 The snare drum is probably the most personal drum you own. That is to say, it defines a drummer’s personality. Now’s the time to get to know your snare and it’s tonal qualitites just a little better. My philosophy and approach to tuning snare drums is based on the concept that most snare drums are tuned way too high! Especially the bottom head! Of course, it very much depends on the quality and design of not only the bearing edge of the drum, but also the snare bed. Keep in mind; almost any snare drum will sound “OK” with it cranked up. Tuning the drum lower and having the drum sing in its middle register is largely what separates the higher quality drums from the average ones. The great thing about the personality and individuality of any snare is that it represents how each drummer hears their individual sound and how they want their sound to translate to the listening audience. That middle register is simply the way I hear my snare best representing what I do. So let’s proceed:
The bottom head:
Never underestimate the importance of the bottom head when it comes to the overall snare sound you are trying to achieve. For starters, take a sharpie and write the date on the new bottom head every time you replace it. When the year is up, you will know that it’s time to change that sucker! This makes all the difference in the world. Fresh heads = happy drums.
I normally tune the bottom head of my snare loose enough that I can take my thumb and exert a bit of pressure, say one inch from the edge of the rim. The head should give perhaps an eighth of an inch. Due to the gentle slope of the DW snare beds, I frequently will have the head tension a teeny bit looser away from the snare bed itself. At this point, you will no doubt tap the drum to check the over all tension and see how things are sounding. This brings us to the next step:
Snare tension:
In my opinion, this is where many drummers really miss the mark. Most snares that I hear are way too tight! That tight, snappy drum might sound great to the drummer sitting above the drum, but to the audience (or microphone) it sounds like a small chirping dog. yip! yip! YIP! YIP! I believe that a loose, even buzzing snare will really sound great, both from a distance and in close miking situations. And now that the bottom head is looser than ever before, you end up with even tighter snares. In fact, they are downright choking! So loosen those suckers up! Give them some air. Actually before you do that, turn off the snares and tap the top head with either a stick, brush or your hand. Now, how does that sound? Does it sound like “Dee”, or does it sound like “Doo”. Maybe it will help if I mention that “Doo” is a similar sound to that of an open conga hit. I prefer “Doo”, assuming that is if the drum’s dimensions, shell, bearing edge, snare bed, hoops, etc. are up to the task. Another important variable that is often overlooked is choosing the right head for the drum. A double ply head will have more midrange than the single ply heads for instance. In fact, you might say that there’s a different series of harmonic overtones from one model or brand to another. I would suggest experimenting with as many head combinations as possible to help define your signature sound.
Tuning the top head:
Just like you, I can never resist the urge to play the drum after adjusting the bottom head and snares, but I usually stop playing, grab a drum key and start detuning the top head right away. I almost always do this with the snares OFF. As I detune, I tap the drum with my hand and listen for that “Doo” sound again. When I have it, I stop detuning and then I turn on the snares. I want my snares to give me a nice, balanced buzz sound. At the same time, I want the drum to not have even a hint of sounding choked. Remember, we want maximum sustain. We’re working worked for that “Doo” sound!
On to the next order of business, creating “space” for the snare. How many times have we all experienced a snare buzz as we played our toms? This is due to a sympathetic frequency relationship between your snare and tom. With a lower pitched snare drum, it may even accentuate the issue. I believe that the best way to deal with this and STILL get the most from each drum is to reserve a space, or pitch-zone for the snare drum that doesn’t conflict with the toms. So when I play a kit with two toms, I place the snare drum highest in pitch, and then the two toms are pitched below the snare. With a three or four tom set-up, I tune my first, smallest tom higher than the snare drum, sometimes by a fourth. My second tom is much lower than the snare drum with each consecutive tom getting much lower from there. Another benefit is that this method tends to provide me a wider tonal spectrum throughout the kit. I like my toms to be very high - and very very low. With two toms, they might be an octave apart, but with four toms, I want as much pitch range as I can get. Of course, it’s my good fortune to be playing custom made drums that feature DW’s patented TimbreMatching process. They really are the only company out there that will select shells to your liking. In my case, I have the 10” tom timbre matched very high to extenuate that broad tonal range. This guarantees a large space for my snare drums. And boy, do they ever bark!
If you have a spare hour or two, take your favorite snare drum and try this unique tuning method for yourself. Consider it ear training for the drums. Understand, it can be a bit more difficult to play complicated, fast fills on a looser tensioned snare drum so that may take some getting used to. In the end, you’ll find the added frequency range around the kit and a rich, full-bodied snare tone that producers and sound engineers will really appreciate truly makes the journey worthwhile.
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