Choosing Drum Heads: A Comprehensive Guide
Did you know that up to 80% of your drum’s sound comes from the heads you choose? Selecting the right drum heads is crucial to achieving that killer sound you’ve been dreaming of. Whether you’re a beginner or a seasoned pro, navigating the world of drum heads can be overwhelming. Fear not! I’m here to guide you through the process of choosing drum heads that’ll make your kit sing.
Understanding Drum Head Types
First off, regarding brands, the main two are Remo and Evans. You will find that both brands have a head which is the same specs as the other. For example, the Evans G1 single-ply head is the same as a Remo Ambassador. Likewise, an Evans G2 double-ply head is the same as a Remo Emperor. Most other models from those brands diverge from there.
Let’s start with the basics: single-ply vs. double-ply heads. Think of single-ply heads as the sports cars of the drum world – they’re responsive, bright, and give you plenty of sustain. I love using single-ply heads on my toms when I’m playing jazz or lighter rock. They let the drums breathe and really sing. They’re also great in the recording studio.
On the flip side, double-ply heads are like the tanks of drum heads. They’re thicker, more durable, and give you a punchier, more focused sound. They’re better for playing rock and metal.
Now, let’s talk about coated vs. clear heads. This is where things get interesting!
Coated heads have this thin layer of textured coating on top. They give you a warmer, more vintage sound. I absolutely love coated heads on my snare drum – they just have this classic snap that can’t be beaten. Plus, if you’re into playing with brushes, coated heads are a must. Trying to use brushes on clear heads is like trying to write on glass with a pencil. Pretty pointless.
Clear heads, on the other hand, are all about that attack and brightness. They’re great for situations where you need your drums to really cut through the mix.
But let’s not forget about specialty heads. These are like the exotic spices of the drum world – they can add that special something to your sound. Take Evans hydraulic heads, for example. These bad boys have a thin layer of oil between two plies of film. The result? A super fat, low-sustain sound that’s perfect for that 70s studio drum sound.
And then there’s Remo pinstripe heads. They have this extra ring of film around the edge that helps control overtones. I use these on my floor toms sometimes, it gives me this deep, punchy sound that just makes me smile every time I hit it.
Now, here’s the million-dollar question: how do all these different types affect sound and durability? Well, it’s all about trade-offs. Generally speaking, thinner heads (like single-ply) give you more sensitivity and sustain, but they’re less durable. Thicker heads (like double-ply) give you more attack and focus, and they last longer, but you lose some of that sensitivity.
Coated heads tend to wear out faster than clear heads, especially if you’re a heavy hitter like me. But the warm tone they provide is often worth the trade-off. Clear heads are more durable, but they can sometimes sound a bit too bright or harsh, especially on larger drums.
As for specialty heads, they each have their own quirks. Hydraulic heads are super durable, but they can sometimes sound a bit too “dead” for some styles of music. Pinstripe heads are great for controlling overtones, but they might not give you the sustain you want for more open, ringing styles.
The key is to experiment and find what works for you. Don’t be afraid to mix and match! I might use a single-ply head on my snare drum, and double-ply clear heads on my toms for example.
I also mix and match brands sometimes. For example, I might use an Evans Hybrid on my snare, Remo Colortone heads on the toms, and Aquarian American Vintage heads on my bass drums.
Pro Tip: For toms, I tend to use double-ply batter heads for more attack and durability, and I use single-ply resonant heads for more resonance.
Remember, choosing drum heads is as much an art as it is a science. What works for one drummer might not work for another, and the same goes for different styles of music. So get out there, try different types, and find your perfect sound.
Matching Drum Heads to Musical Genres
For rock and metal, you want to go with thicker, double-ply heads. I swear by clear Remo Emperor heads for my toms (or Evans G2) – they give you that big, punchy sound that cuts through distorted guitars like a hot knife through butter. For the kick drum, a clear Powerstroke 3 or EMAD head is the way to go. It’ll give you that tight, focused “thump” that metal drummers dream about. It’d put Remo clear Ambassador heads on the bottom of the toms (or Evans G1).
For jazz, I always recommend coated single-ply heads. They give you that warm, vintage sound that jazz cats love. I use coated Ambassadors on my toms and snare. They’re responsive enough for those light, brushed passages but can still handle a good whack when you need to lay down a groove. For the kick, a coated Powerstroke 3 gives you a nice, round tone without too much attack.
For pop and R&B, I’ve found that a mix of coated and clear heads works well. I like to use coated Emperor heads on my toms – they give you a nice, fat tone with enough attack to cut through. For the snare, a coated Ambassador or Emperor which is tuned quite high is perfect. It gives you that crisp “crack” without being too harsh. And for the kick? A clear EMAD or Powerstroke 3 with dampening will give you that punchy bottom end that pop music needs.
For world music, don’t be afraid to think outside the box. Try using Remo Fiberskyn heads for a warm, earthy tone that’s great for African and Latin styles. Or experiment with Remo Mondo heads for a deep, resonant sound that’s perfect for Middle Eastern music. I’ve even used hydraulic heads to get that low, thumpy sound for some Indian-inspired fusion tunes.
One thing I’ve learned is that world music often requires a lot of hand drumming techniques. So, make sure your heads can handle both sticks and hands. Coated heads and Fiberskyn heads are usually a safe bet here.
Remember, these are just guidelines based on my experience. The best way to find your perfect sound is to experiment. Try different combinations, listen carefully, and trust your ears the most. That’s how we learn and grow as musicians.
The Impact of Drum Head Materials
Let’s start with the big kahuna of drum head materials: Mylar. Also known as polyester, these heads are the industry standard for a reason. Mylar heads are super versatile, which is why you’ll find them on everything from beginner kits to professional setups.
Mylar heads come in different thicknesses, usually measured in mils (thousandths of an inch). A 7-mil head is going to give you a brighter sound with more sustain, while a 10-mil head will give you more durability and a slightly darker tone. I’ve found that 7-mil heads are great for jazz and lighter styles, while 10-mil heads can take a beating in rock and heavier genres.
Now, let’s talk about calfskin heads. These are the OG drum heads, folks. Back in the day, all drum heads were made from animal skin. The sound is warm and rich, with this incredible depth that you just don’t get from synthetic heads.
But here’s the thing about calfskin heads – they’re super sensitive to changes in temperature and humidity. But nowadays, there are modern calfskin heads that are treated to be more stable, but they still require a bit more TLC than synthetic heads.
Kevlar heads are incredibly durable. They’re made from the same material used in bulletproof vests, so you know they can take a beating. The trade-off is that they have a very focused, almost muted sound. They’re great for styles that need a lot of attack and minimal sustain, like metal or heavy rock. But if you’re looking for that open, ringing tone, Kevlar might not be your best bet.
Fiberglass heads have this unique, almost glassy tone. They’re super responsive to light touches, but they can also handle heavy playing. They’re not as common as Mylar heads, but they’ve got a loyal following among drummers who are looking for something a little different.
At the end of the day, choosing the right drum head material comes down to your personal playing style and the sound you’re after. And remember, even within each material type, there are tons of variations in thickness, coating, and construction.
Choosing the Right Drum Heads for Each Drum
Let’s start with the bass drum, the heartbeat of your kit. Should you go for punch or sustain? Well, here’s the secret: it’s all about balance. For the batter head (that’s the one you hit), try a double-ply head like the Remo Powerstroke 4 or the Evans EMAD. These bad boys give you that deep, punchy thump that’ll make your audience’s chest vibrate.
Now, for the resonant head (the front head), you’ve got options. If you want more sustain, go for a single-ply head with a small hole or no hole at all. But if you’re after that tight, focused sound, a pre-cut head like the Evans EQ3 is your best bet.
Moving on to the snare drum – this is where things get really interesting. Your snare is like the lead singer of your drum kit. It needs to cut through the mix and have a personality all its own. For the batter head, I’m a big fan of coated heads. They give you that crisp attack and sensitive response that’s perfect for everything and I find they have less overtones than clear heads.
My go-to snare batter head is the Remo Controlled Sound Coated. It’s got a reinforced center dot that adds durability and focuses the sound. If you want even more sensitivity, try a single-ply head like the Evans G1 Coated. Just be prepared to replace it more often if you’re a heavy hitter!
For the resonant head on the snare, you want something thin that’ll really let those snare wires sing. The Remo Ambassador Hazy or Evans Snare Side 300 are both great choices.
Now, let’s talk about tom heads. This is where you can really shape the overall sound of your kit. For toms, I like to use clear double-ply heads on top, like the Evans G2 clear or coated or the Remo Emperor clear or coated. They give you a nice, full tone with just the right amount of attack. You want each tom to have its own distinct pitch, creating a melodic sequence as you move around the kit.
Last but definitely not least, let’s talk about resonant heads. These are the unsung heroes of drum sound. They’re often overlooked, but they play a huge role in shaping your overall tone. For toms, I like to use single-ply clear heads on the bottom, like the Remo Ambassador Clear or Evans G1 Clear. These give you a nice, open resonance that really lets your toms sing.
But, you could put the same head on both if you wanted. So try putting a double-ply head on the top AND the bottom of your toms and have a listen! They should have a faster decay and that may well be the sound you are after.
If you want more sustain, tune your resonant heads slightly higher than your batter heads. If you want a shorter, punchier sound, tune them lower.
One thing I’ve noticed is that a lot of drummers neglect their resonant heads. They’ll change their batter heads regularly but leave the resonant heads until they’re practically falling apart. Big mistake! Your resonant heads are just as important for your overall sound. I try to change mine every other time I change my batter heads.
Remember, choosing drum heads is a personal journey. What works for me might not work for you. Don’t be afraid to experiment and try different combinations. And most importantly, trust your ears!
Pro Tips for Selecting and Maintaining Drum Heads
First things first, you gotta evaluate your playing style and needs. Are you a heavy hitter who loves to bash out rock anthems? Or are you more of a finesse player, all about those jazz brushes and ghost notes? Your playing style is gonna dictate a lot about the heads you choose.
Pro Tip: if you’re a lighter player, go for thinner, single-ply heads. They’ll give you more sensitivity and a brighter tone. But if you’re a heavy hitter, you might want to consider double-ply heads for extra durability.
Don’t be afraid to mix and match different types of heads on your kit. You might be surprised at the sounds you can create.
And here’s a little-known secret: don’t overtighten your heads. A lot of drummers think tighter is better, but that’s not always the case. Overtightening can actually choke the sound of your drums and cause premature wear on your heads.
Tune them to a medium tension that gives you a good bounce and a clear tone. Perfect for cool jam sessions like this!
As a general rule, you should replace your batter heads (the ones you hit) every 3-6 months if you’re playing regularly. Resonant heads (the bottom heads) can last a bit longer, maybe 6-12 months. But these are just guidelines – your mileage may vary depending on how often and how hard you play.
And there you have it! Choosing the right drum heads is like finding the perfect dance partner – it takes time, experimentation, and a bit of intuition. Remember, your drum heads are the voice of your kit, so don’t be afraid to mix and match until you find that sweet spot.
Drum kits come in many different forms and variations. Check out these articles for help on choosing a drum kit, the best drum sets for beginners, and the best electronic kits if you need to keep the noise down.
