1.
Drum kit
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A drum kit consists of a mix of drums and idiophones most significantly cymbals but also including the woodblock and cowbell. In the 2000s, some also include electronic instruments and both hybrid and entirely electronic kits are used. If some or all of them are replaced by electronic drums, the drum kit is usually played while seated on a drum stool or throne. The drum kit differs from instruments that can be used to produce pitched melodies or chords, even though drums are often placed musically alongside others that do, such as the piano or guitar. The drum kit is part of the rhythm section used in many types of popular and traditional music styles ranging from rock and pop to blues. Other standard instruments used in the section include the electric bass, electric guitar. Many drummers extend their kits from this pattern, adding more drums, more cymbals. Some performers, such as some rockabilly drummers, use small kits that omit elements from the basic setup, some drum kit players may have other roles in the band, such as providing backup vocals, or less commonly, lead vocals. Thus, in an early 1800s orchestra piece, if the called for bass drum, triangle and cymbals. In the 1840s, percussionists began to experiment with foot pedals as a way to them to play more than one instrument. In the 1860s, percussionists started combining multiple drums into a set, the bass drum, snare drum, cymbals, and other percussion instruments were all played using hand-held drum sticks. Double-drumming was developed to one person to play the bass and snare with sticks. With this approach, the drum was usually played on beats one. This resulted in a swing and dance feel. The drum set was referred to as a trap set. By the 1870s, drummers were using an overhang pedal, most drummers in the 1870s preferred to do double drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05, liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist. The bass drum became the central piece around which every other percussion instrument would later revolve and it was the golden age of drum building for many famous drum companies, with Ludwig introducing
2.
Bass drum
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A bass drum, or kick drum, is a large drum that produces a note of low definite or indefinite pitch. Bass drums are percussion instruments and vary in size and are used in musical genres. Three major types of bass drums can be distinguished, the type usually seen or heard in orchestral, ensemble or concert band music is the orchestral, or concert bass drum. It is the largest drum of the orchestra, the kick drum, a term for a bass drum associated with a drum kit. It is struck with an attached to a pedal, usually seen on drum kits. The pitched bass drum, generally used in marching bands and drum corps and this is tuned to a specific pitch and is usually played in a set of three to six drums. A bass drum is cylindrical with the drums diameter much greater than the drums depth. There is normally a head at both ends of the cylinder. The heads may be made of skin or plastic. There is normally a means of adjusting the tension either by threaded taps or by strings, Bass drums are built in a variety of sizes, but size has little to do with the volume produced by the drum. The size chosen being based on convenience and aesthetics, music Bass drums have many synonyms and translations, such as Gran Cassa, Grosse caisse, Grosse Trommel, and Bombo. Bass drums are too large to be held and are always mounted in some way. The usual ways of mounting a bass drum are, Using a shoulder harness so that the heads are vertical, on a floor stand as part of a drum kit. The heads are always vertical when mounted in this way, in this situation, the heads may be adjusted to any position between vertical and horizontal. It is possible for the drum to have a single cymbal mounted on it. Bass drums can have a variety of strikers depending on the music, when the drum is mounted vertically, the mallet above may be held in one hand and a rute held in the other. 2 matching bass drum mallets or a double headed mallet are used for playing drum rolls, when used as part of a drum kit, a variation of the mallet described above is mounted on a pedal and called a beater. The earliest known predecessor to the drum was the Turkish davul
3.
China cymbal
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In western music, China-type cymbals are a distinct type of crash cymbals designed to produce a bright, crisp, and explosive tone. It is for this reason that they have been nicknamed trash cymbals, the name China cymbal is derived from its similarity in sound and shape to Chinese gongs. They are most frequently mounted upside down on cymbal stands, allowing for them to be more easily struck, China-type cymbals are mostly commonplace in various interpretations of rock music, particularly heavy metal and thrash metal. It is also used for jazz fusion and Latin, especially those with elaborate drum solos. In Latin and several music, China cymbals are usually played in conjunction with other percussions instead of a drum kit, such as timbales. However, many china type cymbals have only several or in some cases none of these distinguishing characteristics, the distinguishing feature of a china type cymbal is the one that is hardest to define, its sound. China cymbals are those sounds are derived from the Chinese, rather than the Turkish. The best Turkish cymbals have a rich, swelling tone that some describe as sweet, to western ears, the best china types have an abrasive, cutting sound that is described by western drummers as trashy. The families do to some extent overlap, notably, pang and swish cymbals have some characteristics of china types, and some characteristics of traditional Turkish cymbals. Cymbal making in China is claimed to predate the development of the art anywhere else in the world, the most universally acclaimed cymbal alloy, bell bronze, appears to have been independently developed in China. Today in China a wide range of cymbals are manufactured of both traditional and imported patterns, traditional Chinese types with distinctive names and sounds include chung, jing, and water cymbals, as well as many other types. In Western music these are all referred to as china type cymbals, China type cymbals are available in a wide range of sizes from 27 inches down to 0.4 inches, most types singly but some in pairs. Those of 12 inches or smaller are normally referred to in Western music as china splash cymbals, when used in a drum kit, they are regarded as effects cymbals and are used to give colour and variety. In a drum kit, china-type cymbals can be mounted either with the bell facing upward as well as with the bell facing downward, when mounted bell-down, the upturned rim becomes a downturned rim, allowing a normal stick technique to be used for both ride and crash patterns. Conical bell rough finished on the inside, reversed edge, the bell may be or may not be reversed. The swish and pang are specific sounds within the range of china cymbals, developed as exotic ride cymbals. A China splash cymbal is typically 12 inches or smaller, Sabian refers to both their 12-and-14-inch nova Chinese models as mini Chinese. The Rocktagon, a Sabian exclusive, is a cymbal with a sound midway between a crash and a china
4.
Snare drum
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The snare drum or side drum is a percussion instrument that produces a sharp staccato sound when the head is struck with a drum stick. Snare drums are used in orchestras, concert bands, marching bands, parades, drumlines, drum corps. It is one of the pieces in a drum set, a collection of percussion instruments designed to be played by a seated drummer. Snare drums are played with drum sticks, but the use of other beaters such as the brush or the rute can be used to achieve very different sounds. The snare drum is a versatile and expressive percussion instrument due its sensitivity, the snare drum originates from the tabor, a drum first used to accompany the flute. The tabor evolved into more modern versions, such as the kit snare, marching snare, tarol snare, each type presents a different style of percussion and size. The snare drum that one might see in a music concert is usually used in a backbeat style to create rhythm. In marching bands, it can do the same but is used mostly for a front beat, in comparison with the marching snare, the kit snare is generally smaller in length between the two heads, while the piccolo is the smallest of the three. The snare drum is easily recognizable by its loud cracking sound when struck firmly with a stick or mallet. The depth of the sound varies from snare to snare because of the different techniques, some of these qualities are head material and tension, dimensions, and rim and drum shell materials and construction. The snare drum is constructed of two heads—both usually made of plastic—along with a rattle of metal wires on the head called the snares. The wires can also be placed on the top, as in the tarol snare, the top head is typically called the batter head because that is where the drummer strikes it, while the bottom head is called the snare head because that is where the snares are located. The tension of each head is constant by tension rods. Tension rod adjustment allows the pitch and tonal character of the drum to be customized by the player, the strainer is a lever that engages or disengages contact between the snares and the head, and allows snare tension adjustment. If the strainer is disengaged, the sound of the drum resembles a tom because the snares are inactive. The rim is the ring around the batter head, which can be used for a variety of things. The drum can be played by striking it with a stick or any other form of beater, including brushes, rute and hands. When using a stick, the drummer may strike the head of the drum, when the top head is struck, the bottom head vibrates in tandem, which in turn stimulates the snares and produces a cracking sound
5.
Floor tom
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A floor tom or low tom is a double-headed tom-tom drum which usually stands on the floor on three legs. However, they can also be attached to a stand with a drum clamp. The floor toms are the lowest tuned drums played with sticks in the regular 5 piece drum set, common sizes are 16x16, that is,16 inches in both depth and diameter. This was the size and is still most common. 14 inches x14 for jazz and fusion kits, and very occasionally with a 16x16 as well, 18x16, that is,18 inches in diameter and 16 in depth, the most common size for a second floor tom, used with a 16x16. 16x18, a rarer size sometimes used for a floor tom. Floor toms can be mounted, In the traditional manner, with three adjustable legs, on three legs but connected to them by means of a rim mount on the lower rim, the original floor tom rim mounting. Attached to a rack or a cymbal stand by means of a rim mount on the top or bottom rim. Attached to a rack or a cymbal stand by means of a standard hanging tom mount on the drum shell. This method is generally restricted to the smaller, 14x14 floor toms, the floor tom was popularized by Gene Krupa in the 1950s, using a 16x16. At first he placed it between his two bass drums, on the far side of his drum, but quickly moved it to its now traditional position to the right of his right leg. The floor tom is used as a small bass drum by some drummers. In that case it is mounted horizontally on a specially designed rack system, more recently, companies such as Pearl have come out with floor tom to bass drum conversion sets. These commonly consist of strategically shaped rods that one can put in place of the floor tom legs in order to stand it up horizontally, under this method, it is fairly common that a drummer get appropriately sized bass drum hoops to complete the conversion process
6.
Splash cymbal
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In a drum kit, splash cymbals are the smallest accent cymbals. Splash cymbals and china cymbals are the types of effects cymbals. The most common sized splash has a diameter of 10, followed by 8, most splash cymbals are in the size range of 6 to 13, but some splash cymbals are as small as 4. Some makers have produced cymbals described as splash up to 22, Splash cymbals include, Traditional splash cymbals, medium in weight with little or no taper. Rock splash cymbals, heavy but often with a slight taper, the original and traditional splash, like many of the cymbal types in a drum kit, was invented and named by Gene Krupa in collaboration with the Avedis Zildjian Company. Heavier splash cymbals, more suited to this style of drumming, were soon available, a third phase in the development of splash cymbals occurred when china splash cymbals became popular. These added a new dimension to drumming in their own right, today much of the color of an extended drum kit is provided by the wide variety of splash cymbals available. Traditional splash cymbals, as first popularized by Gene Krupa, are 8-12 in size and medium in weight with little or no taper, the name splash gives quite an idea as to how this cymbal sounds, the word rhyming with crash but a literal splash being very small. The normal function of a cymbal is to provide a short. For their size, they are hit relatively hard to produce a quick attack and they tend to have little taper in order to provide the necessary strength for this, the bell being approximately the same thickness as the rim, resulting in limited richness of tone. Rock musicians favor a heavier splash cymbal often with a taper, 6-12. China type cymbals of less than 14 are generally referred to as china splash cymbals when used in a drum kit and this terminology is not entirely consistent. The 8 and 10 Sabian Rocktagon splash cymbals, smaller versions of their octagonal 16 and 18 Rocktagon crashes, are described as china splashes and have an intermediate tone. China splashes were used in Mike Portnoys original cymbal stacks, use of a cymbal or cowbell is a fundamental part of many styles of timbale playing. Example, Sabian El Sabor Salsa Splash 13 Thin splash cymbals are made in sizes 8-12 with a pronounced taper and a sound more akin to a crash than to traditional splashes. At the thinnest and most fragile end of the scale, a splash is identical to, and interchangeable with. And in either case, a single stroke with a drumstick will split the cymbal. Bell cymbals, 4-8 or occasionally bigger, are extremely thick cymbals giving a bell-like tone, the earliest bell cymbals were made by cutting down a larger cymbal, particularly to salvage something from one that was badly split at the edge
7.
Ride cymbal
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The ride cymbal is a standard cymbal in most drum kits. It maintains a steady rhythmic pattern, sometimes called a ride pattern and it is normally placed on the extreme right of a drum set, above the floor tom. The ride can fulfill any function or rhythm the hi-hat does, with the exception of an open, the ride is played with a drumstick. The term ride means to ride with the music, describing the cymbals sustain after it is struck, the term may depict either the function or characteristic of the instrument. Most cymbal makers manufacture specific cymbals for the purpose, some drummers use a china cymbal, a sizzle cymbal or a specialized tone such as a swish or pang cymbal as a ride cymbal. When playing extremely softly, when using brushes, and when recording, on the other extreme, when playing extremely loudly a cymbal designed as a ride may serve well as a very loud, long crash. Cymbals designated crash/ride or more rarely ride/crash serve as either a large slow crash or secondary ride, bell-less ride cymbals, known as flat rides, have a dry crash and clear stick definition. Quieter, they are popular in jazz drumming, developed by Paiste in the 1960s, flat rides are used by notable drummers Roy Haynes, Jack DeJohnette, Paul Wertico, Carter Beauford, Jo Jones and Charlie Watts. The highly regarded Paiste 602 Flat Ride was reissued in 2010, swish and pang cymbals are exotic ride and crash/ride cymbals similar to china cymbals in tone. A sizzle cymbal, thinner and one larger than the main ride, was common in some styles of early rock music as a secondary ride cymbal. Modern use of the cymbal was inspired by Baby Doddss press roll rhythms. The most basic pattern in rock and other styles is, In jazz. When struck, a ride cymbal makes a sustained, shimmering sound rather than the shorter, the most common diameter for a ride cymbal is about 20 inches, but anything from 18 inches to 22 inches is standard. Smaller and thinner cymbals tend to be darker with more shimmer, while larger and thicker cymbals tend to better in louder volume situations. Rides of up to 26 inches and down to 16 inches are readily available, the very thickest and loudest tend to be about 22 inches, with larger rides restricted to medium and medium thin thicknesses. In rock or jazz, the cymbal is most often struck regularly in a rhythmic pattern as part of the accompaniment to the song. Often the drummer will vary between the pattern either on the hi-hat cymbal or the ride cymbal, playing for example the hi-hat in the verses. The sound of a ride cymbal also varies depending on what kind of mallet is used to hit it, in rock and metal, wood and nylon-tipped drum sticks are common, wood creates a smoother, quieter sound, whereas nylon tips create more of a ping
8.
Tom-tom drum
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A tom-tom drum is a cylindrical drum with no snares. The name came originally from the Anglo-Indian and Sinhala, the tom-tom drum was added to the drum kit in the early part of the 20th century. Most toms range in size between 6 and 20 inches in diameter, though floor toms can go as large as 24 inches, the first drum kit tom-toms had no rims, the heads were tacked to the shell. As major drum manufacturers began to offer tunable tom-toms with hoops and tuning lugs, later a 16 in drum mounted on three legs was added. Finally, a drum was mounted on the right of the bass drum. Together with a 14 in snare drum and a drum of varying size. Later, the mounted tom-toms, known as hanging toms or rack toms, were deepened by one inch each, extra-deep hanging toms, known as cannon depth, never achieved popularity. A wide variety of configurations are available and in use at all levels from advanced student kits upwards. Most toms range in size between 6 and 20 inches in diameter, though floor toms can go as large as 24 inches. Note that these terms do not imply drum depths, so for example and these terms fusion and rock are really marketing terms invented by drum manufacturing companies, and there is not an absolute definition for them, more a case of an accepted norm. In the 50s and early 60s, it was common to have only a single hanging tom, Standard tom-tom depths The standard depth rack toms popular in the 1950-1980s were 12×8 and 13×9. This classic configuration is popular among many players. FAST sizes are 10×8, 12×9, 13×10, etc, DW use the marketing term FAST for these sizes, but they are not unique to DW, and are widely popular sizes with all drum manufacturers. New Standard - 10×9, 12×10, 13×11, etc. i. e, the New standard sizes are 2 deeper than what was considered standard in the 50s. However, despite the term, these are becoming standard in favour of FAST sizes. Power toms are one inch deeper than standard, so standard sizes are 10×9 or 10×10, 12×11 and this depth overtook the classic setup in popularity during the 1980s. Square - 10×10, 12×12, 13×13, etc, popular in the 80s and 90s but no longer popular. Hyperdrive - Shallow depths made popular initially by Tama, 10×6.5, 12×7, 13×7.5, single-headed tom-toms have also been used in drumkits, though their use has fallen off in popularity since the 1970s
9.
Hi-hat
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A hi-hat, also spelled hihat or high-hat, is a combination of two cymbals, a foot-operated pedal which moves a rod which in turn moves one of the cymbals, all mounted on a metal stand. Hihats are a part of the standard drum kit used by drummers in many popular music. It consists of a pair of small to medium-sized cymbals mounted on a stand. The bottom cymbal is fixed and the top is mounted on a rod which moves the top cymbal towards the one when a foot pedal is depressed. The hi-hat evolved from a cymbal, a pair of similar cymbals mounted at ground level on a hinged, spring-loaded foot apparatus. Drummers invented the first sock cymbals to enable one drummer to play percussion instruments at the same time. Over time these became mounted on short stands - also known as low-boys -, when extended upwards roughly 3 they were originally known as high sock cymbals, which evolved over time to the familiar high-hat term. While the term normally refers to the entire setup, in some cases. Initial versions of the hi-hat were called clangers, which were small cymbals mounted onto a drum rim. Then came shoes, which were two hinged boards with cymbals on the ends that were clashed together, next was the low-sock, low-boy or low-hat, pedal-activated cymbals employing an ankle-high apparatus similar to a modern hi-hat stand. A standard size was 10, some with heavy bells up to 5 wide, hi-hats that were raised and could be played by hand as well as foot may have been developed around 1926 by Barney Walberg of the drum accessory company Walberg and Auge. In the early 1970s, hard rock drummers began to use 15-inch hi-hats, in the early to mid-1990s, Paiste offered 8 inches mini hi-hats as part of its Visions series, these were among the worlds smallest hi-hats. Starting in the 1980s, a number of manufacturers also experimented with rivets in the lower cymbal, but by the end of the 1990s, the standard size was again 14 inches, with 13 inches a less-common alternative, and smaller hats mainly used for special sounds. Rivets in hi-hats failed to catch on, modern hi-hat cymbals are much heavier than modern crash cymbals, reflecting the trend to lighter and thinner crash cymbals as well as to heavier hi-hats. Another evolution is that a pair of cymbals may not be identical, with the bottom often heavier than the top. Some examples are Sabians Fusion Hats with holes in the cymbal, and the Sabian X-cellerator, Zildjian Master Sound and Zildjian Quick Beats, Paiste Sound Edge. Some drummers even use completely mismatched hi-hats from different cymbal ranges, of different manufacturers, max Roach was particularly known for using a 15-inch top with a 14-inch bottom. Other recent developments include the X-hat and cable-controlled or remote hi-hats, Sabian introduced the Triple Hi-Hat, designed by Peter Kuppers
10.
Crash cymbal
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A crash cymbal is a type of cymbal that produces a loud, sharp crash and is used mainly for occasional accents, as opposed to in ostinato. They can be mounted on a stand and played with a drum stick, one or two crash cymbals are a standard part of a drum kit. Suspended crash cymbals are used in bands and orchestras, either played with a drumstick or rolled with a pair of mallets to produce a slower. Sometimes a drummer may hit two different crash cymbals in a kit at the time to produce a very loud accent. Although crash cymbals range in thickness from paper-thin to very heavy and they are typically 14 to 18 inches in diameter, but sizes down to 8 inches and up to 24 inches are manufactured. Custom crash cymbals up to 28 inches in diameter have been used by big bands, different thicknesses are used for different kinds of music, and the alloy for each manufacturers models varies. A thick cymbal is likely to be used by a metal or rock band, darker crashes are best used for jazz. The sound of a crash is changed by its luster, a cleaner cymbal creates a crisper sound, whereas a cymbal showing signs of oxidation creates a duller sound. Normally, two crashes are best for a set, a 16 and a larger one. Crash cymbals were traditionally placed on the side of the drum set, since the normally larger ride cymbal is usually on the right. Often a drummer will have multiple crashes, and so may set them up one or two on each side, or less commonly, with one mounted very closely above another. Crash cymbals are often the first ones in a set to warp and ultimately crack. Cymbal cracking is generally in the form of a fracture along the edge, or across the bow, often, lower quality sheet cymbals are more likely to crack, due to stress caused in some areas by pressing sheet metal. Thicker cymbals are more likely to crack due to their brittleness. This allows the cymbal to vibrate freely and for little stress to be caused on the edge or at the center hole, both of these methods are often ineffective at stopping cracks, but usually slow the spread of a crack down. A pair of identical crash cymbals held in hand by leather thongs passing through holes in their bells are called clash cymbals. Two tones are used by major orchestras, known as Germanic or Wagnerian and Viennese. Clash cymbals are used in stage, concert, marching
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