Like most of you, I tend to geek out over the latest drum gear and want to learn which groups are using what. Heck, the 2009 DCI season was barely over and the internet was buzzing with the rumor of the Concord Blue Devils switching to Pearl/Adams equipment. It turned out to be true, but is a perfect example of geeking out over gear. Perhaps an even better example is scouring the internet for pictures of new drums as the corps receive them around June each year. C’mon… you know you do it, too. ;-)
It started upon seeing my first drum corps show in 1985 when I took note of how many corps were using certain brands of drums. I used to collect catalogs and look through all the pictures studying what made each brand different from one another. I used to pride myself by sitting in the nosebleed section of a stadium like Indiana University at the old DCI Mid-America show and lean over to my dad to say something like “those Yamahas the Blue Devils have this year [‘89] look awfully similar to the Premier’s that Star uses.” Low and behold, I found out later Yamaha had purchased a large stake in Premier which explained why those prototype Yamaha snare drums resembled Premier HTS snares.
I suppose my curiosity stems from taking in all the eye candy of drums but also my fascination with how they work. Shiny objects have always been a distraction for me (someone say chrome?) but since the first time I hooked on what seemed like a gigantic Slingerland TDR I wanted to see what made the drum tick, so to speak. My first year of drum corps with the 1986 Guardsmen Cadets seems like a lifetime ago but learning how that drum differed from the concert drum I had at home intrigued me. I was full of questions like, “Why do they call them guts?”, “What are the screws for on the butt plate?”, “When the A corps gets new drums can we use their old drums?”. Before I graduated high school I had marched six different models of snare drums and I think I could still tell you each and every unique difference between the drums.
In the summer of 2008 I had the honor of playing in the Cavaliers Anniversary Corps and marched among the 16-man snare line that played on fully restored Rogers Dyna-Sonic marching snare drums. Talk about geeking out… these drums looked incredible but what was truly unique was the snare strainer system. Rogers had developed something that was way ahead of its time and concepts in the design can be found in modern marching snare drums of today. Even the reinforced bearing edges are something that’s resurfaced in modern equipment. Forgetting for a moment a time span of roughly 40 years, it’s just as fun to drool over a 70’s vintage Rogers Dyna-Sonic as it is a brand new custom Emerald Mist Pearl FFXC with chrome.
While we see new materials and gizmos on the drums like carbon fiber layers, top snare units and venting systems, a good portion of the innovation and evolution of marching percussion sound can be attributed to the drum heads and how they’re made. New products continually change the way we think about the application of marching percussion which allows us to geek out in entirely new ways.
Have any favorite ways you geek out over gear? Leave a comment and share!
Monday, November 9, 2009
Wednesday, October 28, 2009
Taking the Mystery out of Tuning a Marching Snare Drum
A question at which I am often asked by students or see on internet forums is how to tune a marching snare drum. The good news is there isn’t any black magic to get a good sound but there are some steps that may be overlooked or even undervalued by some. Let’s take a look at some of the higher-level points in getting that good snare sound we all love to hear in the parking lot and stadium.
In a perfect scenario we’d be starting with new heads not yet put on your snare drum. With the heads off start with making sure the top and bottom bearing edges are free from debris. Especially if a drum is used outside you’d be surprised how much dirt and grass may collect around the bearing edges. I like to start by putting the bottom (resonant) head on first. If you are using a drum with a completely free-floating shell such as the Pearl FFX, make sure the snare bed cut into the shell is aligned with the strainer before putting on the bottom head. (Tip: If you align the front badge in its proper place you’ll be good to go.) As with any new heads you don’t want to over-tighten on the initial install regardless if it is a plastic or an aramid fiber head. Bring the head up to a good, even tension. Eventually you’ll want to bring your bottom head up quite high once it has had some time to seat itself. There is some debate about just how high, but let’s remember that for a snare drum to produce a snare sound the bottom head must resonate to vibrate the guts. A marching snare isn’t going to resonate or push as much air through the cylinder as a drum set or concert drum. This means we’ll need to make the bottom head hyper-sensitive to resonation and vibration by tuning it very tight. Again, don’t over-tighten on the first install. The bottom line is (no pun intended), the resonant head on a snare drum requires a lot of maintenance, and especially if it is an all-plastic head such as an Evans MS3. Many people like the aramid fiber heads, like the Evans MX5, not only for their sound preference but also because they require less maintenance. Food for thought.
After the bottom head is on and has begun the seating process go ahead and put the guts on. Don’t turn the tension knob on the end of the strainer real tight but put enough tension on the guts so that they are all taut. Leave the strainer in the “off” position and slide a pencil under the guts all the way to the end towards the butt-side of the strainer. This lifts the guts off the head so we can more clearly hear the pitch when they are plucked or strummed. The process of tuning guts is tedious but I strongly feel is the single most important thing you can do to make the drum sound good. The tension of the bottom head follows closely at number two. Using a screwdriver to adjust the gut tension, pluck each gut and tune them to the same pitch. There are theories of tuning the guts to a specific note or even tuning the guts differently based on location in the strand. I like to keep it simple and feel the uniform pitch/tension of each gut is more important than what specific pitch to which they are tuned. By having the guts all the same tension it allows us to better dial in the snare response with the overall tension knob on the snare strainer.
Now with the guts tuned remove the pencil, turn the strainer in the “on” position and adjust the height of the guts using the vertical adjustment knobs on either end of the strainer. This is where I see a lot of drums choked off by making the angle at which the guts touch the head too steep. An excellent trick is to start with the guts not touching the head and tap your finger on the guts at the end of the strainer. You’ll hear a distinct snapping sound. While continuing to tap, turn the height adjustment knob slowly to bring the guts closer to the head. The moment you stop hearing the snapping sound stop turning the height adjustment knob. The guts are now the perfect height and are completely touching the bottom head. Be sure to do the same process to both ends of the strainer. Since the gut tuning process probably took some time you can probably tweak the bottom head tension a little as it has probably settled some by now. You can now use the tension knob on the snare strainer to adjust the overall tension to your liking.
Tuning the top (batter) head is no different than the bottom in that you don’t want to bring it up too high, too fast. At this point we all want to play the drum so we get real anxious to crank the top head but resist that temptation where possible. In the marching world we don’t always have the luxury of allowing a head to properly seat because we’re busily changing heads during a dinner break or you have to be at the gate in 5 minutes. In a perfect world you’d be putting on new heads well in advance of a drum needing to be played on but obviously that’s not always possible. Just how tight you tune the top head is also a point of debate but the current trend, and my personal preference, is to not tune the top head to the stratosphere. This not only makes the drum more comfortable for the player, but also promotes more resonance of the drum which results in a better quality of sound.
You now have a good baseline from which to work where can tweak the overall gut and head tension, apply tape or muffling to the heads if desired, or whatever your preferences may be and situation requires. I prefer to leave the drum free from any tape or muffling for individual playing but that may not always be appropriate. There are other tricks out there like spraying your guts with acrylic, for example, but whatever you want to try be sure to not stray from the basics of tuning a marching snare drum. They will always apply.
In a perfect scenario we’d be starting with new heads not yet put on your snare drum. With the heads off start with making sure the top and bottom bearing edges are free from debris. Especially if a drum is used outside you’d be surprised how much dirt and grass may collect around the bearing edges. I like to start by putting the bottom (resonant) head on first. If you are using a drum with a completely free-floating shell such as the Pearl FFX, make sure the snare bed cut into the shell is aligned with the strainer before putting on the bottom head. (Tip: If you align the front badge in its proper place you’ll be good to go.) As with any new heads you don’t want to over-tighten on the initial install regardless if it is a plastic or an aramid fiber head. Bring the head up to a good, even tension. Eventually you’ll want to bring your bottom head up quite high once it has had some time to seat itself. There is some debate about just how high, but let’s remember that for a snare drum to produce a snare sound the bottom head must resonate to vibrate the guts. A marching snare isn’t going to resonate or push as much air through the cylinder as a drum set or concert drum. This means we’ll need to make the bottom head hyper-sensitive to resonation and vibration by tuning it very tight. Again, don’t over-tighten on the first install. The bottom line is (no pun intended), the resonant head on a snare drum requires a lot of maintenance, and especially if it is an all-plastic head such as an Evans MS3. Many people like the aramid fiber heads, like the Evans MX5, not only for their sound preference but also because they require less maintenance. Food for thought.
After the bottom head is on and has begun the seating process go ahead and put the guts on. Don’t turn the tension knob on the end of the strainer real tight but put enough tension on the guts so that they are all taut. Leave the strainer in the “off” position and slide a pencil under the guts all the way to the end towards the butt-side of the strainer. This lifts the guts off the head so we can more clearly hear the pitch when they are plucked or strummed. The process of tuning guts is tedious but I strongly feel is the single most important thing you can do to make the drum sound good. The tension of the bottom head follows closely at number two. Using a screwdriver to adjust the gut tension, pluck each gut and tune them to the same pitch. There are theories of tuning the guts to a specific note or even tuning the guts differently based on location in the strand. I like to keep it simple and feel the uniform pitch/tension of each gut is more important than what specific pitch to which they are tuned. By having the guts all the same tension it allows us to better dial in the snare response with the overall tension knob on the snare strainer.
Now with the guts tuned remove the pencil, turn the strainer in the “on” position and adjust the height of the guts using the vertical adjustment knobs on either end of the strainer. This is where I see a lot of drums choked off by making the angle at which the guts touch the head too steep. An excellent trick is to start with the guts not touching the head and tap your finger on the guts at the end of the strainer. You’ll hear a distinct snapping sound. While continuing to tap, turn the height adjustment knob slowly to bring the guts closer to the head. The moment you stop hearing the snapping sound stop turning the height adjustment knob. The guts are now the perfect height and are completely touching the bottom head. Be sure to do the same process to both ends of the strainer. Since the gut tuning process probably took some time you can probably tweak the bottom head tension a little as it has probably settled some by now. You can now use the tension knob on the snare strainer to adjust the overall tension to your liking.
Tuning the top (batter) head is no different than the bottom in that you don’t want to bring it up too high, too fast. At this point we all want to play the drum so we get real anxious to crank the top head but resist that temptation where possible. In the marching world we don’t always have the luxury of allowing a head to properly seat because we’re busily changing heads during a dinner break or you have to be at the gate in 5 minutes. In a perfect world you’d be putting on new heads well in advance of a drum needing to be played on but obviously that’s not always possible. Just how tight you tune the top head is also a point of debate but the current trend, and my personal preference, is to not tune the top head to the stratosphere. This not only makes the drum more comfortable for the player, but also promotes more resonance of the drum which results in a better quality of sound.
You now have a good baseline from which to work where can tweak the overall gut and head tension, apply tape or muffling to the heads if desired, or whatever your preferences may be and situation requires. I prefer to leave the drum free from any tape or muffling for individual playing but that may not always be appropriate. There are other tricks out there like spraying your guts with acrylic, for example, but whatever you want to try be sure to not stray from the basics of tuning a marching snare drum. They will always apply.
Monday, August 10, 2009
The Winning Combination
The 2009 Drum Corps International World Championships was marked with several milestones for both Evans and the Blue Devils organization’s through domination of world championship and high percussion awards for both World and Open class a mere 8 months after the formation of its partnership with Evans Drum Heads.Blue Devils went undefeated and soundly won their 13th DCI World Championship with a score of 99.05, a mere tenth of a point off the all-time record score. The corps won four of the five special caption awards which include the coveted “Fred Sanford Percussion Trophy”. The Blue Devils “B” corps also dominated the competition and matched the “A” corps accomplishments with a 1st place finish and high percussion trophy.
When asked what his thoughts were on the 13th title for the corps, which also marks an undefeated season for the Blue Devils…“I’m kind of out of words. It’s indescribable”, said executive director, Dave Gibbs. “People do not recognize how good these kids are – not just in talent but as human beings. They just don’t know that these kids are so special, they’ve worked so hard and sacrificed so much – and I want to tell them I’m extremely proud of them.”
The new partnership with the Blue Devils and Evans is exciting for everyone involved. Jim Bailey, who serves as Educator Relations Manager for D’Addario sums up the season by saying, “there has been a tremendous amount of energy from both the corps and the company and we look forward to getting started on the 2010 season.”
To learn more about the Blue Devils and the Evans Products they use click here.
Tuesday, July 21, 2009
On the Road with - The Crossmen
Having just finished up Fourth of July parades and coming off of two weeks of extreme humidity, 105 degree rehearsals, 60 degree nights on the truck, and several rainy days, the drums have endured a lot of change in temperature and pressure and require more attention to tuning to maintain the sound quality we strive for.
Crossmen bassline is glad to be using Evans MS1 heads this summer. We feel Evans provides the highest quality products to best meet the sound quality and durability that the top drum corps require. At the Crossmen, we take a very proactive approach to tuning our marching drums daily in a consistent manner that will give us the finest tone and sound quality for the performers.
While we rehearsed in Missouri the humidity was the highest that we had encountered this summer. This caused the pitch of each bass drum, particularly the top three drums (18, 20, and 24 inches), to drop a noticeable amount. Extra attention to keeping the heads evenly tuned had to be taken as they had only been in use for a week and had not settled yet. Taking the time to slowly and evenly raise the pitch of the drums provided us with great tone, resonance, and longevity of the heads.
The reliability of the MS1 Bass drum heads makes battling the outdoor elements and maintaining a great sound a much smoother task. That’s why we choose Evans.
Crossmen bassline is glad to be using Evans MS1 heads this summer. We feel Evans provides the highest quality products to best meet the sound quality and durability that the top drum corps require. At the Crossmen, we take a very proactive approach to tuning our marching drums daily in a consistent manner that will give us the finest tone and sound quality for the performers.
While we rehearsed in Missouri the humidity was the highest that we had encountered this summer. This caused the pitch of each bass drum, particularly the top three drums (18, 20, and 24 inches), to drop a noticeable amount. Extra attention to keeping the heads evenly tuned had to be taken as they had only been in use for a week and had not settled yet. Taking the time to slowly and evenly raise the pitch of the drums provided us with great tone, resonance, and longevity of the heads.
The reliability of the MS1 Bass drum heads makes battling the outdoor elements and maintaining a great sound a much smoother task. That’s why we choose Evans.
Wednesday, July 15, 2009
Turning a "Corps-ner" with Technology
What the internet can (and cannot) provide...
Like many that enjoy drum corps, I have been following scores and corps during the DCI summer tour of 2009. The continued internet integration makes it easier than ever to feel like you are thrust into the action. DCI continues to do a great job wiht the Fan Network and social sites like Facebook and Twitter allow you to stay connected to the action. Even sites like YouTube provide a very realistic look at corps shows, rehearsals, and warm ups.
While many have called or emailed to tell me how much they are enjoying the sound of the newer Evans heads (namely the Hybrid and Corps Clear heads) I have enjoyed surfing sites like YouTube and checking the videos out first hand. The quality of some of these videos is simply amazing. Whats more is the fact that below the videos are comments from various fans and viewers. Much to my surprise I have found an very strong and positive response to these heads. It is not only helpful to get this feedback, but enjoyable to actually see people enjoy the heads in (almost) real time. Some posts speak directly to an individuals observation about a group or head while others have created a channel for dialogue. As a member of the music industry, this is exciting to watch unfold.
If there is a down side to this, it would be that a persons experience is somewhat limited to that of a particular video post. Quality, camera angle, and other factors (wind for instance) can all prohibit a viewer from getting the best 'read' possible. To this I advise that anyone interested in forming a TRUE opinion of equipment (heads, sticks, drums, other) be sure to take the time to actually sample the heads for yourself. Seeing and hearing is great...experienceing is even better! Sampling the heads for yourself will give you a variety of information not available on video (feel, ease of tuning, projection, blend with YOUR tuning scheme, stability, and more). If there is a take-away from this blog...it would be that videos like the ones posted on YouTube.com are great at providing direction in sampling products, but it should only serve as guidance to further (and more intimate) sampling on your own equipment, with your own members, using your own tuning scheme.
For those of you that are continually turning out great videos for the rest of us to watch...keep up the great work.
Like many that enjoy drum corps, I have been following scores and corps during the DCI summer tour of 2009. The continued internet integration makes it easier than ever to feel like you are thrust into the action. DCI continues to do a great job wiht the Fan Network and social sites like Facebook and Twitter allow you to stay connected to the action. Even sites like YouTube provide a very realistic look at corps shows, rehearsals, and warm ups.
While many have called or emailed to tell me how much they are enjoying the sound of the newer Evans heads (namely the Hybrid and Corps Clear heads) I have enjoyed surfing sites like YouTube and checking the videos out first hand. The quality of some of these videos is simply amazing. Whats more is the fact that below the videos are comments from various fans and viewers. Much to my surprise I have found an very strong and positive response to these heads. It is not only helpful to get this feedback, but enjoyable to actually see people enjoy the heads in (almost) real time. Some posts speak directly to an individuals observation about a group or head while others have created a channel for dialogue. As a member of the music industry, this is exciting to watch unfold.
If there is a down side to this, it would be that a persons experience is somewhat limited to that of a particular video post. Quality, camera angle, and other factors (wind for instance) can all prohibit a viewer from getting the best 'read' possible. To this I advise that anyone interested in forming a TRUE opinion of equipment (heads, sticks, drums, other) be sure to take the time to actually sample the heads for yourself. Seeing and hearing is great...experienceing is even better! Sampling the heads for yourself will give you a variety of information not available on video (feel, ease of tuning, projection, blend with YOUR tuning scheme, stability, and more). If there is a take-away from this blog...it would be that videos like the ones posted on YouTube.com are great at providing direction in sampling products, but it should only serve as guidance to further (and more intimate) sampling on your own equipment, with your own members, using your own tuning scheme.
For those of you that are continually turning out great videos for the rest of us to watch...keep up the great work.
Monday, June 29, 2009
SYSTEM BLUE Live Events Kicks Off The Year with Success!
Over 70 young percussionists from across the country came to southern and central California this mid-June to experience the Blue Devils system of success as part of the SYSTEM BLUE Educational Programs. The System Blue Southern California Drumming Camp saw drummers from throughout the state and as far away as South Carolina spend the weekend of June 20-21 at Yucaipa High School near Riverside, California.On-site with the entire Blue Devils drum corps, the students not only spent time learning quality percussion technique from some of the nation’s finest drum teachers, but also had the chance to drum side-by-side with members of the Blue Devils. The weekend culminated with front-row seats “in the lot” as the Blue Devils warmed up for the Riverside DCI show, and then enjoyed 50-yard line seats as they cheered on their newfound friends in the Blue Devils.
During this past week, 40 young percussionists came to Fresno State University as part of the System Blue Mid-California Drum School. Hosted by Blue Devil alumnus and professional percussionist Shawn Glyde, students from throughout central California studied all facets of marching percussion in the state-of-the-art music facilities at Fresno State University campus.
To end the week of fun and music, the drummers joined the Blue Devils for two-days of interactive sessions, including a Master Class with Blue Devils Director of Percussion Scott Johnson and hands-on sessions. This 5-day event culminated at the Buchanan High School football stadium in Clovis, Ca with great seats to cheer on their new friends in the Blue Devils during the Mid Cal Tour of Champions DCI competition. System Blue Live Events next comes to Tulsa, Ok, Hattiesburg, Ms and Buffalo, NY as the Blue Devils present “Show Day with the Blue Devils.” Fans will go deep inside the Blue Devils and learn their system of success as they thrill audiences from coast to coast.
For more information on Evans Drum Heads.
For more information on The Blue Devils or System Blue.
Wednesday, June 10, 2009
Evans Artist Spotlight - Max Mullinix - The Colts Drum and Bugle Corps
NAME: Max MullinixAGE: 28
CURRENT JOB(S): Percussion Caption Head/Arranger Colts Drum and Bugle Corps, Percussion Director Kennesaw Mountain High School, Designer/Arranger Forsyth Central High School.
YEARS AT POSITION: 7
THE EARLY YEARS: I grew up in the Indianapolis, IN area and I attend Jacksonville State University as a music education major.
ONE THING YOU ARE PRACTICING RIGHT NOW IS: Drumset
MY PLAYLIST OF “TOP (5) SONGS” WOULD INCLUDE: Everybody Wants to Rule the World by Tears for Fears, UFO Tufo by Bela Fleck, Lux Aurumque by Eric Whitacre, Clair de Lune by Claude Debussy, and Both Sides Now by Joni Mitchell
QUICK PRACTICE TIP: Never practice to get things right, always practice to not get things wrong.
WORST NON-MUSIC RELATED JOB, DESCRIBE: When I was 18 and just starting college I worked as a cook. The place I worked at was called Jefferson's in Jacksonville, AL. I lasted five days in that job...yes, I'm a wimp :).
HOBBIES INCLUDE: I spend a lot of time with my wife movie watching in the evenings. On days off my wife and I will go to parks or aquariums. If we are not doing that we will spend time at home with our dog Rascal.
WHAT EVENT, PERSON, OR MOMENT HAD THE MOST IMPACT ON YOU AS A MUSICIAN? I remember standing on the field in Wisconsin in the 2002 DCI season. We were at a rehearsal in Pardeeville, WI and it was my age out year with the Cavaliers. Ensemble that day was really one the the most enjoyable days on tour I can remember. About half way through the rehearsal we were running the end of the opener and into the ballad. I remember the high energy of the opener fading away and blending itself transparently right into the next movement. The one clearest and effecting thing for me that summer is when I didn't play. The trumpets had a beautiful sustain that transfered the movements. That one moment made me realize that I wanted to continue with the activity as long as I could.
WHAT WOULD YOU BE IF NOT A MUSICIAN, WHY? I think I would have gone in a public relation or commercial sales route. I really enjoy selling things and the psychological side of it. I still read marketing books and self development books very often. Its amazing how those things even apply to what I am doing now. So, for my second career I would love to go the industry route and be a marketing director or a artist relation manager for a percussion company. I think that way I could get both things that I absolutely love.
WHAT TIPS CAN YOU GIVE TO YOUNG MUSICIANS LOOKING TO MAKE A CAREER OF MUSIC? I think the things that helped me the most didn't come from a classroom. I think one of the most important tips is; Playing nice with others. This basically means to be nice with the people that you work with. There are many different ways to do things and you should be open to learning them. Never get stuck in the "my way is the only way" philosophy. Most people that get like that just don't ever try new things. We as composers and arrangers always have to keep this in mind. Its always in the best interest of the ensemble to be open minded. That doesn't mean give in to everything. But, if the guard needs a sound or a series of sounds to help motivate their visual phrase, TRY IT! The big picture is always the most important. And I have had somethings like I didn't want to put in turn out to be my favorite part of the show. This of course applies to every part of working with others. Be open and try listen to others thoughts. Some other things to help would be how dependable you are. Of course with music time is very important as a performer and a writer. So I guess that would be my other major suggestion. Be on time, every time!!! People really respect hard work and if you keep it up someone will give you a great opportunity.
For more information on Max visit HERE.
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