|
Tuning the snare is not different
than with any drum, it’s just complicated or enhanced by the shell choice and snare wires. Review the shell tone guidelines
first because from this you better understand the enhancements and limitations inherent in the drum shell tone prior to head
choice.
Coatings and material type are
as described in the section “Tom, Drumheads - Batter side”. There are some similarities here to that which
is used for a tom. But there are also some real differences such as the Evan’s
Genera Snare and Genera Dry vented series.
1. Single ply Thin Weight such as REMO Diplomat, Renaissance, FiberSkyn
FD (FD extra thin), Evan’s Genera Concert Snare, all are coated and are great for very articulate, extremely sensitive,
bright, open overtones (FiberSkyn warmer), not very durable. Special mention - Evan’s Genera Concert Staccato Snare,
a drier very articulate version of the “thin” group.
2. Single ply unmuffled/unvented medium weight such as REMO Ambassador,
Renaissance and FiberSkyn FA, Aquarian Satin Texture Coated and the Evans G1 series, UNO 58 1000. Uno 58 is brightest, FiberSkyn warmest. All-purpose head,
accentuated overtones, articulate, takes punishment from all but very heavy hitters. Aquarian coating most durable. Special mention – Evan’s PowerCenter, all the virtues of a single ply head but has a perforated
5” coated thin dot that will withstand high tunings and severe abuse without the dot coming off (only 14”).
3. Single ply muffled or Heavy Weight such as the REMO Emperor, Renaissance,
PowerStroke, FiberSkyn F1 and the Aquarian Studio X series, Evan’s Genera Batter. The sound here goes more mellow compared
to single ply with overtones becoming less prevalent on the initial attack and less or minimal sustain. There is still an
element of ring to the drum.
4. Single ply muffled and very “Dry” or “Vented”. Evan’s has the most in the market for this category with the Genera Dry, Uno
58 1000 Dry, The sound has a sharper, quicker attack and is almost void of overtones. This head requires careful attention
to tuning and generally will make the midrange tone of the shell material standout while limiting the low frequencies of the
drum.
5. 2 ply muffled or wear resistant heads like REMO Pinstripe, Aquarian
Performance II or Double Thins and the classic Evans G2, or anything with a “Power dot” on it, these produce a
very short initial attack coupled with a very short sustain.
6. Heavily muffled with an oil barrier such as the Evans hydraulic.
These heads are the most inherently “boxy” or “dull” of any. Almost void of any inherent sustain on
their own.
Note: Obviously you can use any
head, but it is correct to use a “Snare Side” head. If you use any
head other than a “Snare Side” Head, it will be the equivalent of using a “Heavy” weight or thicker
head and the result will be the lack of or absence of snare sound, buzzing, no sensitivity or all of the above.
1. Thin resonant heads: Heads like REMO Diplomat Snare Side and Evan’s
Genera Hazy 200. These heads are great to increase snare response, sensitivity
and crack while allowing ghost notes and rolls to become more articulate.
2. Medium weight heads: Heads such as REMO Ambassador, Renaissance,
Aquarian Classic Clear Snare Side or Evan’s Hazy 300. These will have less
sustain than the thinner counterparts such as the REMO Diplomat or Evans 200, the sound becomes more focused and not as bright
and articulate. The Evan’s Genera 300 and Genera Glass 300 go drier in
tone yet retain very good snare response while the Renaissance goes warmer.
3. Heavy Weight resonant heads: REMO Emperor, Evan’s 500 Hazy
are both very dry heads and not real articulate. Clear/glass versions of these
heads are a bit drier yet. Aquarian Hi-Performance Snare Side is built to counteract wear yet give response characteristics
of the medium weight heads.
|
 |
|
Brass: A very
sharp edge to the sound and very rich with mellow overtones.
Steel: A step
more towards bright with a very pronounced ring, allot of body and longer decay than brass.
Aluminum: Clear,
open sounds with bright, crisp overtones and is capable of incredibly loud rimshots.
Bronze: A close
cousin to brass with the overall character of woods, can be loud, a good all around drum.
Copper: A close
cousin to the Aluminum drum only slightly warmer.
Hammered: Same
overall characteristics as the parent material, only slightly less resonance to varying degrees.
Metal Thickness:
The 1mm shells are not as low to mid range resonant as thicker shells such as 3mm plus.
Metal Cast Drums:
Very Loud and Resonant due to special cymbal alloys used in the casting process.
Wood Drums:
see “Construction Guidelines” above in the “Tom” section, they apply here too.
Small Diameter:
Means higher pitch.
Longer Length: Means
more power and shell resonance, longer decay.
Shallow Depth:
Means more articulate, less power due to decreased shell area.
Snare Bed: A
slight depression in the resonant side bearing edge to allow the snare to ride closer to the head.
Bearing Edges: Less than 45° are not inferior, they simply
make for a different sound, usually less resonant and darker in character the less the angle, 35° is popular on Birch Drums. Drums get brighter if the crown of the bearing edge is a tighter radius (sharper)
than if the radius is flatter (may be desired on the toms and kick).
|
 |
 |
 |
|
1. The stand affects the sound. With the drum sitting in your stand,
don't have the stand basket tight against the hoop of the drum, this restrains the inherent sound of the drum, it keeps the
hoop and shell from vibrating freely.
2. As a drummer hits harder, the crack of the drum or volume of the
snare does not rise but the pitch can change or the perception exists because more of the inherent tone of the batter head
is now coming out. Therefore you might want to resort to micing the bottom if you cannot get that high-end crack you otherwise
hear in the room.
3. If using a mic on both top and bottom you should be conscious of
phase problems associated with the bottom mic, you might have to wire the resonant mic “out of phase”. Remember
the heads ideally are moving in phase with each other, therefore when the batter is moving away from the upper mic, its moving
towards the lower mic causing a phase change making a electrical phase reversal needed.
|
|
 |
 |
 |
|
|
|