To get good drum sounds, it’s necessary to be familiar with drum tuning and dampening techniques. A bad-sounding drum is nearly impossible to get a good recorded sound from. A good-sounding drum can make your recording experience much more enjoyable.
If the drum heads are dented and stretched out, cancel the rest of your appointments for the day. You’ll be spending a substantial amount of time getting an acceptable drum sound.
If the drums aren’t high-quality instruments, there’s a good chance that the shells aren’t smooth and level, and there’s a possibility that the drums aren’t even perfectly round. If this is the case, the heads won’t seat evenly on the drum shell and there’ll be a loss of tone, detracting from the drum sound.
Often, the primary difference between a good-sounding drum and a bad-sounding drum lies simply in tuning. The standard approach to tuning involves:
• Tuning the top head to the tone you want
• Making sure the pitch is the same all the way around the head by tapping at each lug and adjusting the lugs until they all match
• Duplicating the sound of the top head with the bottom head
Hal Leonard Recording Method – Book 2: Instrument & Vocal Recording – 2nd Edition by Bill Gibson
addresses new equipment and software concerns that affect the way excellent recordings are made. Updated text, illustrations, photos, and video examples add to the power of the previous edition, plus new techniques and considerations are presented as they pertain to additional recording scenarios. You’ll learn what you need to know about capturing the best vocal and instrument tracks possible, no matter what kind of studio you are working in or what kind of equipment is used.
has spent the last thirty-plus years writing, performing, recording, producing, and teaching music. He has written more than thirty books and produced several videos covering important audio concepts. His style is acclaimed for straightforward and understandable explanations of audio concepts and applications. Gibson, an instructor at the Art Institute of Seattle, is also known for his work helping Quincy Jones author the book Q on Producing
. He has developed curriculum and currently teaches online sound courses for Berklee College of Music in Boston. The courses have been very helpful to an amazingly diverse international student body. Gibson lives in Seattle, Washington, and serves as a trustee for the National Academy of Recording Arts and Sciences and also on the National Advisory Board for the Recording Academy’s Producers and Engineers Wing. Visit his website
and follow him on Twitter