How To Tune A Drum Set For Metal
Gear Addict
Drum tuning for modernistic metallic ala Breaking Benjamin, Story of the year
Hi in that location!
I became aware of the vital importance of pulsate tuning on my last recording and, for the side by side one, I've been carefully reading the Drum Tuning Bible to learn the most about that discipline. I've also watched that Bob Gatzen DVD.
I've learnt lots of things already, merely I'm a bit lost among the maaaaany tuning options you have (I've been trying with a inexpensive drum kit I have available). I can see I will settle that knowledge from trial and error on diferent recordings, but I would give thanks some suggestions for my side by side project.
I know I must rely on samples for the sound I'm going for, but I want to try getting the best sounds without them, or record the samples myself from the actual kit.
I'chiliad looking for suggestions well-nigh wether I should go for a dry-punchy sound or large-resonant instead or anything in between and how to get it, concoction/resonant head relationship (which higher, which lower?) and tuning intervals related to the key of the songs.
Some information about the actual situation:
- Almost every vocal is in D minor key
- Drumset consists of 22"BD (maybe twenty, can't remember), fourteen" SD, 12" RT, xvi" FT
- Evans EMAD on kick pulsate (concoction and resonant)
- Remo Emperor articulate as batter head for both toms, Ambassador clear as resonant
- Remo Emperor Controlled Audio snare top, Ambassador resonant.
I will mess with mics and preamps once I get tuning right.
James Meeker, LucTellier, tin y'all chime in?
Really appreciated! 
Lives for gear
While combing for info online is a great idea, you seem like yous are suffering from too many options and besides much information without adequate frame of reference. What you need is not more information, but an example.
Call a local drum shop (non Guitar Center) and ask if they teach lessons and do pulsate tuning. Explicate to them that you are not a drummer but you lot do a lot of recording and that you have a kit that you'd like tuned to sound like the bands you mention. Enquire them to set up a fourth dimension when y'all tin can take a single drum lesson focused entirely on tuning and setting a kit up for the recording process. Be ready to take notes. It volition exist coin well spent.
Gear Addict
Quote:
Originally Posted past JustinAiken ➡️
I just take to say that Breaking Benjamin and Story of the Year are NOT metal. Not even modernistic metallic. Emo or popular punk possibly, simply NOT metal.
Thanx for your contribution, but this doesn't help me at all.
Quote:
Originally Posted by msquared ➡️
While combing for info online is a bully idea, you seem similar yous are suffering from too many options and as well much information without acceptable frame of reference. What yous need is not more than information, but an example.
Phone call a local drum shop (not Guitar Center) and ask if they teach lessons and exercise drum tuning. Explain to them that yous are not a drummer but y'all practice a lot of recording and that you have a kit that you'd like tuned to sound like the bands you mention. Inquire them to set up a time when you tin can take a single drum lesson focused entirely on tuning and setting a kit upwardly for the recording process. Be gear up to take notes. Information technology will be money well spent.
Thank you, msquared. This is a expert idea I have thought virtually earlier. In fact I know a drummer guy who recorded with Silvia Massey and who knows quite a flake about drums. I'll brand him a call.
Anyway I'd like to read some examples from y'all so I can give that guy some input and accept a better agreement of what he's doing. You lot know, there aren't many stellar records in that genre recorded hither in Espana, so I actually think my best source of information is Gearslutz...
Proceed suggestions coming, delight!
Tuning is the place to start, Just the processing is 1/2 the sound.
My method =
Kick = tuned low (but before caput wrinkle state) Dual miced
Snare = Tuned High, I like well-baked snare. Dual mic
Toms = I like a more than resonate tuning, but for metal mirroring the kicking method works well.
I shut mic everything + overheads.
Mixing is involved.
To keep this postal service unproblematic i will say the SSL manner channel compressor is a metal drummers best friend.
pure snappy punch.
Being a Drummer i stay away from samples nearly of the time. I savour mixing my kit & beingness able to say its sample-less. Merely sometimes sampled kicks can be what is needed. (death/grindcore stuff?)
Gear Nut
The higher tuned the toms are, the more they will cutting through in the mix. Even though they are higher pitched, they will be heard more and sound a lot more full than they would tuned down.
Lives for gear
Okay, for a Breaking Benjamin/Story of the Year type of sound you need to focus on the snare first and foremost. They are very like, to the extent that I'g adequately sure the same Steven Slate drum sample is in in that location, besides every bit like tuning and processing.
If y'all listen to a runway similar "The Diary of Jane" you can hear what sounds like the naked snare, without sample at the first of the track--once the guitar kick in it sounds like the sample is there with it. It's this fairly isolated snare that's out "in the open" that nosotros'd start the assay.
Kickoff off, the snare hasn't been dampened much and there is a fleck of ring to it. The summit head sounds pretty well cranked well-nigh (only not quite) as loftier as it tin can go. In real life I'm guessing the head would be taut, tight and with a lot of stick bounciness to it. The lesser head sounds detuned, and a scrap lower than the height. Snare sounds like a 14x7--a little bigger than normal merely not "80'southward hair metal band" sized. I'm going to guess that there's a thirty wire strainer on in that location considering of the snap.
A large part about this type of snare sound is going to be the pinch, and probably a affect of limiting on there equally well. This is a archetype example of the modernistic rock snare kind of sound, which means you desire a FET style compressor at the ready--EL8 Distressor if you have information technology, but a Urei 1176LN will work. Slower assail than normal (nominally around "5" on 1176) and fast release (try effectually "six" on the 1176). You want a good measure of the forepart transient to get through, and and then level off the rest. Nailing the input level is going to be the "clincher" because this sets threshold--chances are you are gonna exist somewhere around the dots to the left and right of 24 on nigh sources. Prepare output to "unity." 4:1 or 8:i ratio works best... typically 4:1 is the 'bend' I tend to believe it's ready at. You're going to want to put a lot of low-mids in hither--centering around 160-250hz, and a decent amount of 1.2-i.six khz for 'banginess'; consequently, yous're going to be pulling out a narrow notch effectually 600-800hz--only not too much. A little 6.2-7 khz may take to continue there, but non too much; virtually of the 'treble' of this type of sound is coming from the tuning of the top caput.
Like I said, there'south about a 99% run a risk at that place's a sample in there. If information technology's non one of Steven'due south I'd exist shocked.
Chances are there'southward a dark room reverb on the snare, effectually ane.two seconds, moderate diffusion. I think that this turns off or lowers in book during the verses in "Diary of Jane"--something minor definitely gets tweaked to brand the snare less ringy and tighter during the verse by only a little bit....
Moving on to kick drum--adequately bright, fairly fat modern kick audio. I'd showtime with a 20" with the beater side adequately tight and dampened, with a lower tuned resonant head that has far less dampening. A lot of the front end finish 'dial' is going to be a sample.
This type of kick always seems very "SSL" to me; tight gate, kind of dry, fast pristine compressor clamping downward on information technology, lots of 4-10k on the kicking. And so I'd gate it a bit, suck out the lower mids (only not too much), focus on the fourscore-100hz range for a sharp heave, and make certain to get the 4k and 10k in there solid--that'south the 'stick-information technology' punch to this kind of kick; just make certain you don't get Lars Ulrich clanky... which tends to live more effectually 2 and 6k. Yous may end up HP filtering around 35hz to make information technology 'tight' and brand room for the low end boosts on the bass guitar which would come up afterward.
On the pinch side of the kick, the attack is going to be fast 3-eight ms, release time going to be around xx-40ms, ratio is going to be 8:one or more. I'd probably run a few db's of a limiter in front of the compressor to level stuff out a chip likewise.
Overheads seem to have a chip o' the old automation on them as well, jumping in and out for some crashes. Not much, just a bit. I'd reckon the OH'southward are high with a fast attack/release compressor around a three:i ratio--transparent, but leveling things out without getting splatty. I'd venture to say in that location's a lot of HP filtering going on the OH's--probably effectually 400hz. It's a picayune early in the morn for me to be pulling out my headphones and advisedly listening (oasis't had my coffee yet and kids are already bouncing around the business firm) merely y'all can approximate it by listening to where the cymbals/hat are getting 'cut off' around 250-500 hz. Probably not too much EQ on the OH'due south... perchance some 12 khz to brighten things upwards a few db. Possibly a little cut around 3.v khz but maybe I'1000 just imagining things... for these types of sounds that's not a bad place to cut the OH's though--less high lid in the OH's that can disharmonism with the snare close mic in a critical range. Or maybe it'southward but early.
Room mics sound moderately limited, but underneath the OH'southward most of the time. Mainly it seems to exist bringing out stuff in the midrange and the low meat of the snare. I'm guessing ribbon mics, or LP filtering on condensers... either mode information technology's a night room sound. Possibly Distressors on 'Brit Style' and stereo link. In that location's definitely a touch of distortion on here, merely it is low order.
Toms are adequately dead, with a scrap of 3K and more likely than not 10k due to the clickiness. Probably dampened. I don't remember they were sample replaced, which is why they sound a fleck lackluster compared to the other main drums. With these not being a huge gene in these types of drum sounds I'thou not going to get too indepth considering I'k lazy, I haven't had my first smoke of the morning and I've been typing this for as well long, and there's nothing actually cool going on with the toms.
I'd similar to notation that having an SPL Transient Designer (or equivalent) is god ship for doing these types of pulsate sounds. It certainly isn't going to hurt.
Hope this helps, not sure if this is what you wanted,
Just had a listen to Diary of Jane by Breaking Benjamin.
Snare sound changes for different sections but overall seems to be based on a Steel snare drum with a thick head cranked up and with different samples brought out at dissimilar parts in the arrangement. Definately has a distressor on it and that popping thing going on. Compression city!
I like the bass end of the mix with the bass guitar and kick drum sounding tight and gratis. Kick gives a very solid thud rather than a splatty sound. Maybe Emad volition be the right pick of head for y'all OP. But don't go el nutso with the dampening. In truth well-nigh cheap kicks can't pull off an amazing deep kick sound. Make sure the drummer chooses the right beater and if he/she plays double kick make sure that the beaters never rest on the caput (washed by some drummer to maintain their balance) every bit it chokes the drum out.
Tuning drums requires some practise. It takes a while to learn to hear what's going on and in fact some times the Bob Gatzen DVD is deceptive as small tweaks of the drum central can make a world of difference at times. The all-time results I get are when I tune in place. Tuning to the room, especially with toms. I usually melody to the resonant caput, tuning the batter head concluding and as a starting identify I melody the batter caput to the reso head and accept things from their. Tuning a pulsate mechanically as Bob does on his drum tuning simplified department of the DVD works all-time for the kicking followed by the snare. Toms I always tune to the room and I mirror the attack and decay characteristics from my favourite sounding tom on the kit. Sometimes I tune kick and toms to the same characteristic.
peace,
cortisol
Lives for gear
Story of the Year did a lot of their drums at our place... (I didn't do them... I believe the engineer was named Alan. Maybe he is on hither and volition chime in?) One matter I remember is that they changed the snare head every couple takes. OK... Maybe not that much but a whole lot. At To the lowest degree a new one for every song.
Also, after they would change it the drummer would stand up on it to loosen it up.
They also built a wall of defunction in our live room. A large live room and the drummer is playing in a trivial part sectioned off by curtains.
Anyhow... I don't remember much more.
Just idea I'd chime in.
Quote:
Originally Posted by magibatalla ➡️
Thanx for your contribution, only this doesn't help me at all.
Actually dude its the biggest help commencement and foremost. How can you be an efficient recording engineer if you lot dont know the differences in genres and/or bands?
Gear Aficionado
Quote:
Originally Posted by James Meeker ➡️
It's a little early in the morning for me to be pulling out my headphones and carefully listening (haven't had my java yet and kids are already billowy around the house)
You lot actually made my day, James. What the... you made my week! Y'all gave me food for thought for a serious amount of fourth dimension! In fact that was more than I was request for, but I thank that being that manner, for sure. I'1000 probably PM'ing you regarding some details, if you don't mind.
Quote:
Originally Posted by cortisol ➡️
Snare sound changes for different sections but overall seems to be based on a Steel snare drum with a thick head cranked up and with different samples brought out at unlike parts in the arrangement. Definately has a distressor on information technology and that popping thing going on. Compression city!
I like the bass end of the mix with the bass guitar and boot drum sounding tight and complimentary. Kick gives a very solid thud rather than a splatty sound. Maybe Emad volition be the correct choice of head for y'all OP. But don't become el nutso with the dampening. In truth well-nigh cheap kicks tin can't pull off an amazing deep kick sound. Make sure the drummer chooses the right beater and if he/she plays double kicking brand sure that the beaters never rest on the head (done by some drummer to maintain their balance) every bit it chokes the drum out.
Tuning drums requires some practice.
Thanx cortisol for your valuable input. For your words, I call back I'thousand going in the right management with head choices. Tuning drums is a though task when y'all are not a drummer then you haven't spent that fourth dimension in front of the kit. Even though, with some time focusing into it, I think I know more almost the subject than well-nigh of the drummers I know. That'south weird... I estimate most drum teachers forget completelly about that... I was taught to tune my guitar heh
Quote:
Originally Posted by Makinithappen ➡️
Story of the Year did a lot of their drums at our place... (I didn't practice them... I believe the engineer was named Alan. Maybe he is on here and will chinkle in?) I thing I retrieve is that they changed the snare caput every couple takes. OK... Maybe not that much but a whole lot. At To the lowest degree a new one for every song.
I'yard recording in a upkeep for these guys, they looked scared at me when I told them to supercede every head in the kit, so I will have to overlook this thing heh Anyway information technology'due south really overnice knowing existent facts of mainstream recordings. Thanx, man! Would be great if that "Alan" joined this thread.
Quote:
Originally Posted past somsto75 ➡️
Actually dude its the biggest assist start and foremost. How can you be an efficient recording engineer if you dont know the differences in genres and/or bands?
Thanx, dude, but don't insist on that. If I had writen "emo" or whatever someone would have said "Nah! that'due south pop/hardcore/punk/polka". Information technology'south not that I don't know genres, I simply put a broad label and narrowed the thing refering to a couple of bands...
Lives for gear
This is kind of a personal preference affair, but in my experience new drum heads are essential to great drum tone. Remo Ambassador or Emporers are really the only means to get, they outshine any head in a recording environment. They don't really last very long, only while they exercise they sound fantastic.
Gear Aficionado
Well, here I go again. Final time I was writing from a friend's reckoner.
I really give thanks those processing suggestions, which are a big part of this type of sound, but I want to go a trivial deeper into the drum setup/tuning issue, which is what I will accept to fight with offset 
Regarding snare setup. I take note about broad strainer and cranked upper head. Listening to B.Benjamin, I've noticed the snare seems to exist tuned to the song, striking the perfect fifth (F# for their songs in B minor central). If the band I'm recording mostly plays in D minor, the snare should be tuned to A to keep that relationship. I've heard many times about the importance of the snare being tuned to the song. How should I approach that?
Toms now. I remember I must go for a audio with not much sustain. Sustain wouldn't brand much sense through a wall of guitars. Right? How would y'all tune both batter and resonant heads to be more constructive? Which i higher/lower? And what nigh pitch relationship to the vocal and every other pulsate in the kit? In B.Benjamin I think I hear the rack tom hitting the b7 or perhaps the root of the central (B minor), so it's a third - fourth upper than the snare. I cannot discern that floor tom's pitch, so I assume information technology'southward pitched quite depression. Suggestions?
James mentioned automation on OH tracks. As well that, I think I'yard hearing the ride cymbal was mic'ed individually. You lot tin can hear those bell figures actually clear while crashes playing at the same time seem to exist lower and further away. I have never put a mic on ride cymbal. What's the common technique/southward? How should I prevent stage issues?
And don't worry, I did get the kids to replace their drum heads, I just won't be able to replace them again betwixt takes 
Go on suggestions coming! Thanks!
Gear Head
Quote:
I'thou fairly sure the same Steven Slate drum sample is in there,
which i would you lot guess james??
Sorry to hijack, simply If my band (guitars) play in Drop C.
Should the snare be tuned like an A?
and for example, if tuned in standard Due east, snare=C# ?
Thanks
Mixbuster
Gear Addict
Hey, some quick advice on tuning...
Tune the top head (batter) lower than the lesser head...the lesser head can be up to a 5th higher...i.e if the acme head is a C the bottom can be a G...only in saying that I wouldnt worry about pitch this is an easy mode to brand your drums audio good. Change your heads to Remo pinstripe or amend nevertheless ( for that style) remo emporers....remo make the best drum heads hands down and they always take....if you can use Senn 421s on Toms and make sure yous have the snare mic'd from top and lesser with the bottom under the snare strainer ( the leap)....
tune yous drums low then they sound practiced with the above and should be all good..there arnt also many drummers who tune to pitch....DW makes drums that are supposed to exist pitch specific but this is more of a marketing gimic than annihilation else
peace
double posted with 30 minutes betwixt, dunno how it happened? :S
Last edited by Mixbuster; 19th January 2009 at 02:39 PM.. Reason: double posted with 30 minutes betwixt, dunno how it happened? :South
Gear Aficionado
Quote:
Originally Posted past Mixbuster ➡️
Pitiful to hijack, but If my band (guitars) play in Drop C.
Should the snare be tuned like an A?
and for case, if tuned in standard E, snare=C# ?
Thanks
Mixbuster
Yous're counting a major 6th at that place. A perfect 5th will be a better fit, harmonically at least. And then for tunes in C central (I bet they are, merely even though you tune to drop C, your tunes might not necessarilly be in the cardinal of C), I would melody to G.
Someone correct me if I'g wrong, in fact I'grand asking to confirm this subject.
Quote:
Originally Posted by usefullidiot ➡️
Tune the top head (concoction) lower than the bottom caput...
tune you drums low so they sound adept with the above and should exist all good..in that location arnt as well many drummers who tune to pitch....DW makes drums that are supposed to be pitch specific but this is more of a marketing gimic than anything else
It was foreign at that place wasn't a post contradicting the previous ones still heh
On snare drum, I retrieve you must be careful with bottom caput tension as long as at that place'due south where snares are supposed to vibrate.
I play with a drummer who owns a DW kit, and yep, their resonance pitch is labelled on the wood. You're not supposed to tune them to that pitch, though. It's only the point of resonance for that particular drum size (physics, not marketing).
Lives for gear
Quote:
Originally Posted by Str1ker ➡️
which one would you lot guess james??
I call up it's called Snare3.
Don't quote me on that though, I'm going off memory. PM Bang and he'll tell you.
How To Tune A Drum Set For Metal,
Source: https://gearspace.com/board/so-much-gear-so-little-time/357595-drum-tuning-modern-metal-ala-breaking-benjamin-story-year.html
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