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E-grāmata: Drum Sound and Drum Tuning: Bridging Science and Creativity

4.80/5 (5 ratings by Goodreads)
(Anglia Ruskin University)
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Drum Sound and Drum Tuning: Bridging Science and CreativityPalielināt
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Drum Sound and Drum Tuning assists drummers, sound engineers, and music students in learning critical skills related to drum sound and achieving an optimised and personalised drum kit set-up. The book covers the essential theories of percussion acoustics and develops this knowledge in order to facilitate creative approaches to drum tuning and professional-level recording and mixing of drums.

All aspects of drumhead vibration, drumhead equalisation, and resonant drumhead coupling are de-mystified, alongside discussions relating to drumhead types, drum shell vibration, and tuning to musical intervals for different performance genres. The book develops drum sound theory and creative analysis into a detailed dissection of recording and production techniques specifically for drums, including discussions on studio technologies, room acoustics, microphone techniques, phase coherence, and mixing drums with advanced digital audio workstation (DAW) techniques and creative processing tools.

Drum Sound and Drum Tuning

includes many practical hands-on exercises that incorporate example tutorials with Logic Pro and iDrumTune Pro software, encouraging the reader to put theory into immediate creative practice and to develop their own listening skills in an informed and reflective manner. The book also documents primary interviews and opinion from some of the world’s most celebrated drummers, music producers, and sound engineers, enabling the reader to connect the relevant theories with real-world context, whilst refining their own personalised approach to mastering drum sound.

List of figures
xi
List of tables
xv
1 Introduction
1(9)
1.1 Values of great drum sound
2(1)
1.2 Why bother with drum tuning?
3(3)
1.3 About this book
6(2)
1.3.1 Educational approach
6(1)
1.3.2 Online resources
7(1)
1.3.3 Interviews with esteemed professionals
7(1)
1.3.4 Companion software and examples
8(1)
1.4 Don't forget to listen!
8(2)
2 Drumhead Vibration And The Science Of Sound
10(9)
2.1 Sound sources, acoustic transmission, and sound reception
10(2)
2.2 Evaluating frequencies
12(2)
2.3 The single most valuable musical acoustics theory!
14(3)
2.4 Measuring and analysing drum modes
17(2)
3 Tuning The Pitch Of A Cylindrical Drum
19(8)
3.1 Exploring the pitch range of a cylindrical drum
20(2)
3.2 Musical frequencies
22(2)
3.3 Coupled drumheads
24(3)
4 Lug Tuning And Clearing The Drumhead
27(9)
4.1 Evaluating the first overtone of a drum
27(1)
4.2 Beat frequencies
28(3)
4.3 The sound of a uniformly tuned drumhead
31(1)
4.4 Lug tuning with assistance
32(4)
5 Tuning The Resonant Drumhead -- What, Why, And How?
36(8)
5.1 Harmonics and in-harmonic overtones
36(3)
5.2 Musical intervals
39(1)
5.3 Controlling overtones and intervals with the resonant drumhead
40(4)
6 A Holistic Approach To Drum Tuning
44(9)
6.1 Simplicity wins
44(3)
6.2 Setting the fundamental pitch
47(1)
6.3 Implementing lug tuning and resonant head tuning
48(1)
6.4 Damping and decay times
49(4)
7 The Wonderful World Of Drumheads
53(11)
7.1 Guitar strings on steroids!
54(2)
7.2 The drumhead equation
56(2)
7.3 Drumhead types and features
58(3)
7.4 Resonant drumhead selection
61(1)
7.5 Experience drumheads!
62(2)
8 Timbre: The Truth About Drum Shell Vibration
64(12)
8.1 Introducing timbre
64(3)
8.2 Tuning fork example with mass loading
67(1)
8.3 Drum shell vibration
68(2)
8.4 Loading the drum shell
70(3)
8.5 Bearing edges and precision manufacturing
73(1)
8.6 Considering the drum shell vibration frequency when tuning
74(2)
9 Tuning For Different Musical Styles And Genres
76(14)
9.1 Creative objectives
77(1)
9.2 Drum sizes for different music genres
78(3)
9.3 Pitches and intervals on the kit
81(3)
9.4 Tuning suggestions for different genres
84(4)
9.5 Drumheads for different music genres
88(2)
10 Snare Drum Tuning
90(7)
10.1 Key aspects of snare tuning
90(1)
10.2 Holistic approach to snare tuning
91(2)
10.3 Manipulating snare drum timbre
93(2)
10.4 Comparing snare timbre example
95(2)
11 Kick Drum Tuning
97(7)
11.1 Kick drum tone and dynamics
98(1)
11.2 Drumheads for the kick drum
99(2)
11.3 Kick drum tuning range
101(1)
11.4 Controlling the kick drum timbre
102(2)
12 Production And Preparation For Drum Recording
104(12)
12.1 Production and pre-production
104(2)
12.2 Setting standards and getting results
106(2)
12.3 Choosing and evaluating the recording space
108(5)
12.3.1 Room size and dimensions
108(2)
12.3.2 Room materials and reverberation characteristics
110(1)
12.3.3 Sound isolation and background noise levels
111(1)
12.3.4 Suitability for a room's use in a recording project
111(1)
12.3.5 Positioning drums within a room
112(1)
12.4 Tuning and performance for recording
113(3)
13 Fundamental Technologies For Drum Recording
116(15)
13.1 Microphones and transducers
117(4)
13.1.1 Dynamic microphones
117(1)
13.1.2 Condenser microphones
118(1)
13.1.3 Ribbon microphones
119(1)
13.1.4 Other audio transducers
120(1)
13.2 Microphone characteristics
121(3)
13.2.1 Microphone polar patterns
121(2)
13.2.2 Other microphone characteristics
123(1)
13.3 The complete recording signal chain
124(3)
13.3.1 Audio convertors
125(1)
13.3.2 Mixing desk
125(1)
13.3.3 Microphone preamplifiers
126(1)
13.3.4 Recording with signal processing effects
127(1)
13.4 Monitoring and foldback
127(4)
13.4.1 Control room monitoring
127(1)
13.4.2 Headphone foldback
128(3)
14 We Need To Talk About Phase!
131(15)
14.1 What exactly is phase?
131(3)
14.2 Time delay and comb filtering
134(5)
14.3 Mono compatibility
139(3)
14.4 Signal polarity
142(4)
15 Microphone Techniques For Recording Drums
146(26)
15.1 Microphone placement approaches
146(1)
15.2 Stereo recording for drums
147(14)
15.2.1 Defining the stereo field
147(4)
15.2.2 Spaced pair technique
151(2)
15.2.3 X-Y technique
153(1)
15.2.4 Blumlein pair technique
154(1)
15.2.5 ORTF technique
155(1)
15.2.6 Mid-side technique
156(3)
15.2.7 Baffled omnidirectional pair technique
159(1)
15.2.8 Decca tree technique
160(1)
15.2.9 Left-right-centre technique
161(1)
15.3 Using spot microphone techniques
161(5)
15.3.1 Kick drum microphone technique
162(2)
15.3.2 Snare drum microphone technique
164(1)
15.3.3 Tom drum microphone technique
164(1)
15.3.4 Close cymbal microphone technique
165(1)
15.4 Room microphones
166(1)
15.5 Microphone choices for recording drums
167(2)
15.6 Developing a personal approach
169(3)
16 Mixing Drums: Balance And Dynamics
172(15)
16.1 Balance, panning, and bussing
173(3)
16.2 Dynamics processing
176(8)
16.2.1 Compression and limiting
177(5)
16.2.2 Gates and expanders
182(2)
16.2.3 Envelope shaping
184(1)
16.3 Hybrid mixing
184(3)
17 Mixing Drums: Creative Processing
187(18)
17.1 Equalisation and spectral processing
187(5)
17.1.1 Cutting low frequencies
189(1)
17.1.2 Treating the fundamental and overtones of each drum
190(1)
17.1.3 Adding attack and presence
190(1)
17.1.4 Controlling high frequencies
191(1)
17.2 Using reverb to regain authenticity
192(3)
17.3 Delay for drums
195(2)
17.4 Distortion and enhancers
197(2)
17.5 Sequential and sidechain processing
199(2)
17.6 Drum replacement
201(2)
17.7 The final mixdown
203(2)
Index 205
Rob Toulson is an innovative musician, music producer, sound designer, and studio engineer working across most music and film genres. He has collaborated with many successful music artists and award-winning music producers, including Talvin Singh, Mediaeval Baebes, and Ethan Ash. He is an expert in musical acoustics and digital audio, with a doctorate in vibration and acoustics analysis and a full professor title in commercial music from University of Westminster, London, UK. He is also founder and director of RT60 Ltd, who develop cutting-edge technologies for the audio and music industries.
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