more and more until the plate becomes perfectly useless. How long the plate will be able to live cannot be said, but at the same time you will play on a plate with an extraordinarily stray sound.

You can save the cracked plates, after which they will be able to live years. This implies that you are familiar with the basic metal processing. As an alternative, you can find a specialist. The time-tested solution that drummers used decades with different degrees of success is to simply drill a small hole at the end of the crack using the metal drill (possibly 1/8 or 3/16 inches). The idea is that the rounded edges of the opening prevent cracks from further progression.

The plate must be clamped and you must have full protection for hands and eyes, etc. You can apply the isolent to stop the slide drill. Try not to crush, just give the tool to do your job. The problem with this is that you will still have baked edges in the hole. You can, of course make them smoother. But, most likely, the crack will appear again if you accidentally hit next to it. So, as a rule, it is better to cut the entire area around the crack.

This is done by making and grinding a file with round edges around and slightly outside the existing crack. As a result, you will have a rounded cutout in the form of the letter "U" on the edge of the plate, and it should be smoothed with a nonruptive file and grinding.

In order to minimize the possibility of cracking on plates, check how you play. Edge cracks usually arise on crash dishes because they are beaten with a certain effort using the ribs of sticks. To minimize the "shock" effect on a metal plate, tilt your plates at an angle a little to you. That is: Do not install them horizontally, so as not to hit their edge.

A sliding blow goes almost always from a plate, not in it. It also gives you the most complete timbre. Do not hit the plate strongly, since there is no point in achieving the maximum volume of the plate. In addition, make sure that your clamp from felt and centering bushings are always in an exact position so that there is no contact metal-metal. And do not tighten the nut with the ears - let the plate swing freely.

How to adjust the resonant plastics?

The resonant plastics are called so because they add maximum resonance to your sound when the tension reacts to the blow of the main plastic. It turns out that the blow gives the "feeling" and attack, while the resonance is the timbre and sustain. It naturally gives a large tension to your upper plastic, as it sounds great for you, while you are sitting. And when you get up because of the drums and listen to someone else's game from the side, the drums sound boring. This is often the result of neglect of the resonant plastic!

Start with the removal of both plastics from a small volume and wipe the carrier ribs. If you can afford it, then buy new plastics. The easiest option is to have the same plastics from both above and below. Try single-layer coated or Clear Remo Ambassador, Evans G1 or Aquarian Classic / Coated. If you prefer a more "hard dress", then try two-layer (Remo Emperors, PinstRipes or Evans G2S) but it is still desirable to have a single-layer resonance plastic for better sustain and brightness.

Now you have learned about the three options settings: the resonant plastic is stretched in the same way as the main one; or higher (below) than the main one. Configure the upper and lower plastics at the same time for the maximum clean, open tone. Adjust the resonant plastic below for funky sound, saturated, deep sound (but be careful, it can sound boring for a listener "outside"). Or a little higher for a small additional "spark". Some players set up the main plastic in the middle for "fatty", but with sufficient tension for good rebound sticks, and the lower plastic is slightly higher to brighten the effect, especially if there is no microphone softener.

Try starting from the bottom plastic, then install the main and experiment with three options. There is no recipe, how to do it exactly, in addition, how to do it many times, experiment. Guitarists must tune in every time they play. And drummers can forget about customization for weeks, months and years!

Top session drummer Ralph Salmines adds:

"I usually get more tonality from the bottom plastic. After plastics are installed, I'm trying to get about the same height, setting up higher or lower. This gives clean, resonant attenuation. Try to find the height of the sound of that drum, which seems the most natural. I find it usually not too high, closer to the lower boundary of the setting range. I prefer the Clear Ambassador plastics as a resonant and coated Ambassador as the main one. I use Coated Emperors on floor volumes for a small additional "fatty".

I remove the drums from their holders and set up the bottom plastic if I don't get the sound I want. This is extra effort, but they are needed - it really affects the entire sound. I change the lower plates only when they are worn - once a few years probably. The worniness of course also affects the sound. "

What is the best way to remove the noise of a small drum?

All drummers, even mighty tailor and lang, are struggling with a side pride of a small drum - noise or hum. It is typical for the physical design of a small drum - that the drum will respond with response outsiders at a certain point. A small adjustment of the tension of volume or maybe the amplification of the coupling bolts on both sides of the drum can often facilitate the problem. The fact that you do not hear feedback on tailor or Lang record does not mean that they never fight him.

However, there are methods when recording / pitching, which remove unwanted noises. Thomas and Mike give some tips on how they cope with this. Thomas says, "Most of my recordings are made with a closed-microphone and each drum is called a microphone and controlled / is processed by an equalizer / complied individually. This, as a rule, eliminates the noise of a small drum from the mix. "

Mike adds: "The main reason you do not hear too much noise live or in the studio with me is that I prefer to use more microphones in the top (for greater attack) than the lower microphones (which are more characteristic of the sound of a small drum ) In my mixes and drum sounds. "

The setting and attenuation is obviously important, although Mike adds: "adhesive tape on plastic (both in a small drum and on volumes) helps to control excess noise."

Here are still tips from Thomas:

"The noise of a small drum pretty depends on the setting of all drums, as well as from the room / environment, from the type of springs and from the stretner that you use. Personally, I like the noise and I feel that something is missing when it is not. Without noise and the pride of the drums are felt like a lot of separate tools, and not a solid "set". There is a limit on the number of noise with which I can work comfortably, and in the case of too much noise I make a setup and, perhaps, change the angle of volume, and not the tension of the springs.

"I perceive the noise as" glue ", which connects individual components of the entire installation together. Maybe if you look from such a position, this noise becomes a little more pleasant! If you just can't fall in love with it, then experiment with the tuning of your small drum - the tension of the lower plastic and the strainer. There are dozens of various drums (24, 12, 16, some with slots, copper springs, strings, etc.), and each has a slightly different sound, reaction and noise. So you can pick up the perfect number of noise individually. "

What is the secret of the low, the humor sound of bass drum?

The biggest, walker bass drums are huge orchestral drums that have a diameter from 26 to 36 inches, but often shallow - just 10 to 16 inches. They are designed for acoustic sound, do not fade, and have large diameters, because the greater the diameter, the deeper the main tone. On the contrary, much of what has happened for decades with drum kits was directed to the humus management, especially due to the use of the close position of microphones.

The cutting of the hole in the front plastic, damping inside and the use of plastic, which has damping elements in itself or the use of two-layer plastics - all this reduces the hum and helps control sound. For example, a very muted Aquarian Superkick is an excellent plastic if you want to get a dense, deaf blow. It is rather funky, although not much mild.

The use of the "Port Hole" type rings enhances the blow, but reduces the humidity, allowing sound / wave to disperse forward. The greater the hole, the more clear the sound of the drum, but less intense reverb from the case. Damping (plastic or housing) reduces the level of HF and makes the sound of the drum much deeper.

Thus, one-layer plastics should be used for the humidity, both must be solid, plus a drum with a large diameter and a small depth. Consider: Does we have the formula John Bonam and Buddy Richa, both of which played on 26x14 drums? All right! This is a large size characteristic of old groups, intended for acoustic sound used throughout the era of "closely located microphones".

Closely located microphones complicate the picture because it is quite difficult for the microphone to handle the heal bass drum "in the emphasis". But this is a completely different question.

We return to the original question: when we talk about "huts", Simon Phillips immediately remember. Simon is not only one of the great drummers in the world, it is also one of the talented engineers and producers. He advises:

"I would recommend using the front and rear plastic Remo Clear Ambassador. Do not use damping, customize them equally, higher than you usually set up - from this and start. Obviously, the size of the hull will be of great importance. However, if the hull is too deep (deeper than 16 inches), it will not sound great. For this type of setting depth 14 inches is the best, in my opinion. If it is too thick, then you can experiment with damping on the front and rear plastics. Also experiment, configuring the front plastic above and rear below. There are a lot of options, as the bass drum may sound - it all depends on you that you prefer, and, more importantly, how it is suitable for music you play. "

What is the difference between wooden, steel and synthetic drums?

In fact, the size of the hull, plastic and setting is played a large role in the character of sound. When it comes to the case materials, each drummer hears the sound in its own way. You can often hear respected drummers who contradict each other when describing the advantages of metal or plexiglas, or even Clean and Birch. Thus, there is no consensus.

Karl Palmer, who analyzed various drum materials more than many of those who like to talk about it, says:

"For me, the problem of wood has always been this" cozy ", warm sound! This is great for jazz / big band and some types of rock. For example, I have a Bradie set in the eucalyptus (Dzharr tree) finish, the best wooden drums, on which I ever played. The sound is full, loud, deep and clear. Jarra can withstand the pressure of 1800 f \\ sq.dyim (pounds per square inch). Customized very well in the low register, but everything becomes not so good in a high area, say, on the volume 12x8 inches. To get a clear and striking picture at high frequencies, you may need a "smaller caliber" plastic, for example, Ambassador, and not Emperor. This wood offers a very good sound picture at all levels - it is necessary to take into account only the effect of plastic to get a wide range of settings. This will not be said to many other types of wood, which are still used for the production of drums. "

"My personal favorite stainless steel," Karl continues, "because the sound picture in most conditions is extremely good - clear, loud and with a quick reaction. Great for prog rocks! The brightness on high is very good, and the sound seems to go through the housing very quickly - no graininess (like a tree). Also, you have an additional advantage when playing volumes in this case, since the volumes always react slowly. "

"Perspix (Plexiglass) is not as loud as stainless steel, but has some similarities in the sound picture and configuration. Installing Blue Ludwig Vistalite, which I have, in Europe always sounded well and new welds used in the case designs make the setting much faster and better. Drums retain their sound as a whole throughout the entire concert. They are not so loud as some wooden drums, but very purely sounding. And the more powerful plastic, such as Emperor or CS Black Dot, the better the overall sound. The drums sound inspiring when you are behind them, but on the part, in general, the sound is easier. However, these drums have a definite magic when you write them down. Outdoor volumes can sound fantastic. "

Igor Emelyanov and Farmatique, 09/20/2014

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