1. Remove the old heads and wipe down the drum

First, move your snare away from the rest of the kit. Each part of the drum set has different overtones, and isolating the snare while you’re tuning will reduce the chance of hearing sounds from the toms or bass drum. A lot of drummers make this mistake and then wonder “where the heck is that humming or rattling coming from?” We’ve all been there!

Remove the screws, the hoop and the old head, then use a dry cloth to wipe everything down. Make sure the inside of your drum is completely clean before you pop on the new head.

2. Seat the drumhead

It’s important to seat the new head properly. The part of the drum where the hoop rests is called the “bearing edge” and if it’s warped, the head may not sit exactly right. 

But what if the head doesn’t sit right?

You can try DrumDial Bearing Edge Conditioner to help the head glide on more smoothly. Beyond that, there’s not much you can do without getting into a major repair like sanding it down and using a machine to fix it. 

You should be able to seat the head even if the bearing edge is a little off. If you can’t, it might be time to think about getting another drum.

The type of hoop on your snare is important too. Die-cast and wood hoops are less flexible and tend to muffle overtones, while triple-flanged have some additional “play” and allow the head to resonate more. Swapping out the hoop is one way to change the sound of your snare, and if the hoop is bent, it might be tough to seat the drum head properly.

3. Tighten the tension rods with your fingers

Now that everything is in place, it’s time to get the head in tune.

Release your throw-off to make sure your snares aren’t touching the bottom head. This will give you the most accurate sound for tuning.

Replace each tuning rod and turn gently with your fingers until they don’t wiggle (this is called “finger-tight”). Most snare drums have 10 tuning rods and lugs.

4. Use a drum key to tighten each tuning rod equally

Make a couple of full turns with each set of tension rods, moving in a criss-cross pattern and turning the tension rods until tight.

You can also save time by taking two drum keys, placing them on opposite lugs, and rotating both about a quarter-turn clockwise at the same time. 

As you tighten the head, you may hear a cracking sound. Don’t be alarmed! This is just the head stretching over the hoop.

If you prefer the two-key method over the traditional one-key method, it stretches the head evenly over the drum to create “tension bands,” or lines of tightness across the head.

But how will I know when it’s tight enough?

While there’s a science to tuning, it’s also an art. If it sounds good, then you’re on the right track. However, snare tunings do vary a lot depending on what style of music you’re playing and what type of drum, hoop and heads you’re using. Rock and metal tunings tend to be lower pitched, while many jazz and hip-hop drummers tune their snares up higher (there are always exceptions).  

5. Tap around the head and listen for the pitch

Use your finger or a drumstick to lightly tap on the head around the edge of the drum near each lug to quickly check the pitch. If one is higher or lower than the rest, use your key to keep making adjustments. The goal is to hear the same pitch by each lug.

It’s important to tune in small increments of 1/4 to 1/2 of a turn at a time so the head tightens gradually. How a tuning rod feels doesn’t always correspond directly to how tight it actually is. Parts can rust over time, and products like torque wrenches aren’t always accurate.

Don’t be fooled! The most important tuning tool you have is your ears.

You don’t need to choke every single rattle or overtone during the tuning process. Drums always sound different behind the kit than they might to the audience in a club or the engineer in a studio. Let the drum speak. If you need to cut down on extra noise, use a dampening product you can easily use and remove. This will give you much more flexibility to manipulate the tone.

Resonant head tuning is similar, but if you’re changing both heads, do the resonant head first. You’ll have to remove the snares then repeat the process above.

One useful tip: if your drum sounds truly god-awful, check the tuning of your resonant head before you drastically change the tuning or replace the batter head. While it’s possible to overtighten the resonant head and choke the tone, it’s usually the loose ones that cause the most trouble (humming, ringing and rattling) You want the resonant head to be “table-top tight.”

6. “Stretch” the head

It’s important to remember that your snare head will continue to stretch and settle as you play it. This means you’ll likely need to continue tweaking the tuning after you first change the head.

You can help this process along by using your palm to gently apply a little pressure to the center of the head to help it stretch (only for the batter head – you don’t need to do this for the resonant head since it’s so thin).
 
This “settling” process shouldn’t happen for longer than an hour or two of playing, and once the head has stabilized it should stay in tune. If it doesn’t, consider grabbing some of these sleeved washers to keep the tuning rods in place. 

If you can help it, don’t change the head right before you record. Do it the day before and “play it in” a little first so the tuning settles. Your engineer will thank you.

Now that you’ve got your snare tuned up perfectly, you’re ready to rock out at home, in the studio or onstage!

Make sure you have these items

Whenever you’re tuning drums, you should have the following items on hand:

Batter head (top)

What type of drumhead should you get? It depends on the type of music you’re playing and the sound you’re going for. Single-ply batter (or top) heads like this one will have more resonance and sound good for any style where you want a more “open” tone. Thicker double-ply heads will “focus” the sound of your snare to create a fatter tone. Every drum sounds unique, so the best way to find the perfect head is to experiment until you get the sound you’re looking for.

Resonant head (bottom)

Do you need to replace the bottom head every time you change the batter head? No. The bottom – or “resonant” – head doesn’t take the same beating and will last longer than the top. But if it has a hole or the drum doesn’t sound quite right, it might be time for a new one. These heads are clear and usually very thin.

Drum key

There are so many different types of drum keys, but a magnetic one that’s a little larger will make tuning even easier. You can also pick up a custom zinc-alloy design (featuring your favorite drummers) from drumkeyshop. 

Bonus: Digital tuner

Digital tools can increase the accuracy of your tuning. Once you’ve installed the drum head, you can take the additional step of using a digital tuner like a DrumDial to finish the job. It measures the relative tension of the drumhead at a specific point, which – if you use it properly – can help you make small adjustments that’ll get the tuning just right.

You can still get a good sound if you don’t own one of these tuners, but picking one up can really reduce a lot of the guesswork.

The DrumDial has a tiny plunger that pushes on the head to measure the tension in each spot. Make sure to follow the instructions to calibrate the tuner before you start and use the enclosed spacer (or your finger) to make sure it’s the same distance from each lug. Then go through them one by one to see how accurate your tuning is. 

Most snare batter heads sound best at a tension of 85-90, but slightly higher or lower can work too. Use your ears, consider the type of music you’re playing, and remember that every snare, hoop and head sounds different. A 6.5”x14” walnut snare drum with S-Hoops (which is a killer hybrid between a rigid die-cast hoop and lightweight flanged hoop) and a single-ply head with a coating ring sounds great tuned to 89-91 for R&B or Hip-Hop, while 86-87 is the sweet spot for a fat rock thump. 

On an aluminum snare of the same size with triple-flanged hoops (which are flexible and resonant), 85 has a perfect beefy rock sound, while tuning to 87 and loosening the snare wires slightly hits the sweet spot for a crisp jazz tone. 

Whatever tension you choose for the batter head, the key is to tune the resonant head between 80-83 to reduce unwanted overtones without choking the sound of the drum. 

Experiment with the tuning and find what works best for you!

5 tips for a killer snare sound

1. Even the tension across all lugs

Start by loosening all the tension rods on the batter head. This will give us a nice, neutral starting point so we can start from the ground up.

As we mentioned earlier, tighten the rods until each of them are just barely touching the hoop. You can also use your hands to get each rod “finger-tight”. Continue tightening the tension rods in a criss-cross pattern around the drum. Start with half and full turns, and make sure you tighten each rod evenly.

Finally, tap your finger on the drum head right beside each lug to listen to the tone. Try to match up the pitches.

Note: The kind of drum head you use doesn’t really matter, but we recommend not using the stock heads that your drums came with. Evans and Remo are both great options when choosing a quality drum head.

2. Use snare wires that suit you

If you haven’t tested different kinds of snare wires out, don’t worry about it for now. The biggest thing to focus on is making sure the snare drums are tight enough to produce a responsive sound, yet loose enough so the snare doesn’t sound choked.

3. Make the bottom head tabletop tight

Do the exact same process as we did in step one, but this time on the bottom head. The only difference here is we’ll be making the bottom head much tighter than the top head (table-top tight, in fact).

You don’t want to snap the drum head, but chances are it can be tightened up more than you think.

4. Don’t over-muffle your drum

Drums need to speak. If you hear a little ring or buzz from your snare drum, that’s totally cool. You don’t want to muffle your drum so much that it removes the character and makes it sound like any other drum. That being said, it also heavily depends on the musical scenario you’re in.

5. How you play changes everything

How you hit the drum makes the biggest impact on how it sounds. Play with authority and confidence.

If you’re just starting out – don’t fret. Just by practicing daily and working on your rudiments, you’ll gradually get more and more comfortable with controlling what noises come out of your snare. Don’t get caught up in tuning your drums for hours and hours at this level. Just play!

*This article contains affiliate links, which means we might earn a small commission from the product seller if you make a purchase. For more info, check out our privacy page.

This movie isn’t intended to be a full history of the drums with every famous player in every style of music. That would be impossible! The documentary-style film is simply about why people love playing drums. It’s uplifting, positive, and packed full of great stories, fond memories, and most of all, unbridled passion for the instrument.

Warning: Spoilers ahead!

The movie begins with artists like Stephen Perkins (Jane’s Addiction), Nicko McBrain (Iron Maiden), Samantha Maloney (Hole), Emily Dolan Davies (Brian Ferry/The Darkness), Roger Taylor (Queen), Stewart Copeland (The Police) and Chad Smith (The Red Hot Chili Peppers) recounting their first memories seeing drummers on TV and feeling inspired to play. As Smith says, “everything about it was mysterious, magical and dangerous.”

Then we see footage of the Beatles’ iconic 1964 performance on The Ed Sullivan Show and hear from session legend Jim Keltner about the massive impact Ringo had on all drummers from that era. Clem Burke (Blondie) says “it was like these guys came down from outer space somewhere and were playing this great rock ‘n roll music.” Abe Laboriel Jr., who is Paul McCartney’s current drummer describes the fire, intensity and “punk energy” Ringo brought to every live performance. 

The film also gives a nod to The Rolling Stones, with Nick Mason (Pink Floyd) and Bob Henrit (The Kinks) talking about the heavy blues and R&B influence in British music in the ‘60s. Copeland describes the genius of the Charlie Watts’ groove as “sophisticated dishevelment.”

After this brief Brit-rock history lesson, the film pivots to explore the joy that artists like Cindy Blackman Santana (Lenny Kravitz/Santana), Ben Thatcher (Royal Blood) and Dolan Davies felt at getting their first drum sets. Laboriel Jr. sums it up, saying “that’s what playing the drums to me is – the opportunity to play with other musicians.” Then there’s a segment paying tribute to Keith Moon featuring Ian Paice (Deep Purple), Topper Headon (The Clash) and Smith, followed by some fun memories from Copeland and Foo Fighters’ Taylor Hawkins about how they started playing drums. These stories are the among the most compelling parts of the film.

Next we join Jess Bowen (The Summer Set) as she visits a backline shop in L.A. to pick out some drums for a jam session with a few other famous drummers. Ross Garfield (“The Drum Doctor”) shows off his impressive inventory and talks about what goes into choosing the right drums for different musical situations. The film also introduces British drummer Ben Thatcher, whose energetic live performances with rock duo Royal Blood have earned him the respect and admiration of some of his drumming heroes.

Chad Smith puts it succinctly: “I want to see guys doing it with intent, conviction and doing it ‘cause you mean it. If not, go flip hamburgers.”

The film goes on to touch on the history of jazz, paying tribute to the influence of Elvin Jones, Art Blakey and Buddy Rich.  McBrain has a mischievous twinkle in his eye as he talks about hearing a swing pattern, while Blackman Santana explains, “in jazz, you’re able to make the music change and grow.” Paice expands on this idea by discussing the importance of grace notes to how the groove feels.

Then we meet some more drumming greats. Smith describes Cream’s Ginger Baker as “a jazz drummer trapped in a rock man’s body” as we watch some great old footage of him playing a swing pattern while adding a double bass drum pedal. John Bonham is next, and the praise is effusive from Hawkins, Smith and Taylor. Maloney says “everything you need to know as a drummer, just listen to Led Zeppelin and you’ll learn it.”

Hawkins and Perkins remember their first time seeing Queen live, marveling at the creativity and orchestral nature of Taylor’s parts. We also hear entertaining tales from Smith, Dolan Davies and Bowen as they recall their first professional experiences.

Then the film examines the early influence of punk music and how it differs from rock. Rat Scabies (The Damned) has some useful advice: “If they’re singing, don’t bash too many drums. When the singing stops, do whatever you like to bring in the next bit.” Topper Headon from The Clash says “it’s just like sprinting. You give it everything you can.” Front man Joe Strummer throws some praise Headon’s way, suggesting “you’re only as good as your drummer. And that’s really true. If we hadn’t found Topper Headon, we’d never have got anywhere.”  

“You’re only as good as your drummer.”

Copeland also pays homage to The Clash as being at the forefront of adding reggae and funk ideas to punk drumming and making the music more dynamic. Laboriel Jr., Hawkins and Perkins laud Copeland himself as a major influence since he doesn’t always play the backbeat in a traditional way. Perkins says “he’s very unpredictable. That’s the magic of him. He makes you feel comfortable in the most uncomfortable drum part.”

Next is more Keith Moon love, and Perkins is clearly in awe of his brilliant musicality and wild personality. Paice’s recollections of Moon are more bittersweet: “I met him a couple times and he was a sweetheart. But you could look in his eyes and say ‘this man will never get to be 40 years old’.” This was a briefly wistful moment in an otherwise upbeat 90 minutes.

The next segment, titled “Rise of the Machines” strikes a slightly awkward tone. Producer Andy Gray talks about the different sounds you can get by replacing a real drummer with a drum machine and demonstrates how to use the legendary LinnDrum, which appeared on countless hits from the ‘80s. Perkins talks about real drums versus programming, while Blackman Santana expresses how “the human element of the feel was taken out. And I like the human element because…I’m a human being.” 

The film quickly turns to the rise of MTV in the ‘80s and ‘90s, focusing on the influence of Nirvana and how it made people have fun and pay attention to drummers like Dave Grohl. Thatcher is clearly passionate in talking about how Grohl’s playing impacted him as a youth.

Then we’re back in present-day L.A. as Bowen chooses a drum set for her end-of-the-film jam with Blackman Santana, Smith and Perkins. “The Drum Doctor” again touches on gear choices and tuning before we rejoin the drum legends for some entertaining audition stories. These are the best!

Smith talks about the instant chemistry he had with The Red Hot Chili Peppers but remembers feeling like his “Detroit look” might not fit with the rest of the band (he decided to just try to “wow” them musically and hope for the best. Guess that worked out!). McBrain also remembers his first time jamming with Iron Maiden: “There was a magic. I knew that I was where I should be.” 

The most inspiring memory came from Maloney as she recounted getting an out-of-the-blue early-morning call from Nikki Sixx to sub in Motley Crüe. It was almost as if she was reliving that moment as she talked to the camera. She playfully says of her 6-month run with the band: “I did have some rock ‘n roll stories from that time.” 

She also spoke of the challenges of being a female drummer in a male-dominated industry, themes that are echoed by Blackman Santana, Dolan Davies and Bowen. Blackman Santana shows her determination and resolve, saying “it is great to have a sense of who you are. When you know who you are and are solid in that, no one can tip you.”

The film wraps up with a four drummer jam session featuring Perkins, Bowen, Smith and Blackman Santana. Perkins sums things up on a feel-good note, saying that by playing drums “you can connect with people and raise their level of happiness.” That’s really what Count Me In is all about. 

Looking for more drumming movies?

There’s a number of other drumming movies that have brought the instrument into the living rooms of mainstream audiences.

Whiplash provides a dark and complex portrayal of music education by chronicling the story of an aspiring student and his abusive drum teacher.

The 1959 film The Gene Krupa Story follows Krupa’s journey from Chicago to New York in search of jazz stardom. While the film is a bit outdated from a societal perspective, there’s plenty of fabulous music, as the real Krupa played drums on the soundtrack.

And then there’s the 2019 hit Sound of Metal that explores the story of a drummer who loses his hearing, shining a light on a serious issue in the drumming community. 

While these films aren’t as upbeat and encouraging as Count Me In, they each make an enjoyable watch for drummers and non-drummers alike. So grab your popcorn, pull up a practice pad and enjoy!

Each groove has sheet music and an audio track so you can hear how it’s supposed to sound. (If you don’t know how to read drum music, click here)

We’ve also included two examples of popular songs that feature each beat. Even if the song is too difficult right now, you can listen to how that part sounds in the context of a real track.

Drumeo students can find sheet music for most of these songs (and 5000+ more) in the members area. Try Drumeo for 7 days free!

What makes a drum beat beginner-friendly?

These beats are considered ‘easy’ because they fit one or more of the following criteria:

• They sound good played slowly
• They typically only require three limbs rather than four
• They have less syncopation/subdivisions

Have a good time with these! Play them exactly as written at first, then try moving them around the kit or adding some fills. Once you’re feeling good, grab your headphones, crank up your favorite jams and play along.

1. Bread ‘n Butter (92 BPM)

Start with the bass drum and snare, then add the closed hi-hat part. Focus on playing a solid backbeat and keeping the tempo steady. Every note counts!

Here are two songs that use this simple drum beat:

2. Big Bell Bounce (98 BPM)

This one has the ride cymbal bell on the “and” of each beat (also called the “upbeats”). Try to hit the same spot on the bell every single time so you get a consistent sound.

Check out these songs to hear the beat in practice:

3. Hi-Hat Hotness (100 BPM)

Follow the written sticking by playing both hands on the hi-hat and bringing your right hand down to the snare for beats 2 and 4. It’s a challenge to keep this one from getting too messy, so start slowly and build the tempo. Keep the bass drum solid on every quarter note (which is called “four-on-the-floor”).

You can hear this beat in these songs:

4. Terrific 2-Beat (105 BPM)

This might look easy as pie, but it’s harder to get “in the pocket” than you think! This one should feel laid back and relaxed. Keep your hi-hat loose and really focus on the metronome.

Try out these songs (and simplify if you have to):

5. Tom-Tom Time (88 BPM)

Play this groove with your right hand on the floor tom and your left on the snare. Using the toms instead of the hi-hat or ride gives the pattern a different tone color.

You can hear this type of tom beat in the following songs:

6. Useful Upbeats (95 BPM)

This one is a workout for your hi-hat foot. Open the hi-hats slightly on the upbeats, and close them on the downbeats.

Check it out in these tracks:

7. Beatle Bits (100 BPM)

This is the groove Ringo played on the Beatles’ hit “In My Life.” Your right hand hits only the one note on the closed hi-hat. Once you get it, try playing along with the song!

You can hear the beat in this song, too:

8. Stir the Sauce (80 BPM)

The 16^th note interaction between the ride and snare on the second and third beats makes this groove a little bit funky. Try to keep it clean and smooth.

This is the beat a lot of new drummers learn so they can show off to their friends. Listen to it in context here:

9. Quirky Quarters (85 BPM)

This one has a simple quarter note pulse on the snare while the bass drum is a little more active. Accent the downbeats on your hi-hat to give the pattern shape and definition.

10. Jazz Jam (95 BPM)

Try to make the ride cymbal swing pattern feel laid-back and relaxed. While most of this pattern is based around the cymbals, drop in a snare hit on the third triplet of beat 3.

11. Twirl ‘n Twist (100 BPM)

This is a 2-measure phrase with a lot going on in the bass drum and snare part. Work on those alone at first, then add the ride cymbal and crash. Play one measure at a time, then combine them.

12. Spacey Stuff (105 BPM)

The key to this one is keeping a steady pulse with your bass drum on every quarter note (four-on-the-floor). Really crack those flams on the toms.

13. Waltzy World (105 BPM)

This pattern is in a 3/4 time signature, which means there are 3 beats per measure and each is worth one quarter note. Begin practicing this pattern with your hands alone, then add the bass drum.

Drum beat tips for beginners

• Isolate your limbs when you first begin to practice. You can play the hands by themselves, and when you’ve got that, add the feet. You can also work on the bass drum and snare alone.
• Start slowly and gradually build speed, repeating as many times as necessary. You don’t need to play these at full tempo right away. The BPM (beats-per-minute) markings are just helpful suggestions. These grooves will work at faster or slower tempos too. However…
• It’s important to practice with a metronome. It will improve your natural timekeeping and help you stay on track.
• Play with dynamics. Everything should not be the same volume, so practice these loud, medium, quiet and everywhere in-between. If you see an accented note, try to create a big difference between it and the non-accented notes.

That’s it! Enjoy these 13 patterns, play them along with music and make them your own.

Here are a few tips to get you started. 

What are drum chops?

Drum chops are musical phrases played around the kit. They can be flashy bursts of notes (often linear patterns) or simple melodic phrases. They can be slow or fast. You can practice them by yourself or play them along with a tune in any musical style. Learning drum chops can help you be free on the kit and express yourself, and it’s also an awesome way to work on your listening skills. 

One common misconception about drum chops is that they’re just “the fastest thing you can play.” However, for drummers like Eric Moore, there’s always a musical method to the madness. 

When should you start working on chops?

If you’re just starting out on the instrument, it’s important to learn good technique and get the basics down before you get too deep into chops. The most important thing a drummer can do is play with good time. If you’re still working on keeping a steady beat, save the chops for later.

But once you’ve learned some rudiments and basic patterns, the world of drum chops will open up. For more experienced players, learning these techniques can unlock your mind to musical possibilities you didn’t even know existed.

Hand exercises

Rudiments are the foundation of everything. Sometimes when you hear a drummer play a phrase that sounds ridiculously complicated, they’re just using variations on basic rudiments and applying them around the kit. Paradiddles, flams, drags and ruffs are some of the most popular ones. Get familiar with them!

It’s also important to build technique with both hands and not become too dominant on one side. As some of the world’s best technical drummers will tell you, working on your weaker hand is a huge key to getting better (even though it can be awfully frustrating sometimes. Hint: practice with a metronome).

Foot exercises

It’s important not to forget your feet when you’re working on musical phrases. Simply adding a single bass drum note in the middle of the phrase can make it sound awesome. It’s important to get comfortable playing with your heel down on the bass drum pedal as well as with your toes up. There are also advanced concepts like the slide technique which can help you play with even more precision and speed.

Whether you play a double pedal or a single pedal, try playing some simple exercises with your feet (George Stone’s book Stick Control is a great place to start).

Putting it all together

Once you’ve spent time working on your limbs individually, you’ll be ready to try out some musical ideas around the drum kit. Choose a simple phrase that incorporates your hands and feet or grab some ideas here. It’s really important to start slowly and build the tempo gradually. Once you slow things down, it all seems possible! 

You want your phrasing to be clean, so keep your hands loose and your body relaxed, sit with good posture and try to avoid unnecessary movement. Gotta keep a good flow! Work on the interaction between your limbs and try some ideas out. Experiment and have fun with it. 

How To Make Your Chops Sound Interesting 

Play around with the rhythms

Drum chops are all about the phrasing and the way you group the notes. The best ones are often just slightly altered versions of the same idea, which is a concept called “permutations.” 

You can take your musical phrase and move the whole thing forward or back one 16th note, which is called rhythmic displacement. 

You can play it twice as fast or at half speed. 

You can use polyrhythms, which means playing two different rhythmic subdivisions at the same time (like playing in 4/4 time with your hands while your feet play in 3/4).

You can also change up your rhythmic groupings to make the phrase more interesting. One common mistake people make when they practice drum chops is just playing everything as fast 16^th notes. Try playing your phrase as triplets. Use the same sticking and keep the order of the notes the same and suddenly you’ll have a whole new set of ideas at your fingertips.  

There are also more advanced polyrhythms like 5 over 4 that can take your chops to the next level. Check these out – they’ll blow your mind!

Change the texture

The other big part of making your drum chops interesting is being creative with the texture. Sometimes just changing where you play certain notes on the kit can breathe new life into your phrase. 

If your pattern is on the snare or toms, try moving one single note to the hi-hat. Or play all the left hand strokes with your bass drum instead. You can use the rims of the drums, or even the wall of the studio. Try some different textures and instrumentation and use your ears as your guide.

Change the sticking

Sometimes playing the same rhythm with different stickings can unlock new musical ideas. Try starting your phrase with the opposite hand, or use double strokes instead of singles. Use the rudiments as a starting point for coming up with fresh ideas. You can even try some fancy stuff like crossing your hands over each other or twirling a stick (note: don’t try this in a live playing situation until you’ve really got it down)!

The bottom line

There are no rules when you’re exploring new ideas on the kit, so the most important thing is to open your mind and try new things. Once you can play with solid time, good taste and dynamics, practicing drum chops is an awesome way to expand your musical vocabulary and take your drumming to the next level.

Looking for the fastest way to get faster? Click here for a free 10-day course – it’ll change the game!

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This article will teach you several ways to notate drum music and includes multiple formatting styles. Because notation isn’t 100% standardized, rhythms may be presented differently from one drum book or lesson to another. It’s better to be prepared for anything!

Chapters

The Staff

Drum notation has a lot in common with the notation for other instruments since it’s laid out on a set of five horizontal lines (called a “staff”). Each part of the drum set is written on a line – or in the space between the lines – so you can visually tell everything apart. 

Lower pitches like the bass drum and floor tom are towards the bottom of the staff, while the snare and toms are in the middle. Higher tones like cymbals are at the top.

This graphic – known as a ‘drum key’ – shows where the most common parts of the drum set appear on the staff. It all makes sense when you look at it!

For example, the hi-hat is both at the top (when you hit it with your stick) and the bottom (when you step on it). 

The two vertical boxes on the left are called the “drum clef,” which tells us that this music is specifically for drums. It’s just like the treble and bass clefs you’ll see in notation for melodic instruments. 

Time Signature

This is one of the first things you should look for when you see a drum chart. The time signature is the two numbers stacked on top of each other on the left side of the staff. 

Written music is divided into chunks called measures. Think of a measure (or “bar”) as a pie. Every measure has a certain number of counts or “beats” in it, which make up fractions of the whole pie. 

In the time signature, the top number tells you how many beats are in each measure. The bottom number tells you the value of each beat. For example, 4/4 time has 4 beats per measure and each beat is worth one quarter note. 6/8 time has 6 beats per measure but each beat is worth one eighth note.

It’s also important to check out the tempo or “beats per minute” at the top left of your chart. A tempo of 60 beats per minute (BPM) in 4/4 time means that each of the measure’s four quarter notes occur once per second (just like the second hand of a clock).

How To Read Drum Notation

Now that you know the basics of the staff, time signature and tempo, it’s time to check out some drum notation! 

Let’s start at the top. Cymbals and hi-hat notes are usually written as an ‘x’ while drums are written as solid round notes. 

Here are some of most common note values you’ll encounter and their value in 4/4 time:

Adding an additional ‘slash’ to the stem of a note cuts its value in half.

Other types of notes

Dotted notes

Placing a small dot to the right of any of these notes adds an extra 50 percent of the note’s value. For example, if a quarter note is worth 1 beat, a dotted quarter note is worth 1.5 beats.

Connected groups

Multiple notes that comprise a beat are often connected by horizontal lines called “beams” to make them easier to group visually.

Tied notes

A curved beam or “tie” connecting two notes means that you play them as if they are one note. The second note is silent and its value is added to the first. For example, if there is a cymbal hit on the “and” of beat 4, it is written as a tied note across the bar line to show its longer sustain.

Triplets

Triplets are made up of three notes equally spaced over a period of time where there would normally be two notes. They’re connected by a horizontal beam and written with a small ‘3’ above them. 

Triplets are the most common type of “tuplet” (which is any equal subdivision of notes spaced evenly over a larger note length). 

Stems

You may also notice the stems of the notes (the straight vertical lines jutting out). In traditional drum notation, notes played with the feet have downward-facing stems, while everything else points upward. This shows you the separation of the hands and feet (and isolating your limbs can help you learn new patterns). 

The note values of the hands and feet each add up to the total number of the beats in the whole measure (for example, in 4/4 time, the notes and rests in the hands would add up to 4, and so would the notes and rests in the feet).

One thing to keep in mind about music notation is that there are a lot of minor variations in the way different people write things. Many of the rules are flexible and evolve over time. In modern drum notation, all the stems point upward (even the notes played on the bass drum) and everything looks more connected. All the notes together add up to the total number of beats in each measure. 

However, it’s harder to visualize the separation of the hands and feet this way. Traditional and modern notation both have pros and cons, and it’s useful to learn how to read both styles.

Rests

A rest tells you when not to play. Here are some of the most common types in 4/4 time.

Just like with notes, adding a dot tacks on an additional 50 percent of the rest’s value. For example, here’s a dotted quarter-note rest (worth 1.5 beats):

Sticking, phrasing & accents

Now that you’ve got a basic idea of how notes and rests work, let’s get into some other important symbols you might come across in different types of drum music.

Sticking

If you see the letters ‘R’ and ‘L’ above or below the staff, these signify which notes should be played by your right and left hands. This pops up most commonly in educational exercises and rudiments rather than full song charts.

Accents & articulation

Accented notes should be played louder than the rest. The most common type of accent symbol is a wedge with the opening pointing left. Hand accents are usually written above the staff, while foot accents are below. Less common is a wedge with the opening pointed downward, which means the accent should be a short or “staccato” note. 

Phrasing markers

These are super helpful in telling us how a note should be played. Staccato notes have a dot above them (it’s usually best to play those on a drum rather than a cymbal that rings too much). 

Longer, or “legato” notes tend to be tied to visually indicate their duration. These work best if you play them on cymbals since they have more sustain. 

Open/closed hi-hats

When you see an ‘o’ sign above the hi-hat, that means you should lift your toes and open it. A plus sign means you should close the hats. 

Sometimes people use curved beams to connect open and closed hi-hat notes (but sometimes they don’t…so be ready for either style!) 

Loose hi-hat notes (where you should play the hi-hat partially open) are often written as an ‘x’ with a circle around them.

Grace notes (flams & drags) 

Notating and reading rudiments is an important part of understanding drum music. Flams and drags are types of “grace notes” which have no numerical value – you just play them immediately before another note.

“So I don’t count them as part of my pie when I add all the notes and rests in each measure?” Nope! 

Think of these as little ornamentations that precede the main note they’re attached to. They’re tied to the main note with an upward-facing curved beam.

Buzzed notes & rolls

Bounced notes are written with a slash through the stem of the note. This is called a “tremolo”. One slash indicates a bounce or double stroke, and these slashes are also used to notate open rolls (where you can hear each stroke individually). 

Closed rolls and buzzes (where you can’t hear each individual note) have a ‘z’ through the note’s stem. 

Longer rolls of either type are written as tied notes to indicate their length. They’ll also sometimes have a number written next to the tie to tell you how many strokes are in the roll.

Breaths & pauses

Along with the rests we went over earlier, here are a few other signs you might encounter in drum music. 

A caesura (commonly called “railroad tracks”) is a pause marker with two leaning vertical slashes. It basically means “stop right there!” 

A fermata, or “hold” is written as a downward facing semi-circle with a dot in the middle. This indicates a full pause in the music where you stop counting the time.

You may also see a pair of eyeglasses, which is an informal way to say “watch out, here comes something important!”

Percussion & other variations

Cowbells, wood blocks, and triangles are written with triangular or diamond-shaped note-heads on different lines of the staff. 

Cross-sticks are written with an ‘x’ on the snare drum line, while other types of rimshots (hitting the rim and snare together or hitting one stick with the other as it rests on the snare head) appear as a round note with a slash through it. 

Stay alert and be ready for different types of notation!

Dynamics

Dynamic markings are some of the most important symbols on any drum chart. They help you play with sensitivity and convey important changes in the music. If you nail the dynamics on drums, everyone in the band will love you!

Here are a few of the most common dynamic markings from quietest to loudest:

ppp (triple pianississimo, sometimes called “triple-p” or “triple piano”) –  This means “very, very quiet.” As quiet as you can play! 

pp (pianissimo, or “double-p”) – This means “very quiet,” or just barely above ppp.

p (piano) – Quiet

mp (mezzo-piano) – Medium or moderately quiet

mf (mezzo-forte) – Medium or moderately loud, but not too loud 

f (forte) – Loud

ff (fortissimo) – Very loud. We’re not quite at top volume, but we’re close!

fff (fortississimo) – Very, very, loud. This is sometimes also called “triple-forte” or “triple-f.” Now we’re in ear-spitting territory!

Along with these basic dynamic markings that tell you how loud or quiet to play, there are also a couple of important symbols that indicate changes in the dynamics.

A crescendo is a gradual increase in the volume notated with a right- facing “hairpin.” Make sure not to get too loud right away and allow the volume to build steadily.

A decrescendo (or diminuendo) is the opposite. Again, make sure not to get to your final volume too quickly. Keep an eye on the duration of the dynamic change and bring your volume down steadily. These subtle dynamic changes can make a big difference in your sound!

Along with these basics, here are a couple of other dynamic symbols that are important for drummers.

If you see the word subito (or “suddenly,” sometimes abbreviated “sub.”) before a dynamic marking, that means you’re making an abrupt change.  For example, if you’ve been chugging along at ‘mf’ or ‘f’ and you see “sub. p,” bring the volume down right away.

Another similar concept uses an ‘fp,’ or fortepiano sign. This is a loud first note followed by an immediate drop in volume. You’ll often see these on the first note of a dramatic roll (think of a classic drum roll used to build tension and play vaudeville artists onstage).

Also keep an eye out for the ‘sfz’, or sforzando symbol, which literally means “suddenly, with force.” The idea here is to emphasize the attack  of a note or phrase (smack it, then go back to whatever dynamic level you were at before).

Directions

Knowing how to read the road map is the key to a successful journey through any drum chart. Here are a few of the most common directional signs you’ll come across:

Repeats

There’s a lot of repetition in drum music, so you might see these a lot. A repeat is written as 2 vertical bar lines with 2 adjacent dots which signal that you should go back and play a section again. 

“But where do I go back to?” Just look out for the inverted repeat sign to tell you the boundary of the repeated section. If there’s no inverted repeat signal, go back to the beginning of the chart. Repeat the section once unless otherwise indicated.

First & second endings

Sometimes a section of your chart will repeat, but the last bar or two is slightly different each time. First and second ending markers make the whole thing easier to read by notating these varied endings without rewriting the entire section (so you’ll ultimately have a shorter chart with fewer page turns). 

The first time through, play the first ending (the measure with the “1” over it) and jump back to the inverted repeat sign. After you go through the second time, skip the first ending and jump directly to the second before you continue. 

Some charts have even more than two endings, so just keep repeating until you get to the last one.

Codas

This is another way to shorten the length of a chart by jumping backward and forward so you don’t have to re-write a section that repeats. This concept can be tricky at first, but once you get it you’ll be in great shape to read any kind of drum chart.

The first thing you’ll need to look out for is the ‘D.S.’ or Dal Segno, which means “from the sign.” 

Think of this as a portal back to an earlier symbol in the chart (commonly called ”the sign”). It looks like an ‘S’ with a backward slash through it and two dots on either side. 

A ‘D.C’., or Dal Capo is a similar concept that means “go back to the beginning” instead of to the sign. Either way, you’re jumping backward to an earlier point in the chart. 

Usually, the D.S. or D.C. marker will have the words “al Coda” or “al Fine” after it. This tells us whether to play straight through to the end (“al fine”) or if we’ve got one more jump to make (“al coda”). If it’s an “al coda,” keep playing until you see a “To Coda” marker. 

The Coda, which looks like a bullseye (or a circle with a plus sign in it), is our ultimate destination and the “To Coda” marker is another portal that sends us forward to get there (it’s like warping in a video game). After you leap forward to the Coda, play through to the end and collect your prize.

Measure repeats & slash marks

These pop up a lot in drum charts. Full measure repeats are written as a backward slash with 2 dots and signal that you should play whatever you played in the previous bar. Multi-measure repeats will have 2 slashes and the number of bars written above this symbol.

Many drum charts also use a concept called slash notation to indicate that the drummer should play time or continue grooving. This concept features crooked hash-marks on each beat of the measure instead of writing musical notation or patterns. 

Compared to measure repeats, slash marks offer a bit more flexibility to vary the pattern you’re playing.

Measure numbers & rehearsal letters

Measure numbers are landmarks that tell you how many measures into the piece you are. 

Rehearsal letters normally correspond with different sections of the song. The verse could be “Letter A,” the chorus “Letter B,” etc.

Both of these types of markers are especially useful when you’re rehearsing longer pieces of music and usually appear to the left of the staff.

Charts

Along with traditional notation, drummers should be able to read and write other types of charts. Every musical situation is different and sometimes one of these other types fits the bill.

This video shows how drum charts help you learn songs faster:

Lead sheets

These include the major landmarks of the song (like melody, dynamics, form and accents), and everyone in the band often reads the same one. These charts won’t have the exact drum pattern written out for you, so the trick is to interpret the information and come up with the right groove, fills and other details.

The more you encounter these charts, the better you’ll get at using your ear and intuition to fill in the blanks.

Road maps

These are “drummer shorthand” charts you can create if you’re learning a song by ear. Road maps give you the information you need to get through the song before you’ve completely memorized it. 

They should contain the number of measures in each section, notes on the dynamics, fills and hits, and any other information that could be helpful in playing the tune. 

For a detailed run-down on how to create road maps, check out this article.

Drum tablature

Drum tabs are another type of shorthand that can help you learn patterns if you don’t know how to read music. This style of notation is more commonly used by guitar players, but it’s good to know how it works. 

Each piece of the drum is symbolized in abbreviated fashion on a horizontal line while different letters indicate various ways to strike them. Instead of rests, the spaces between the notes are indicated with dashes.

Here are some of the most common symbols:

x – Cymbal or hi-hat

X – Accented cymbal

o – Normal hit on a drum or open hi-hat

O – An accented note on a drum

g – A quieter note 

f – Flam

d – A bounced note or drag

b – Ride cymbal bell 

@ – Snare rim 

The bottom line

Drum notation has many similarities to the music written for other instruments, but there are also a ton of important differences. Whether you’re a beginner or an experienced player, knowing how to recognize and interpret the notes, rests, dynamics and directions in a drum chart will help you become a better player and a stronger overall musician.

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Drum accessories have come a long way since the days of clumsy hardware, cheap cases that fall apart after two months, and hi-hat clutches that come unscrewed at the worst possible time. 

Be warned: the products on this list may become the new unsung heroes of your drum setup. Some of them have been around for years, while others are new and under the radar. 

All prices are listed in USD and subject to market changes.

Hendrix Sleeved Washers ($8.99)

Are the tension rods on your trusty snare slipping out of tune? Are you constantly retuning your toms on humid days? Hendrix Sleeved Washers are a cheap and reliable solution (pick up a 20-pack for $8.99). They’re compact, easy to pop on any drum, and they actually keep the tension rods from de-tuning. Set it and forget it! You can also buy in Europe.

Big Fat Snare Drum ($21)

If you’re looking to create a second snare sound without dragging around another drum, this thin plastic ring is perfect. The base model makes your snare sound fatter and deeper (think of a really dry ‘70s tone), and they also have donut-style rings, “snare-bourines” and other fun options. Pick one up and lay it right on the head for a magical transformation at an affordable price.

Remo Quick-Lock Hi-Hat Clutch ($26.41)

This one falls into the “why didn’t someone think of this 30 years ago?” category. This sturdy clutch from Remo solves every hi-hat clutch problem in a simple way. You loosen the top washer and push in the pin for trouble-free locking/unlocking. It’s easy to swap cymbals and the tension (or amount of “give” between the felts and the top hat) remains the same every time. More importantly, it will never slip or unscrew while you’re playing. Yes please! It’s $26.41 and worth every penny.

Drumdots Dampeners ($10.99)

Even the best-sounding drums sometimes have unwanted overtones. These silicone dampeners solve that issue without completely killing the tone of your drum or leaving a filmy residue on the head (we’re looking at you, duct tape). Drumdots are made of a clear polymer designed to let the good frequencies resonate while the gnarly stuff gets filtered out. They come in small and large sizes (both $10.99/pack) and you can also pick up an aluminum travel case.

Reunion Blues Cymbal Backpack ($199.95)

This could be the best cymbal bag you’ll ever own. It checks all the boxes for both a hard case and a soft bag since it’s lightweight and flexible enough to cram a ton of stuff into (cymbals, the top of your throne, iPad, water bottle), but strong enough to protect that stuff. The backpack straps are comfortable and will last through years of abuse (we’re looking at you, NYC subway). These are a bit pricier than some others, but they’ll last as long as 3 or 4 cheap bags. You can also buy in Europe.

Gibraltar Accessory Table ($82.99)

Did your keys just disappear under your floor tom? Are you about to totally destroy your phone by stepping on it every time you stand up? Pick up this cool little table from Gibraltar to accessorize your practice space, or take it on a gig to hold your set list, egg shakers, or cold beverage. It’s only 12 inches, lightweight, and has a simple mounting clamp. This is the thing you never thought you needed until you got one. You can also buy in Europe.

Tackle Instruments Leather Stick Bag ($199)

Ok, so maybe you don’t think you neeeed a leather stick bag. But you should grab one anyway since it’s the nicest one on the market today and it’ll make you feel good. Yes, $199 is a lot, but it’ll essentially pay for itself when you don’t have to replace it after a year like some cheaper ones. It has a detachable leather strap, tons of extra pouches, and will attach to your floor tom or stand alone with the help of a drum stick (which is a totally ingenious and super-cool feature). They also make a more stripped-down canvas model for $69. Available in Europe, too.

Trick GS007 Multi-Step Snare Throw-off ($84.99)

The GS007 from Trick makes it easy to change your snare settings with one quick motion – perfect for a mid-song switcheroo. You’ll have four different sounds at your disposal (tight/medium/loose/off) and it’s pretty easy to install with a couple of screws. This sturdy, slick-looking chrome throw-off is a worthy upgrade to your snare drum for $84.99. Also available in Europe.

Gibraltar SC-SUGC Industrial Clamp ($39.99)

Want to squish in an extra crash cymbal but don’t have room for a bulky stand? This solid clamp from Gibraltar may be just what you need, and it can hold cowbells, woodblocks, or anything else with a universal arm mount. It also allows for flexible positioning and won’t break the bank.

Fat Cat Snare Wires ($22.99)

This is another snare upgrade that can make a huge difference in your sound for a bargain price. These are wider than your average snare wires and their responsiveness and sensitivity is off the charts. They’re also dual-adjustable, which means you can tune the sides independently from the center to customize the response! Buy also in Europe.

Low Boy Bass Drum Beater ($28+)

Your bass drum deserves some love too, and Low Boy has custom beater options for every playing situation. There’s the “leather daddy” for a powerful punch, the “felt daddy” for a traditional feel and the “puff daddy” for a softer attack. They also sell a “power switch” attachment to quickly swap out your beater without a drum key. 

Peak Music Stand ($34.99)

This stand hits the perfect sweet spot between “crappy wire stand that won’t hold my giant book of charts,” and “high school band monstrosity I can’t take anywhere.” It’s made of lightweight, durable plastic and folds up into a little carrying case that’ll slide right into your hardware bag. It’s super adjustable, has a solid base, and costs $34.99. Well worth it!

Tempo Metronome App ($2.99)

“There are so many free metronome apps out there for iOS and Android…why should I pay $2.99 for this one?” Every drummer needs a metronome on their phone these days, and this is the app the pros use. It lets you make setlists with pre-set tempos stored, practice a ton of odd time signatures and it’s especially accurate with super-fast tempos. It’s also easy to use and features a Lite version as a trial.

No Nuts Cymbal Sleeves ($18.84)

Keep dropping those wing nuts? You won’t need them anymore if you pick up a 3-pack of these handy No Nuts cymbal sleeves ($18.84). They’re made of strong and flexible rubber that slides snugly onto any cymbal stand. This makes changing cymbals easy, and all you’ll need is a felt. Also buy in Europe.

Honorable Mentions:

Pageflip Firefly Bluetooth Page Turner ($109.95) – It turns pages for you!

Rolls PM Personal Amp Monitor ($44) – This lets you hear the click, your drum mics, and other live necessities.

Beyerdynamic DT770 Pro Headphones ($159) – Great quality for the price!

Pearl PTT13 Drummer’s Tech Tool ($15.99) – Like a Swiss Army Knife for drummers.

Having these drum accessories in your arsenal will make life easier, spice up your kit, and give you more reason to rock out! How did you ever survive without them?

*This article contains affiliate links, which means we might earn a small commission from the product seller if you make a purchase. For more info, check out our privacy page.

• How do I know what to look for and how much should it cost?
• What components are actually a big deal and what can I swap out easily after I buy?
• How can I tell what condition it’s in and if it’ll suit my needs?
• What if I’m buying online and can’t take it for a spin? 

Here’s one big reason to consider a used kit: you’ll be able to get a higher-quality instrument than if you spend the same amount of cash on a brand new entry-level rig.

Here are some things to look for when you’re shopping online or in person.

Getting started

Actually seeing and testing used drums is the best way to determine exactly what you’re getting and what condition they’re in. Yes, it’s more work to go to a store and it’ll definitely limit your available options. There’s also a good chance you won’t score as good of a deal as you might on popular used gear websites like Reverb, Craigslist, Facebook Marketplace and eBay.

However, going to a store will dramatically reduce your risk of ending up with a total dud. For many first-time buyers, that security is worth the extra cost. That said, you can find some great deals on resale websites if you know what to look for. This Facebook group, for example, is one place to start.

Honestly, this is a lot like buying a used car (but way more fun, and hopefully without a pushy salesperson)! Whether you’re shopping online or in person, start by coming up with a budget. After you find a few options, do some research to see what new ones are selling for on websites like Sweetwater or guitarcenter.com.

But how do I know what a used kit is worth and how much should I pay?

Drums do lose value after they’re sold (although sought-after vintage drums are sometimes worth more), but the price you’ll pay really depends on the condition of the kit and what’s included in the package. Drums are meant to be played, so little cracks or dings shouldn’t deter you from buying a great-sounding used kit (although they could help you negotiate the price).

However, there’s a big difference between normal wear-and-tear and a kit that’s been beaten up, dragged around, and run over by a tanker truck.

Snare & toms

How do the bearing edges of each drum look? Are there cracks in the wood? Is there any warping from water damage? This can really affect the sound. If you’re shopping in person, ask the seller to pop the heads off (or even better, bring a drum key with you) so you can have a quick look.

But wait – if I’m buying it online, how can I tell? Well, that’s tougher, but you can always ask for more pictures or video if you’re not seeing something clearly or aren’t sure after looking at the original ad.

Are the metal hoops rusty or bent? What about the tension rods and lugs? Drums have many small bits of hardware that all work together to make the instrument playable. These things may not seem important individually, but if enough of them go wrong at once, it could be a real mess! That great bargain might not seem so awesome if you have to spend a ton of cash replacing things.

The snare drum is one of most delicate parts of the kit, so check out how well it’s been taken care of. How is the strainer? What about the snare wires and tape/strings? Are there any loose lugs? Will it stay in tune? How are the top and bottom heads? Heads are easy to replace, but make sure to factor that into your costs.

Bass drum 

Most drummers have experienced the joy of the “runaway bass drum,” so check the legs and make sure they lock tightly into place. Are the spurs still there and will they hold?

What’s the condition of the wood on the hoop where the bass drum pedal attaches? Make sure it’s not rotted or damaged so your pedal will lock firmly in place.

It’s also important to check out the pedal itself to make sure the action is smooth and there are no missing parts, rusty chains, or bad beaters. 

Hardware 

This is really important. Solid drum hardware is always worth the cost, and this is the part of your purchase that’s the toughest to verify online. If you’re a heavy hitter, single-braced hi-hat and cymbal stands may not cut it.

Check to see that all the stands have collars, felts, and wing nuts. You can replace these if needed, but again make sure to take that extra cost into account.

And don’t forget about the throne! Even the best drum set won’t be much fun to play if you’re wobbling around like a drunken sailor or can’t get it to the correct height. 

The hi-hat stand is one of the most complicated mechanisms on the kit, so make sure the legs and footboard are solid. Check to see that the height is easily adjustable and the clutch doesn’t slip. Make sure the screw that adjusts the tilt is working properly, and if there are memory locks have a look at those too.

If you’re buying online, ask specific questions about this stuff. If the seller is evasive or doesn’t answer, that might be a red flag.

Cymbals

Make sure there are no cracks. The most common spots they occur are in the bell hole (if the player isn’t using proper felts/collars) or the outer edges of the cymbal. If you do decide to purchase a used cymbal with cracks, beware of them spreading. 

Also keep an eye out for oxidization or rust on cymbals (it looks like a green fungus or discoloration). A small amount is not necessarily a deal-breaker since it won’t drastically alter the sound, but it could be a sign that the cymbal hasn’t been taken care of…and serious cases are pretty nasty.

Cymbals are especially tough to buy online since no two sound exactly the same. One good strategy is to go to a store or a friend’s house and try out the model you’re interested in, then look for the same model online.

Cases

You’ll definitely need cases if you’ll be transporting the drums around. For soft bags, check the zippers to make sure they slide properly and hold in place. Make sure the handles and straps are in good condition and won’t break after a couple of weeks. If you’re buying nice drums, hard cases are a must. Make sure the clasps all lock in place and the lids all close firmly.

The whole package

The key to any used gear purchase is to ask a ton of questions.

• How many previous owners did it have?
• Where was it kept (climate-controlled studio vs. Grandma’s musty basement)?
• Was it used for playing shows or has it sat in one spot for years and never been played?

Just like with buying a car, it’s not necessarily the amount of use that’s important, it’s the type of use (highway miles vs. city miles).

Let’s not forget the most important factor: how does it sound? If you’re buying online, you can’t really tell. But you can do some homework and find an identical or similar item to test, then hunt for a deal. It’s also good to think about what you’ll be using it for.

• Are you or your child just getting started and want to buy your first kit without laying out a ton of cash?
• Are you looking for a nicer option for recording or shows?

The used gear market has options for every situation if you know what to look for.

If you’re buying in person, check out all the parts mentioned above and consider what’s included. Are you just getting the shells, or is it “all-in?” Hardware like thrones and hi-hat stands can be surprisingly expensive to replace. Music stores may not be willing to negotiate the price much, but private sellers online might (make sure to meet in a safe location if you go check out a kit from Craigslist or Facebook Marketplace). That way you’ll get the best of both worlds: you get to check out the kit in person, and you can negotiate a great price on something you really like.

If you’re buying online, check the seller’s ratings and don’t be shy about requesting more pics, audio, or video. Even if a kit is listed in “excellent” or “good” condition, those terms leave a lot of room for interpretation. It’s also important to note that when you buy on sites like Reverb, there are taxes, service fees, and extra charges for shipping (drums are heavy so watch out). These can really jack up the final price beyond what you thought you were paying.

Here’s the bottom line: there’s always going to be a bit of guesswork involved in buying drums online, but doing your research and being prepared to negotiate will put you in the best position to nab a killer deal.

“Why should I learn jazz drumming? I just want to rock out!”

Studying jazz will make you a better overall musician and help you take your playing to the next level in every other style of music. The same skills you need to play jazz can help you get more gigs and even teach you social skills to apply to every other part of your life.

Still not sure? Here are a few more reasons to give it a shot.

Improve your listening and interaction skills

A drummer’s number one job in a jazz group is to make all the other musicians sound better. How can I do this? By listening! In jazz, nothing is more important than your ears. You need to be able to hear what every other instrument is playing individually and how it all fits together with what you’re doing. Just like in every other style, you gotta know when to fill and when to chill. 

Play with sensitivity, touch, and dynamics

Having trouble nailing the quiet breakdown section in a rock tune? Learning jazz will help you achieve a greater level of control over every note you play. This is both an “ears” and a “hands” thing and applies to metal, Latin, R&B, and every other style. More control equals a better sound.

Learn independence and enhance your technique

Studying jazz means freeing up all four limbs to play different parts and interact with each other to create your overall sound. The best jazz drummers can play the bass drum quietly, use their hi-hat freely, and play loose and melodic rhythms on the ride and snare. This is great for metal, prog rock, and everything else.

Improvise, adjust on the fly, and learn to be open-minded

One of the best things about jazz is that you never know exactly what’s going to happen. Playing it can teach you how to take mistakes and turn them into incredible musical moments. Learning to expect the unexpected can bring you out of your shell creatively and be tons of fun.

Expand your musical vocabulary and play melodically

Being able to play melodically on the drum set is one of the most important lessons in jazz. This concept will help you come up with ideas for your drum solos and open your mind to new rhythms you didn’t even know existed.

Learn to follow the form

Jazz drummers might sound like they’re just chugging along and playing whatever they want, right? Nope! They’re actually counting like crazy the whole time to keep the form, mark all the sections, and hold the band together. Jazz players also know how to read and write charts which will help you learn and memorize music more easily.

Improve your swing feel

While it’s important to play cleanly and with precision, drummers are not robots and jazz drumming has a looseness to the feel that translates to many other styles. Knowing how to use the concept of swing can help your rock shuffle, your singer-songwriter gig, and your R&B playing.

Step up your social skills

Jazz is the ultimate democracy. Everyone gets a solo and supports each other to make the group sound better. It’s a truly collective effort that can teach you empathy, patience, open-mindedness and camaraderie. These things can help you become a more well-rounded player and a better person.

Watch people call you for more gigs

Versatility is where it’s at! Many of the best jazz drummers have gone on to mainstream commercial success by applying these skills to other genres. Here are some examples:

1. Mark Guiliana’s work w/David Bowie
2. Nate Smith w/Vulfpeck and Emily King
3. Steve Gadd’s work with Paul Simon (and everybody else)
4. Omar Hakim’s playing with Madonna, Sting & Daft Punk
5. Cindy Blackman Santana’s time with Lenny Kravitz
6. Keith Carlock’s work with Steely Dan
7. Vinnie Colaiuta’s playing w/Sting
8. Stewart Copeland’s playing w/The Police
9. Mitch Mitchell’s time w/Jimi Hendrix

Whether you’re a non-jazz drummer or an ‘aspiring Steve Gadd’, you can see why having jazz skills under your belt can help you across the board. What are you waiting for?

TikTok is the fastest-growing social media platform in the world, and it all started as a lip-sync app called Musical.ly. It’s also home to a huge, active community of drummers. Posting your drumming videos on TikTok is a great way to get noticed, explore your creative side and make amazing connections.

Here are some tips to get you started (and maybe even help you go viral):

Do something unique

The top drummers on TikTok all have one thing in common: they post unique content that their audiences eat up. Look no further than Josh Harmon’s ingenious and fun videos which combine his love of drums and comedy. He’s amassed over 2.5 million followers by transcribing and playing along with the rhythms of comedians, movies, and popular TV shows. Austin Ware (@thetiktokdrummer) is another great example: his eye-popping videos with drums and paint ‘explosions’ have gained him millions of followers worldwide. Find your niche and go for it!

Record a drum cover

Drummer Domino Santantonio became a TikTok superstar by playing along to Top 40 hits. This platform closely follows (and even dictates) trends, so if you want to catch people’s attention, pick songs that are on the Billboard charts or popular on the TikTok trending songs page and play along!

You can choose a song with drums, or try one that has programmed beats where you add your own over top. Covering a song that doesn’t have acoustic drums is a great way to reach a wider audience of both drummers and non-drummers who are into these songs and open to checking out a new and fun version.

One awesome thing about TikTok is that it specializes in short-form content – so you don’t even need to learn the full song. Just pick your favorite clip and give it the performance it deserves.

Try Duets

‘Duets’ is a great tool for drummers to network with other musicians since you can grab a video from a guitarist or singer you like and play along. After you post it, TikTok sends them a notification so they can see your video too. Check out @TheFarPost adding drums to this guitar clip using Duets.

TikTok has even led to some amazing real-world duets. After Elijah Woods saw a TikTok of Canadian singer Jessia performing a song idea in her car, he downloaded it, produced the song and used the Stitch feature to share it. “I’m Not Pretty” went viral on TikTok and got the attention of Grammy-nominated artist Bebe Rexha, whose resulting collaboration with Jessia has produced 100 million views/listens across all platforms. Pretty amazing!

Your duets don’t have to be with other musicians to catch people’s attention. Here’s a video of @HarryTheDrummer from Norway dueting with an adorable baby.

Get right to the point

TikToks are meant to be brief. Most are only 15 seconds, and many people won’t watch all 60 seconds of the longer option, so spending 3 seconds adjusting the hi-hat clutch is 3 seconds too long. There’s so much content on TikTok and people tend to scroll through quickly, so get right into it if you want to retain your audience. The platform’s algorithm prioritizes videos that have a longer watch time – don’t give anyone a reason to scroll by!

Work the algorithm

Have you posted a ton of videos but you aren’t getting many views? Keep trying! The algorithm is set up in a way that it’s possible for any video to go viral at any time. You never know if your 15th or 20th video will be the one that takes off. Try to choose trending hashtags to increase your chances of going viral. Hashtags on TikTok are used to categorize videos, so picking the right ones will help the algorithm serve your content to the best possible audience.

You can also use the analytics tab to check out who is watching your posts, where they are (geo-location), and what time of day you’re getting the best response. Keeping these stats in mind will help you choose what to post and when. And on that note…

Post Consistently 

The more often you post, the better the chance you’ll be seen. Many of the top TikTokers post multiple times a day since this is the best way to engage and retain their audience. When you sit down behind the kit, try making a couple of videos at once so you have some options to choose from. Spread them out so you don’t have to film every day. Keep them coming back for more!

Make good quality content

Using your phone is totally cool, but make sure your space is clean and the lighting is good so your viewers can actually see you and your kit. If possible, use a single-color background and avoid having a bunch of extra clutter (here’s looking at you, soda cans and food wrappers) in the shot that will distract the viewer from what you’re doing.

Using pro audio and video gear will make your TikToks sound even better. If you film yourself outside of the TikTok app, you can sync the bounced audio file from your DAW with the video using iMovie, Adobe Premiere, or any other video editing software. Even if your video is lighthearted, people will take it more seriously if it seems like you put in the time.

Cross-post

It never hurts to post your drum covers or duets to YouTube Shorts, Instagram Reels, or other social media platforms. The more eyes you can get on them, the better (make sure to keep an eye out for music copyright restrictions outside of TikTok, though).

Features like dueting and stitching (where you can attach your video to the end of another user’s video) set TikTok apart for innovative music-making content, but Reels is not far behind and has started adding similar features.

Keep in mind that the content made for TikTok – filmed vertically, for example – is what typically looks and performs best on TikTok. So it’s better to cross-post your TikToks to other platforms.

Be positive, experiment, and try not to get discouraged

People looking for drum videos on TikTok are there because they want to see something fun, impressive, or inspiring. There’s so much negativity on the internet already, so keep it positive, crack a smile, and show your audience you’re having fun while you play.

Don’t be afraid to be weird! This is not a job interview, it’s an opportunity for you to stretch out and explore your creative side. Not sure if your concept works? Just go for it. Here’s @boomerdrums, a drummer with an inspirational story playing a roll on a tennis ball (this looks hard!)

As TikTok drumming star Josh Harmon mentions in this interview, you should make TikToks because they’re fun, not because you feel like you have to. Just because your videos aren’t going viral doesn’t mean they’re not worth your time.

Authenticity often ends up shining through in TikToks that do go viral. Be positive, experiment, and try not to get discouraged. If you aren’t having fun, don’t do it.

Hopefully these tips will help you start making your mark on this fast-growing community of drummers. TikTok drum videos have the potential to reach a huge untapped market of fans and fellow musicians. If you’re having fun sharing your drumming and participating in this new music scene, you’re doing it right. So grab your phone and record a cover or duet – you have nothing to lose!

“But how can I do that? All I want to do is shred!”

Mental practice, air drumming, and visualization can be valuable tools to help you improve. Let’s say you’re on a plane or in a car and can’t get to a drum set. Or maybe you live in a small apartment or you’re visiting your parents. Or you’re sitting in school and algebra…well, just isn’t your thing. You can still practice!

Some of the world’s top drummers have been able to learn entire sets of music at the last minute using these techniques:

• Gil Sharone crammed an entire set of +44 songs into his head while flying overseas for a tour. 
• Blink-182’s Travis Barker had only 45 minutes to memorize the band’s 20 songs before his first show.
• Larnell Lewis learned an entire Snarky Puppy album on his way to Europe to record it. 

Drumming relies heavily on physical coordination and muscle memory, so even air drumming can be useful.  Legendary metal drummer Gene Hoglan discovered his love of the instrument at age 8 by air drumming to Rush, Aerosmith, and Cheap Trick records. Some people have even gotten started by playing the game Rock Band.  

These techniques don’t just apply to drummers. Studies on golfing, trombone playing, and surgery have shown that working on skills in your head and then using your hands to “test-drive” them can really help.

While there’s still much analysis to be done, research suggests that using ‘motor imagery’ (visualizing or remembering yourself going through physical motions) can enhance your actual motor performance. 

The late basketball star Kobe Bryant was renowned for practicing mental training that didn’t include an actual ball. His teammates would sometimes show up to the gym to find him dodging imaginary opponents, shooting fake shots and playing whole games in his head. This visualization helped him become mentally tough and acquire the belief that he would succeed when the real game started.

You might be saying, “I’m not Kobe Bryant – how can I use this technique to practice drums?” Your mental practice should be as structured and focused as your time behind the kit. Always go into your session with a plan, breathe deeply, close your eyes, and try make it as real as possible. Imagine the song from start to finish, and if you make a mistake, go back and fix it. But above all else, try to stay focused the whole time and build up speed just as you would on the kit. You can even gently tap your hands and feet to get the sensation of moving around the drums (just like you used to do in math class)! 

It’s also important to note that mental practice is often more effective for people who are experienced in an area, so a drummer who is just starting out might not have the same results as someone who has gone through the physical motions of playing for an extended period of time. You still need a healthy dose of time behind the kit to really get better.

While “mental reps”, air drumming, and visualization can never fully replace physical practice, they can be an incredibly valuable tool in becoming a better drummer. The pros do it, and you can too!

Set up your space

The first step to making awesome home recordings is a great-sounding room. Here are a couple of things to think about when you set up:

Studio location: Not sure where to start? Living rooms, bedrooms, garages, and basements can all work great if you set them up the right way. Every room sounds different, and the best way to get a good sound is to experiment. Choose a quiet, cozy space where you’ll be comfortable spending lots of time. Make sure it isn’t too hot or cold, has good lighting, and is clean and dry (no one wants their drums floating away if the basement floods!).

Big rooms vs. small rooms: If you’re in a huge, open space, your drums will probably have a lot of echo (called reverb). In a smaller room, the sound will be more dead since it has less space to bounce around. If you have a choice, pick a medium-sized room and try setting up in different locations to see what sounds best.

Isolate: Try to stay away from appliances like heaters, washer/dryers, A/Cs, or fridges.  It’s sometimes hard to get total quiet at home (kids, dogs, neighbors), but less noise around you means less sound bleeding into your mics.   

Arrange the furniture: Big sofa in the corner? All good! Large furniture is perfect for absorbing a wide range of sound frequencies and making your room less boomy (aka broadband absorption). On the other hand, if it sounds like you’re in a tiny phone booth, take stuff out of the room or move it away from the kit to liven things up.  

Get a rug: It will keep your drums from sliding and reduce the ringing even more. A standard drum rug is about 5 x 6 feet, and will fit a 5-piece drum set (if your setup looks like Neil Peart’s, you might need a bigger one). Ludwig makes a nice one for about $100 (or buy it in Europe), but you can also go to your local hardware store and pick up an area rug with a woven bottom or pad. 

Use sound treatment: Putting panels and foam on the walls and ceiling will improve the sound even more by cutting down on high frequencies. For a professional option, you can get these foam acoustic panels for $59.99 (shop panels in Europe). You can also use egg crates, mattress pads, sheets, blankets, or that trippy tapestry from your college dorm, and hang them at the height of the drums. On the other hand, if the room is too dead, put wood panels on the wall to reflect the sound and add life to it. These professional diffuser panels are pretty cool, but plain ‘ol plywood works great too, especially if it’s bent and has an irregular shape. 

Set up a workstation that includes:

• A small table or desk for your computer and audio interface
• A nearby power outlet and a power strip
• A shelf or stool for odds and ends like a drum key, dampening rings, tape, extra wingnuts, felts, headphones, chargers, and other accessories
• A mouse (if you’re using a laptop). It’s much easier than using a trackpad with your recording software.

Build yourself a little nest and try to keep it tidy back there. You’re going to be running lots of cables from the mics to your recording setup and you’ll be more comfortable playing if everything is in place. 

Prepare your drums

Now that you’ve picked your spot, it’s time to get the drums set up!

Gear selection: It’s important to choose the right drums for the style of music you’re recording. Here are a few tips:

• You can mix and match different cymbals and snares, but it’s a good idea for most of your drums to be the same brand or general model to get a uniform sound.    
• Try to pick cymbals that have different sizes and pitches so they will complement each other. For example, a heavy 16” dark crash (in Europe) goes well with a smaller, brighter one (in Europe).
• Make sure the tips of your sticks are in good shape so you get a clean cymbal tone.
• Most of all, better gear always sounds better, so if you aren’t happy with your sound, it might be time for an upgrade.

Put everything in place:  It’s important to be relaxed and comfortable so you can give your best performance. Sit at a comfortable height so the top of the snare is just above your belt, and make sure you can reach everything easily.

(Check out this video for more tips on setting up and sitting the right way.)

Also, make sure your rack toms and cymbals are angled properly and not rubbing or rattling against other parts of the kit – all of that will get picked up in your mics. 

Change those drumheads and tune up:  You can have awesome, brand new drums, but they won’t sound quite right on a recording if the heads are shot. Pick up a new drumhead pack from Remo (in Europe) for less than $100 and tune ‘em up! Here are a few tips specifically for recording:

• Once you change the heads, they will continue to stretch and settle in, so do it the day before you plan to record and play them a bit (especially the snare) to break them in.  
• Tune up tight for R&B, jazz, or pop, and try out mid and lower tensions for rock.  
• Make sure your toms are all different pitches – the smaller sizes should be higher.  
• You can also get a tuning aid like this DrumDial for $59.95 (in Europe).  

We’re just scratching the surface here, and you can get more tuning info at this link.

Maintain and clean your gear: Drums are like old friends that will always be there for you. Treat them with love and care, and they’ll sound great when it’s time to record. Make sure all your hardware works. This means no rattling, missing or stripped screws, broken floor tom legs (the worst!), wobbly drum thrones, bad snare throw-offs, or squeaky pedals (try a WD-40 lubricant or Vaseline). Also, make sure the bass drum and hi-hat stand have working leg spurs to avoid sliding.

Dampen those extra overtones: Ever notice how sometimes when you hit the smallest tom, it makes the snare rattle like crazy? That’s not a sound you want on your recording, so here are some techniques you can use to kill those nasty frequencies:

• Use plastic dampening rings (also available in Europe) that sit just inside the hoop of each drum (snare/toms)
• Try silicon gels (in Europe) or other temporary dampeners (shop in Europe) that will control some of the ringing while maintaining the tone (snare/toms)

• Get a Big Fat Snare Drum Ring (shop in Europe) to lower the pitch and fatten the tone (snare/toms)
• Apply some good ‘ol fashioned duct tape (everywhere)
• For the bass drum, grab a Remo (see in Europe) foam muffling ring for less than $20 to get a punchier tone
• Put a pillow or blanket inside the bass drum. If there’s no hole in your bass drum, that’s ok, you’ll just have fewer muffling options unless you remove the bottom head.  

For more on this topic, check out https://www.drumeo.com/beat/pro-drum-studio-tips/.

Above all else, remember that the gear will only take you so far. The most important part of an awesome recording is a great drummer!

Set up your microphones

Now that your drums are set up and tuned, it’s time to pick some mics. There are so many different brands, styles and price options to choose from, but don’t worry  – we’ve got you covered. Here’s a rundown:

The number of mics you can use depends on how many input channels you have on your audio interface (we’ll talk more about that in the next section). It’s great to be able to put a separate mic on each part of the kit since that will give you the most control over the sound. But you absolutely do not need a mic on every drum to make a great recording. The Beatles’ classic album A Hard Day’s Night was made using just two drum mics – one on the bass drum and one suspended over the rest of the kit. You also do not need to spend thousands of dollars on mics to get a happening drum sound (good news!).

The 3 main types of microphones for recording drums

Dynamic: Best for bass drums, snares, and toms. They isolate more sound so other things don’t bleed in. They are usually the least expensive and most durable type of mic.

Condenser: Best used as overhead mics placed above the kit to capture the cymbals and overall sound. They pick up a wide range of frequencies and are more sensitive than dynamic mics.  

Ribbon: Best used as general “room” mics or for the overheads. They can be the most expensive type and are highly sensitive to sound and fragile (don’t drop these!). They process sound the most like the human ear. 

*Note: Some of these mics require something called “phantom power” (condensers), and some could actually be damaged by it (ribbon mics), so read the specs carefully before you plug in. Phantom power can be turned on/off using the “48V” switch on your audio interface.

Mic recommendations and uses for each part of the kit

*All prices in this guide are in USD and reflect retail prices for new products unless stated otherwise. These prices were last updated in 2020.

Mic Packs

These will get you going with enough mics for a 5-piece drum set without breaking the bank.  

1. Audix FP7 Drum Mic Package ($499) – A quality entry-level option with 7 mics, clips, and a hard carrying case. Also available in Europe.
2. Shure DMK-57-52 Drum Mic Kit ($399) – Only 4 mics, but tons of awesome value. 3 SM57s for the snare and toms, and a Beta 52 for the bass drum. Also available in Europe.
3. Audix DP-5 4 Mic-Pack ($649) – Includes a bass drum mic, a snare mic, and 2 condensers for the overheads (you’ll have to buy the tom mics separately). Also available in Europe.
4. Sennheiser E600 Drum Mic Kit ($999) – Reliable, pro-sounding, and a great value. Comes with a bass drum mic, 4 clip-ons for the snare/toms, and 2 condenser mics for overheads. Also available in Europe.
5. Shure PGA Drumkit 7 ($499) – An inexpensive, entry-level option that includes everything you’ll need to get going (7 mics, 3 clips, and a hard case). Also available in Europe.

The packs are a good place to start, but you can usually get better quality options if you buy individually for each part of the drum set.

How to mic a bass drum

The bass drum has a low frequency, so you’ll want to use a dynamic cardioid mic that can handle those big “booms”:

1. AKG D112 ($199) – A great option. Also available in Europe.
2. Shure Beta 52A ($189) – Another dependable go-to. Also available in Europe.
3. Beyerdynamic M88 TG ($399) – More $, but great sound. Also available in Europe.
4. Audix D6 ($199) – Another affordable choice. Also available in Europe.

Placement

This is very important in determining the sound you’ll get. To start, place the mic on a short stand near the hole in your kick drum head (if you don’t have one, just put it about 2 inches away). The closer you get to the front head, the more attack or “punch” you’ll hear in the sound. Try out some different positions and see what sounds the best – your ears will lead the way. 

You can also try resting the mic on the pillow inside the drum, although that sometimes can be too loud and cause a distorted sound called “clipping”. 

How to mic a snare drum

While there are plenty of options to choose from, the Shure SM57 (buy in Europe) has long been one of the most durable, affordable, and quality snare mics available. The “57” is the Swiss Army knife of drum recording. It costs $100, lasts forever, sounds great, and is easy to use. A great choice!

Other options: 

1. Beyerdynamic M201TG ($299) – Good value and quality for the price. Also available in Europe.
2. Sennheiser E904 ($169.95) – Compact size, affordable. Also available in Europe.
3. Audix i5 ($92.50) – Another entry-level option. Also available in Europe.

Placement

Putting the mic closer to the drumhead will give you more punch (smack), while moving it further away should create a fatter tone (thump). Even the smallest adjustment will really change how it sounds on your recording, so experiment and find the sweet spot.

You’ll need a mic stand (feed it between your crash cymbal and hi-hat stand), or try a clip-on. Some advanced engineers put a second mic on the bottom of the snare and blend the sounds together, but if you’re just starting out, one mic is perfect. Make sure to point it towards the top head and experiment to get that killer tone.

How to mic toms

Tom mics often come in packs of 3 which is great for affordability. Just like the bass drum and snare drum, it’s best to use dynamic mics which will help you isolate the sound. Condenser mics can work too in some cases.

1. Sennheiser E604 ($349/3-pack) – These sound absolutely great and are easy to use.  They also come as part of the E600 mic pack. Available also in Europe.
2. Sennheiser MD-421 ($298/each) – Great sound, but they’re pricier and larger, and you’ll need mic stands. Available also in Europe.
3. Shure Beta 56A ($159/each) – Another affordable quality option. Available also in Europe.

Placement

Point the mic directly at the drumhead for the best sound. Make sure it’s not in your way when you play – you don’t want to smack it by mistake! Just like with the snare, adjust the height and positioning to change the sound. If it sounds muddy and unclear, get closer; if it’s too thin and papery, move back. 

Overhead mics

Place two mics on tall stands pointing down over the kit to capture a wide snapshot of everything. You don’t need to mic each individual cymbal – you’ll hear plenty of them in your overheads. Overheads usually come in pairs (left and right). Small diaphragm condenser mics are a good choice since they pick up more surrounding sound than dynamics and can handle high frequencies like your cymbals. Ribbon mics will work too, and they usually have a darker tone (good if your cymbals are really bright).

Here are some options:

1. Oktava MK 012 ($270/pair) – Great value for the cost, comes with clips and hard case.
2. Rode M5 ($199/pair) – Hard to beat for the price. Also available in Europe.
3. Shure KSM 137 ($665/pair) – A solid medium-priced option. Also available in Europe.
4. Neumann K184 ($799 each, $1600/pair) – Pricey, but top quality. Also available in Europe.

Placement

Put one overhead mic above your hi-hat/left crash cymbal and point the diaphragm (the part you would speak into) towards the snare. Do the same with the other overhead on the ride cymbal side. Grab a tape measure and adjust the distance of each mic so each tip is the exact same distance from the center of the snare. Start with 42 inches and move up/down/forward/back if your signal is loud or quiet. Make sure you’re not picking up way too much of one side of the kit or the other. It’s cool if one mic is higher or lower, as long as the distance to the center of the snare is equal for both. 

This will prevent something called “phasing” where the sound travels further to one mic than the other, which can muddy up your recording.

How to mic hi-hats

Some people put a separate mic on the hi-hat, while others prefer to use the overheads and room mic to capture that sound. If you have enough inputs and want to try a hi-hat mic, use a Shure SM57 or any other dynamic, directional mic (as we said before, it’s the Swiss Army knife of drum mics! We love the “57”).

Placement

Point the mic downwards towards your top hi-hat, about 2-3 inches away, and adjust the height if the signal is too loud or quiet.

Room mics

It’s the secret weapon to a great drum recording! Setting up a mic on the opposite side of the room away from the kit is a great way to make the sound full and rich. Large diaphragm condenser mics and ribbon mics work great since they are very sensitive.

Options include:

1. AKG P 420 Condenser ($199) – Versatile and affordable. Also available in Europe.
2. Warm Audio WA-47 JR ($299) – Great value for the price. Also available in Europe.
3. Blue Bluebird ($299) – Warm tone. Also available in Europe.
4. AKG C214 ($399) – Great value for the price. Also available in Europe.
5. AKG C-414 ($1099) – Excellent sound. Also available in Europe.
6. Royer R-121 Ribbon Mic ($1295) – Top-of-the-line quality.

Headphones

You’ll need a good pair to hear the music and/or click track you’re playing along with. There are two main types of headphones: open (less isolated sound) and closed (total isolation). Most drummers prefer the closed type, but it’s a personal choice and it’s good to try them out before you buy.

*Note: Avoid iPhone earbuds. They won’t isolate the sound or have any low-frequency response – you gotta hear that bass player!).  

Here are some headphone options that are perfect for drummers:

1. Status Audio CB-1 Closed Back ($55) – Good quality at an unbeatable price.
2. Beyerdynamic DT 770i ($149) – Super-comfortable fit, great sound. Also available in Europe.
3. Sennheiser HD 280 ($99.95) – Good if you prefer a little less isolation. Also available in Europe.
4. Shure SRH 840 ($149) – Sleek design, balanced sound. Also available in Europe.

Stands, cables, and accessories

These are very under-appreciated and important. Here are a couple of things you’ll need:

1. 2 short mic stands with clips for the bass drum and snare mics (see stands and clips in Europe).
2. 3 tall mic stands for the overheads, room mic, hi-hat and toms (6 if you don’t have clip-on tom mics) (also available in Europe).
3. XLR cables for each mic (the kind with the 3-pin input). Get some long and short ones – you shouldn’t need a 50-footer to get from your bass drum to your recording setup. Shop in Europe.
4. Velcro cable ties to avoid tangles (buy in Europe).
5. Gaff tape or duct tape to secure cables to the floor so you don’t trip (Pro Tip: Do not put on painted walls – the paint will peel right off. Sadly, we know this from experience).  Buy in Europe.
6. Quarter-inch and ⅛” cable adapters always come in handy (available in Europe, too).

One bad cable can cause a mic to sound distorted, and one loose screw can make a mic stand fall and spoil a great performance. Make sure everything works and is in good condition.

Possible mic configurations

How many mics you use – and where you place them – depends on the style of music you’re recording and how many inputs you have on your audio interface.   

If you have 1 input, put the mic overhead to capture as much of the kit as possible (not too close; try a height of about 42 inches from the center of the snare).

If you have 2 inputs, you can mic:

1. Bass drum and use one overhead mic (most common), or…
2. Bass drum and snare (less common, and best for R&B and styles where you’ll be mostly using kick/snare/hi-hat and less cymbals), or…
3. Snare and 1 room mic (for certain types of jazz and styles with less bass drum), or…
4. Use The Recorderman Technique, which means putting up 2 overheads at a close distance (remember to measure to avoid phasing).

If you have 4 inputs, mic the bass drum and snare and use 2 overheads.

If you have 6 inputs, you can mic:

1. Bass drum, snare, 2 overheads, floor tom, 1 room mic, or…
2. Bass drum, snare, 2 overheads, floor tom and 1 rack tom. This works for 4-piece kits. If you have more toms but not enough inputs, avoid putting a mic on one rack tom and not the other.

If you have 8 inputs: bass drum, snare, 2 overheads, 3 toms, 1 room mic.

If you have more than 8 inputs:  bass drum, snare, hi-hat, 2 overheads, 3 or more toms, 1 room mic.

Connect your hardware

Audio interfaces

Think of your interface as the translator that interprets the sound from the mics so your computer software can understand and record it. It’s like the giant brain of the whole operation. Most connect to your computer via USB or Firewire, and it’s important to choose one that has enough XLR inputs for each mic. Every interface has its own unique sound, and here are some options:

1. Focusrite Scarlett 18i20 (8 XLR inputs, $549) – Sounds great, top-rated, easy to use. Also available in Europe.
2. Behringer Uphoria UMC 1820 (8 XLR inputs, $249) – good value for the price. Also available in Europe.
3. Roland Octa Capture (8 XLR inputs, $518 USD) – A little more expensive, but good quality. Also available in Europe.
4. Tascam US 16×08 (8 XLR inputs, $299 USD) – Good value for the price. Also available in Europe.
5. Focusrite Scarlett 18i8 (4 XLR inputs, $419) – Fewer inputs, but good quality. Also available in Europe.
6. Focusrite Scarlett 2i2 (2 XLR inputs, $169.99) – Budget option, good to get started. Also available in Europe.
7. Motu M2 (2 XLR inputs, $179.95) – Another entry-level choice. Also available in Europe.

One other thing to consider is that cheaper, lower-quality interfaces sometimes don’t perform as well. They can create a lag called “latency”, or make unwanted humming or hissing sounds.  Better gear is less likely to do that, so take that into consideration when you buy.

Preamps

A preamplifier boosts the level of the signal that comes through your mics. You might think, why do I need this? I can just turn it up myself if it’s too quiet! Good preamps make everything sound clearer and less distorted. It’s like a quick power-wash and diesel fuel-up before the sound gets to your software.

Most interfaces have them built-in, and they all sound a little different. Those are good to start out, but if you get excited and want to upgrade, you can spring for an external preamp to use along with your audio interface. 

Here are a couple of options that are good for drums (Note: we’re just scratching the surface – engineers will nerd out on this topic all day if you let them):

1. Focusrite Scarlett OctoPre MKll ($439.99) – 8 inputs, good value for the price. Buy in Europe.
2. Presonus Dig-Max D8 ($260 used) – 8 inputs, versatile and cost-effective.
3. Art Tube OCTO8 ($489) – 8 inputs, solid choice.
4. Warm Audio WA-412 ($1199) – 4 inputs, higher quality. Shop in Europe.

Boot up your software

Digital Audio Workstation (DAW)

This is the computer program you’ll use to record and manipulate the sound. There are so many choices! Some are perfect for beginners, while others have more features. We won’t go over all of them, but here are a few popular ones at different prices to get you going:

GarageBand 

Pros:  

• Comes pre-installed on any MAC (there’s a PC version too)
• It’s free
• Easy to learn and use
• Takes up less processing power than other DAWs

Cons:

• Limited features for grouping tracks, fixing mistakes, adding effects, changing the tempo
• No separate mixer window
• Maximum of 8 tracks

Pro Tools

Pros:

• Basic features are easy to use 
• Many functions for editing/replacing sections (called “punching”), adding effects, changing tempos
• Multiple file-type choices and options for exporting 
• Longtime industry-standard for many professional recording studios

Cons:

• Free trial version offers limited features (you can only work on 3 projects at a time, and the options for saving and exporting them are restricted)
• Cost ($29.99 monthly subscription or $299/year) 
• Requires more processing power (if you have an old computer, this can be a problem)

Reaper

Pros:

• Reasonable price ($60 personal use/$225 commercial use) 
• Stable platform 
• Offers good features and flexibility for the cost

Cons:

• Layout is a little clunky and dated
• Takes longer to learn 
• Not as many built-in effects and extras

Others

1. Audacity: Free, but with many of the same limitations as GarageBand
2. Logic Pro: Another popular favorite for pros, it has similar features to Pro Tools
3. Ableton Live: Great for advanced users
4. Cubase: A popular choice for producers who use MIDI instruments

How to choose a DAW

If you’re just starting out, try working with one of the free programs like GarageBand or Audacity. As you get more comfortable with recording, you can upgrade to Pro Tools, Reaper or Logic Pro for more features. Most have a free trial option so you can check them out before you buy.

Prepare your session file

We’ve reached the fun part! It’s time to connect your drum mics to the interface, create a new session file, and start recording. This computer stuff can seem intimidating at first, but once you figure it out, you’ll be good to go. 

Each DAW has slight differences, but here are some basic steps. 

(Note: Images are from Pro Tools):

1. Open your DAW and create a new session. You’ll need to choose the sample rate of your session (how fast the sound is recorded). 44.1kHz is a perfect place to start – that’s the rate of most CDs and mp3s. Lower sample rates take up less storage, while higher ones offer more detail.

2. Create a new audio track for each mic you plan to use and be sure to label what each one is. Having a separate track for each mic will make it easier to isolate and work with the sound later on.

3. Take an XLR cable (the one with 3 pins) and connect each mic to a different channel on your interface. Grab a sheet of paper (yes, actual paper – very retro, but good if your computer crashes). Write down which mic goes to each track number so you can route all the signals to the right place in your DAW (called “busing”).

4. Route the signal using the input/output buttons (i/o). Set the input of each track to the correct number in your DAW. For example, if the bass drum mic is plugged into channel 1, set the input to “1”. The output should be set so you can hear the audio in your headphones (usually Stereo 1-2, which are your left and right speakers). 

5. Create a click track: It will help you keep a consistent tempo and make it easier to manipulate your recording afterwards. You can edit and fix sections, or replace and add whole parts of a song more easily since everything will be lined up on a tempo grid (we’ll get to that later). Most DAWs have easy click functions so you can set any tempo and time signature you want.
   
6. Record-enable and test everything by using the red “record” buttons next to each track.  Don’t press the main record button to capture the sound quite yet – you’ll want to check your levels first. Tap on each mic to make sure everything is routed correctly, and then hit each drum and see how loud the signal is. If the indicator line hits the red at the top, turn the volume knob on that channel down to avoid distortion or clipping. If the indicator goes about two-thirds of the way up, that’s perfect, and each track will need its own adjustments.
   
   Many interfaces have a “pad” button on each track you can use to tamp down the level even more if it’s too hot. You can also adjust the position of your mics to make sure the signal level and tone of each drum is perfect.

6. Hit Record, rock out and test everything. Listen to the sound of each mic alone by muting all the others. Then, put it all together to get your killer drum sound dialed in.
7. Record your track!

The most important thing to remember when you record is to play a steady groove, keep great time, and enjoy the process. Here are some tips:

• Dial in your headphones so you can hear exactly the right mix of everything. Check out this article for more details.

• Play along with a reference track (called a “scratch” track). This will give you some music to listen to and vibe with while you play, but it won’t be part of your final recording. It’s like a practice track. You can have other musicians record bits of a song on guitar, bass or other instruments, or just use an mp3 of your favorite tune.
  
  A scratch track will help you stay with the form, tempo, and dynamics of the song. If you’re using a click, it’s important that your scratch track be recorded at the same tempo. Use the “import audio” function in your DAW to add this track to your session.   Recording with a scratch track also means that your bandmates won’t have to be in the room with you while you record and you’ll be able to isolate the sound without things bleeding into your mics.  

• It’s great to be able to learn a song quickly by ear (Larnell Lewis…whoa!).

• Create a road map to learn your parts quickly and easily and play consistent parts with good dynamics.

Engineer your mix

Recording at home means you’ll be wearing two hats: drummer and engineer. You don’t have to learn every detail right away to make a successful recording, but knowing your way around your DAW will make things a lot easier. 

Organize and label your tracks: Otherwise, it’s easy to get confused about what is what.   

Use hotkeys and shortcuts to make things way faster (each DAW has different ones; for example, you can use Command-S (Ctrl+S on a PC) in Pro Tools to save, and Command-Z (Ctrl+Z) to undo).

Save everything frequently: Sometimes, bad things happen to good people; aka, sometimes the computer crashes. Also, make sure all other programs are closed since your DAW takes up a lot of processing power.

Keep checking your mic levels: This is especially important for us drummers. Let’s say you record one super-loud tune and the next one is quieter. You might have to adjust the positioning of a mic or nudge some volume knobs to keep from clipping, or you might have to boost the signal.

Use the playlist function (if your DAW has it) to keep your session tidy and organized. Playlisting is great when you record multiple takes of the same song, and want to keep more than one version and decide what to use later. For example, maybe you liked take two the best overall, but want to paste in a fill from the end of the first chorus of take one. Playlists allow you to neatly meld different takes together without making a mess of your session by creating a million new tracks and moving everything around manually. (Note: this only works if you use a click track and everything is aligned to the grid)

Creating groups is an easy way to edit multiple tracks at once. For example, if the overhead mics are too loud, you can tweak the level of both the Left and Right together if they are in a group. It’s also helpful to have one group that includes the whole kit in case you want to make an edit.

Check your disk allocation to see where your tracks are being saved. It’s a good idea to use an external hard drive that’s just for recording – a full hard drive often means a slower computer.

Adjust your buffer size: This is literally the tiny amount of time it takes for the audio to be captured. Sometimes you can experience a lag or “latency” when you record, and increasing your buffer size can make that go away. You’ll probably want to lower it again when you’re editing later since a higher buffer size can strain your computer’s processing power. In most DAWs it’ll be listed under “Playback Engine”.

Don’t forget to record-enable each track. It would be a bummer if you played a killer take and then realized it didn’t actually record (ooof!).

Save frequently (can’t stress this enough).

Edit your track

Let’s say you just recorded a great track, but made one mistake at the end that’s driving you nuts. Maybe it’s a fill you wish you didn’t do, or a few bars where you got off the click track. You’re screwed…or maybe not! Learning some basic editing skills in your DAW can help you fix these things so you don’t have to record a whole new take.   

• Punch in: This is when you re-record a small section of a tune to fix a mistake. A punch can be as short or long as you want, and in Pro Tools and other professional DAWs, you can use this function by positioning the start and end arrows around the bit you want to record. Give yourself a little extra space on either end of the punch since you can always use the edit/crop tool to get it just right later on.
  
  (Pro Tip: Make sure to punch using all of your mics. If you try to replace just one part of the drum set, it might not blend with the rest of the track since your overheads pick up sound from everywhere.)
  
  In GarageBand, you’ll use Cycle Record. This is one area where the pro DAWs really have more features to make this work. 

• Add a cross-fade: This is when you blend the little part you re-did with the rest of the track so you can’t hear the spot where you made the edit. If you don’t add a cross-fade, there could be a clicking sound where the two bits of audio join.
  
  In Pro Tools, select the edit range and press Command-F. In GarageBand, you’ll have to fade out the original take, create a new track, and fade in the new part.

• Cut/paste: Let’s say you had one bad snare hit where you missed the drum or clicked your sticks together. One of the best things about using a DAW is that you can grab another snare hit from somewhere else and just paste it in place.

• Replace whole sections: This only works if you’re using a click track since things won’t line up otherwise. Let’s say you loved how you played the second verse of your song and want it to match the first. Use the select tool to cut/paste the whole verse and then add your cross-fades. Studio magic at work!
  
• Nudge it: Let’s say you were a little early or late playing a hit. Separate that region (Command-E in Pro Tools) and use the smart tool and your ears to slide it into the right place. Again, make sure to select the whole kit since all the mics bleed into each other a little bit.
  

These basic editing functions are just scratching the surface of what your DAW can do. There are a ton of mixing tools you can use to make your tracks even better like adding EQ, compression, and other effects. But knowing how to do basic edits along the way is really helpful.

Final touches

You’re done! You made a killer drum track and you’re ready to share it with your bandmates, friends, and of course, The Internet. Here are some tips for finishing off the recording process and exporting your files.

• Save everything (again).
  
  
• Use the fader knobs in your DAW to adjust the volume level of each mic so everything is balanced and clear.
  

• Do a basic mix to improve the sound even more. Most DAWs have plug-ins you can use to add a little EQ, compression or other effects. If you’re not having a professional engineer mix your tracks, adding a few of these elements can really go a long way, and there are a ton of great resources available if you want to explore this topic in more detail.
  
  (Check out this Guide To Drum EQ or this Guide To Mixing Drums)
  
  

• Save (yep, one more time).

• Bounce it down. This is when you combine all of your individual drum tracks into one file to export to a format you can listen to, send around and upload. Most DAWs have options to export in mp3 format (smallest file size), .AAC (slightly better quality), and .WAV or .AIFF (best quality). Mp3s are great if you want to email your tune or put it on your phone.
  
  If you plan to add other instruments or upload to Bandcamp or Soundcloud, use a .WAV or .AIFF. These are also usually the best file formats to use when adding video and uploading to social media. Facebook and Instagram tend to compress audio and video when you upload, so starting with a higher-quality file is your best bet.
  
  If you want to bounce only a part of your song, select that section before you start. You can also bounce drum stems (individual .WAV files for each mic) if a pro engineer will be mixing it and wants everything separated. Make sure to take note of where your bounced files are being saved so you can find them later. Viral drum video on the way!

• Pick the right type of bounce: Most pro DAWs have a couple of options:
  • Mono Summed (feeding both the left and right channels of your mix into both speakers)
  • Multiple Mono (creates 2 separate files for left and right)
  • Stereo Interleaved (creates one single stereo file)

Stereo interleaved is usually the best choice since it puts all your data into one single file, which is easier to work with.

• Back it all up: Make sure to save your entire session on an external hard drive.

And that’s it! I hope this intro to home drum recording helps you get started.

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Part 1: Gear choices, drum tuning and muffling
Part 2: Getting the perfect headphone mix & working with a click track
Part 3: Live vs. studio, playing consistent parts, & how to create a road map

Interacting with engineers and other band members

Besides being great players, the most successful studio drummers have one trait in common: people like working with them. They show up on time, they have a good attitude, and are genuinely happy to be there. They bring the right gear (see Studio Tips Part 1), have great time-keeping skills (Part 2), and come prepared to play the tunes (Part 3). However, there are even more things you can do to help you have a productive and fun day in the studio.

As a drummer, knowing how to successfully interact with your engineer is high on that list. Remember that engineers often have a lot to set up besides your drums. They are running cables, putting up mics, dialing in the mix, and trying to get the best possible sound for all band members. As you’re setting up, try not to hit the drums when the engineer’s head is near the kit. There’s no quicker way to upset someone than blasting their ears out first thing in the morning. Engineer and drummer Charles Burst from the Seaside Lounge Studio in Brooklyn, NY suggests that “once the drummer has everything set, it’s best to just get out of the way and let the engineer put up the mics and do their job.”

The setup process is usually the most intensive part of an engineer’s day. So while you shouldn’t be shy about asking for the gear or headphone mix you need, be sensitive to the fact that there are many other things going on. As the session continues, you’ll hopefully establish a nice workflow with your engineer and be able to focus your attention solely on the music.

Use the engineer as a resource. It never hurts to ask their opinion about drum sounds and gear choices. You don’t have to take every suggestion, but remember: they’re in that studio every day and will likely have some valuable insight into how to make your equipment sound the best. To this end, try to avoid noodling or playing your drums between takes, especially when people are talking. If you need to check your tuning, do it at an appropriate moment. If you happen to be cursed with an engineer who is lethargic or has a bad attitude, take the high road and try to stay positive and upbeat. If the engineer is having gear or technical issues, be patient and stay out of the way so they can troubleshoot and get the session back on track.

It’s equally important to show the same level of sensitivity and respect to other band members. Being in the studio can be intense and stressful, so it’s important to make sure that stress doesn’t lead to negative interactions that can derail your session and waste valuable recording time. As anyone who has ever been in a band can tell you, musical disagreements are a natural part of the recording process. However, these tensions and disagreements have also made a sizable contribution to some of the greatest recordings of all time.

The Beatles are a prime example of four artists with disparate creative ideas who came together to create an artistic vision. They fought with each other and with their producer George Martin, but they were still able to record many great albums due to their mutual respect and love of the art they were creating.

Put simply, making records can be a difficult and messy process. It can also be mentally and physically exhausting (especially for the drummer). However, it’s important to manifest creative disagreements in a respectful and productive fashion so you can have the best possible studio experience.

Editing and punching

Once the recording is done and you’ve left the studio, your part in the process is mostly complete. As Burst puts it, “the best way to make sure your drums sound good during mixing is to make sure they sound good when you’re actually recording them.” There are, however, a few things you can do during your session to make the editing process as easy as possible. For example, when you listen back to each take, make a list of any spots that need fixing as you go along. That way, if you need to re-record a section or phrase that was incorrect or messy (called “punching in”), you can play it right away while the idea is fresh in your mind.

It can be tempting to “turn your brain off” and lose focus between takes, but it’s critical to listen back to everything you’ve recorded. There’s nothing worse than noticing an easily fixable error after the session is over and your drums are torn down. To avoid the time and expense of more studio time (and knowing how difficult it is to get the exact same drum sound and mic placement), be diligent in identifying any trouble areas and doing your punches right on the spot.

Not every mistake will require you to replay the section. The engineer can often correct them digitally by nudging notes forward or back, cutting and pasting bits from other parts of the song, or even replacing entire sections. For example, if you and your bandmates decide you really like the drum part on the first verse of a song but don’t care for what you played in the second verse, it’s often possible for the engineer to copy and paste the desired part right into the session. If you’ve played multiple takes of the same tune, the engineer can also grab sections from one take and drop it into the other (Note: this only works if you recorded to a click track).

However, in some situations it’s quicker and easier for you to just play it again rather than spending a long time doctoring bits of sound. If you do need to punch in a section, try to match the volume and intensity of the original take to avoid making the edit too noticeable. If the part you’re punching in was originally played on the hi-hat, avoid playing it on a different cymbal when you redo it. The goal is to stay consistent and make the edit as seamless as possible.

When the engineer sets up a punch, they’ll start the playback a bit earlier than the spot you’ll be fixing: this is called “pre-roll”. Make sure they give you enough pre-roll to jump into the tune and play the part accurately, and don’t be afraid to request more or less lead time if the spot they’re rolling from is confusing or hard to pick up. Even though you’ll only be replacing that spot or section, it’s best to start playing as soon as you hear the music in your headphones to help ensure smooth transitions in and out of the punch.

After you play, listen back to the punch in the context of the whole tune to make sure it doesn’t stick out. While modern recording technology has made it possible for engineers to make edits that were unimaginable in the past, there’s still no substitute for solid, grooving, and consistent drumming in the studio.

We’ll also explain the best way to create shorthand Road Maps for each tune to help you be accurate and efficient when you record.

In case you missed parts 1 and 2 of this series:

Part 1: Gear choices, drum tuning and muffling
Part 2: Getting the perfect headphone mix & working with a click track

Playing consistently and with dynamics

Every note you play in the studio will be captured for all eternity, which means those massive tom fills that feel amazing on stage may be too messy and obtrusive for recording. Remember, there will be many mics on your drums, and they’ll pick up every note you play. Since the engineer will place mics directly over your cymbals (usually sensitive ‘condenser’ mics), it’s important to avoid the temptation to bash away at them like you might in a club.

Most cymbals are high-pitched and will cut right through the mix; they’re also in the same frequency range as the vocals and can be overbearing if you play them too loud. If the music calls for it, it’s okay to hit the drums hard – but always be conscious of everything else that’s going on, and don’t overplay.

Stamina can be an issue for many drummers, and if you’re hitting as hard as you can all the time, your playing won’t be as clean as the day goes on and you start to get tired. Conversely, you’ll also want to avoid playing too timidly in an attempt to be dynamically sensitive. Quiet playing should still be crisp and confident, and it’s a common trap to slow down or get a bit sloppy during breakdown sections or transitions in the music. You may not notice these things as much when you play live, but you’ll definitely hear them on a recording.

Make sure to give the same detailed attention to every part of the song and play as consistently as possible. In rock and pop music, it’s best to choose a kick/snare pattern for each section and try to stick to it each time that section comes along. Flipping the rhythm around – or varying it too much – can result in an unstable groove. There will always be some spontaneity and on-the-spot creativity when you record, but it’s helpful to work out some grooves ahead of time so you can hit the ground running.

Think about how you can use subtle texture changes to differentiate sections of a song. For example, if you have the hi-hat closed on the first verse, you can open it slightly or switch to the ride cymbal for the chorus. Start with the same basic kick/snare pattern for each verse, but as the song goes on, think about small ways to develop your ideas while keeping the same underlying groove going. These small texture changes will shape the music and keep it moving forward.

Sometimes you’ll want to be sparse and avoid playing too many notes, while other situations might call for something a little busier (author’s note: simpler is almost always better!). While the engineer can fix mistakes and make edits, there is no substitute for straightforward, solid, and sensitive playing in the studio.

One excellent example of this is drummer Philip Selway’s playing on the song “Lucky” from the iconic Radiohead album “OK Computer”. This song has a ton of different sections and many texture and groove changes to navigate.

He begins the first verse sparingly with the ride cymbal, and adds the rest of the kit for the first chorus. He continues lightly on the full kit for the re-intro section and second verse, deftly navigating the bar of 2/4. The second chorus is a slightly more energetic version of the first, and he continues adding and subtracting textures throughout the breakdown section and solo.

When you’re playing a tune with so many twists and turns, it’s often helpful to write some notes and create a shorthand “Road Map” you can reference while you record. While it’s great to try and memorize everything, it can sometimes be hard to remember all the details when you’re working under pressure in a studio environment.

Create a Road Map

(Note: These Road Maps have been digitized so they’re easier for you to read, but you can check out the original handwritten ones here and here).

The ability to quickly write shorthand charts is one of the most important skills a drummer needs to learn new music. Though you may not always need to look at your Road Map while recording, going through the process of writing it down will force you to delve into every detail of the song and become familiar with all its intricacies. Your Road Map should include the song’s form (these are your “driving directions”), as well as any hits, stops, and texture or groove variations.

Your first step is to find the pulse of the tune and count how many measures are in each section. Listen for harmonic variations in the chords and lyrics to try and determine where parts begin and end. Most popular music has some combination of sections such as Verse, Chorus, Pre-Chorus, Bridge, Interlude, Intro, and Outro. What you decide to name each one isn’t a big deal, as long as you call similar parts the same name throughout your Road Map (instead of verses or choruses, some people will assign letters to the parts and call them Section A or B).

Once you have your form framework in place, you can begin to add other details such as what part of the kit to play on a particular bit, plus any fills or stops and exactly where they occur. It’s also a good idea to sketch out some basic kick/snare rhythms to remind yourself of what to play. For example, this tune “The Prince” by Woodhead revolves around the same basic 7/4 groove pattern throughout, and uses a variety of texture changes to set the sections apart.

In addition to groove and section changes, you can also include lyrical cues in your chart as another point of reference in case you get lost. Be specific, neat, and detailed! Studio time is precious, and you don’t want to have to redo a take because you couldn’t remember your pattern, or because you blew through an important stop or hit. Making a clean and detailed Road Map will help you stay organized and make your recording the best it can possibly be.

In Part 4 of this Pro Studio Tips Series, we will discuss the strategies for interacting with engineers and other band members in a studio environment, as well as the role of drummer in the post-production process.

Headphone Mixes

Using headphones in a recording session can be a very different experience from playing live onstage with a monitor wedge. It’s important to choose a comfortable pair that fits snugly but isn’t too tight. Some drummers prefer “closed” headphones which don’t let any outside noise in, while others like “open” ones that aren’t fully airtight and allow you to hear a bit of yourself in the room. It’s largely a personal preference, and it’s good to experiment with different types to see what works best for you.

If you know you’ll be playing on the louder side, closed headphones are a good choice to keep the noise out while quieter playing lends itself to either type. Don’t be afraid to ask the engineer for another pair if the ones you have aren’t working for you. You can also buy your own studio-caliber headphones and bring them to the session. If you decide to go that route, make sure you choose something that is professional quality and has a good bass response (earbuds are not usually a good choice unless they are top-quality in-ear monitors).

In addition to a selection of headphones, most modern studios are equipped with personal headphone monitor boxes that will allow you to control your own mix from behind the kit. The engineer will position this monitor next to your drums and route each instrument (including you) to a separate channel so you can easily turn things up and down. There will also be a separate channel that controls the overall volume, as well as another for the click track if you are using one (more on that later).

Once the engineer gets everything wired up, it’s a good idea for the whole band to play together so everyone can check the levels of their monitor mix. As a drummer, the most important person in your mix besides yourself is usually the bass player. One of the most important elements of successful recordings in any genre is a tight rhythm section, and if you can’t hear the bass player, it will be very hard to lock in the groove. Once you’ve got the bass and drums dialed in, you can start adjusting other levels, including guitars, keyboards, horn, vocals and anything else. If there are a lot of background vocals or other less important elements, you may want to keep them lower in your mix so you aren’t distracted. Focus on the bass and the rest of the rhythm section.

During this band soundcheck, make sure to test your mix during both quiet and loud sections of playing. While it’s important to be able to hear everything clearly in the headphones, try to resist the temptation to crank your overall mix too high. If your headphones are too loud, it can lead to overplaying and bashing away when you record. It’s also a smart move to protect your hearing by wearing earplugs under your headphones. Disposable foam ones will work, but custom-made plugs that filter out damaging frequencies while allowing some sound in work better.

If the studio you are in doesn’t have personal headphone monitors, you will need to have the engineer adjust these levels manually from the control room. Even though you’ll be anxious to get started, it’s critical to take an extra minute or two make sure you can hear everything before you begin tracking. There’s nothing worse than ruining a good take because you didn’t have your mix dialed in properly.

Click Tracks

Now that you have your “cans” up and running, it’s time to start working with your click track. Not every musical situation requires a click, especially jazz and other improvised music. There are plenty of pros and cons to using one, but many pop and rock albums use a click track because of the flexibility it provides during the post-production and editing process. You can more easily fix mistakes, replace whole sections, and extend or shorten a tune. Most importantly, the click prevents you from rushing or dragging the tempo when you record.

Since being in the studio can be an exhilarating experience, it’s easy to count songs off too fast or speed up because of the extra adrenaline. Conversely, if you’re at the end of a long day or just after a lunch break, it’s human nature to relax and drag a bit. Using a click track will minimize the variation from these shifts and help your timekeeping to remain steady and consistent throughout the session. If you and your band are thinking of using a click, it’s important practice with one in rehearsal before you record. This will help you to choose the correct tempos for songs and get used to them before you get into the pressurized environment of the studio (this process is called “pre-production”).

Sometimes the tempos you choose in pre-production may suddenly feel too slow once you get in the studio, but it’s important to mitigate that excitement so you don’t end up with a bunch of overly fast renditions of the tunes that don’t turn out the way you want. If there are vocals, it’s critical to make sure the singer can clearly enunciate the lyrics at the tempo you choose. Just because a particular tempo may feel good for the drummer doesn’t mean it’s best for the overall song. It’s your job to make any tempo and groove feel good, and that’s why it’s so important to spend plenty of time at home working with a metronome before you go into the studio.

In addition to the tempo, it’s important for you to be comfortable with the tone of the click itself. Engineers can usually change this sound with the push of a button, so if the tone they’ve chosen is hard to hear or doesn’t cut through your mix, don’t be afraid to request a different one. Any woodblock-type sounds that aren’t too high or low-pitched are a good bet. You’ll also want to avoid tones with any sustain or overtones that can muddy up your mix, as well anything too shrill or piercing such as a cowbell. Some drummers prefer a click with an accent on the first beat of each measure (either a louder or higher-pitched tone), while others prefer a “flat” click with no accents. Also, if you are working with a very slow tempo, it can be helpful to have the click be twice as fast (on each eighth note as opposed to each quarter note). This should help lock in the tempo and avoid a “swimming” feeling that can occur when there is too much time between each click.

Whatever specific choices you make, be sure the click is comfortable for you and easy to hear in your mix. This sound will be burrowing its way into your brain the entire time you’re recording, so it’s worth the extra couple seconds to get it the way you want. After you’ve settled on a sound, you’ll need to adjust the level on your personal amp monitor. The click should be on its own separate channel, and some devices have a “panning” function that will allow you to send the signal to one side of your headphones. This panning can be helpful in avoiding a jumbled-sounding mix since you’ll be hearing a lot of different things at once. If the studio you’re working in doesn’t have personal monitors, you’ll need to work with the engineer to set the levels and panning exactly the way you want.

Once you actually start recording, the click can be your best friend or your worst enemy. If you’ve done your preparation and worked on the tunes at home at the correct tempo, hopefully you will be able to lock right in. It’s very common for drummers to “fight” with the click at first and get slightly ahead or behind. One advanced technique involves purposely playing slightly “on top” or “behind” the beat to create the right feel for a particular tune or section, however the first step is always to play “with” the click before attempting any of these higher-level manipulations. The key is to relax and focus on the groove first before attempting too many embellishments, which is one of the most important distinctions between playing live and recording. The best studio drummers in the world, in every style, have one trait in common: great time.

In Part 3 of this Pro Studio Tips Series we’ll look at the differences between live and studio playing and discuss how to play consistent parts and use proper dynamics. We’ll also go over how to make shorthand road maps which will help you learn songs quickly and make you more efficient and productive in the studio.

Putting Together Your Studio Rig

It’s always a good idea to plan out your setup a few days before you go in to record. Think about the type of music you will be playing and make sure all your gear will be a good fit for that style. Remember that your job as the drummer is to support the song and be musically sensitive when you play.

That sensitivity should carry over to your gear choices as well. A lightweight jazz kit with a 16-inch bass drum may not be a good option for a hard rock band, while a massive rack of toms and a china cymbal probably won’t be necessary (or popular) when backing up a folk singer.

As an engineer and drummer, Charles Burst of the Seaside Lounge Studios in Brooklyn, New York, puts it: “What works on stage doesn’t necessarily work well in a recording environment. For instance, the cymbals you use live because they cut through the cacophony will be sometimes too harsh and overwhelm the drums and other instruments in the studio.”

It’s important to consider how different types of drums, cymbals, and sticks can produce a range of sounds. If you’re not sure what gear to use, do some research and listen to a few recordings in that genre. Check out the amount of sustain or ring the drums have, and whether they are tuned high or low.

Drums with wooden shells have a slightly warmer tone, while metal drums have a bit more attack and are brighter. A thick, heavy ride cymbal will have a less decay then a lighter one. Small, shallow toms will sound thinner than deeper ones, and wooden-tipped sticks produce a mellower and warmer tone than nylon. It’s also important to consider how your drum sound fits in with the arrangement and the other musicians.

As Burst puts it, “the mix of a song is like a living room that you can only put so much furniture in. You can’t have too much stuff in the room, and the stuff has to have space between it to work aesthetically. A big, fat snare sound is great by itself, but might be overbearing in the context of everything else.”

If you decide that your own gear isn’t right, plan ahead and try to borrow or rent something that might be a better match. Some studios have their own “house” drum kit you can use, however, it’s a good idea to bring your own cymbals, snare, kick pedal and drum throne (available in Europe) to make sure that you can get the sound you want and be physically comfortable.

If possible, check out any studio or borrowed equipment ahead of time. If you’re not sure about what gear you’ll be playing, it’s often smart to bring your own stuff despite the extra lugging. You’ll be glad you did once you get set up and dial in that perfect sound.

It’s also important to make sure all the equipment you’re using is in good condition to record. Check to make sure the drum heads (shop drumheads in Europe, too) are in decent shape (more on that later), and that the hardware can withstand a long day of playing, i.e., no broken boom stands, loose floor tom legs, stripped screws, missing felts or wing nuts, busted snare throw-offs, or duct-taped pieces. Once the recording process begins, you’ll be able to focus on the music itself rather than worrying that your gear may fall apart in the middle of an awesome take.

Tuning Your Drums for the Studio

Once you’ve made your gear choices, it’s time to get everything in tune. Once you finish your setup, most engineers will put separate microphones on each drum (called “close-miking”) to have maximum control and flexibility in getting a good sound. They will also place a few mics above the cymbals (called “overheads”), and another one slightly away from the kit (called a “room” mic) to capture the broader, overall sound of the kit.

Having all these microphones means that every detail of your sound will be under a microscope. To avoid getting a dull-sounding or “dead” tone, check all the heads beforehand to make sure they are not too beaten up. If you decide to change a head, it’s best to plan ahead and do it a few days beforehand, if possible. New heads tend to stretch as you play them and often take a little time to “settle in”. If you change it immediately before you record, you could end up fussing with the tuning during the first few songs.

When changing a drumhead, tighten the lugs in a crossways pattern to make sure the head stretches evenly across the hoop. If you’re changing a snare head, make sure the throw-off is in the “open” position (i.e., the snares aren’t touching the bottom head which will obscure the pitch of the drum).

There are plenty of automatic tuning devices on the market to help you along, but it’s a good idea to get used to tuning your drums by ear for studio and live situations where you might not have a lot of time. Use a stick to lightly tap on the area near each lug to hear the pitch and gradually tighten each one until the pitches are uniform.

For some styles, a higher-pitched tuning that cuts through the mix will be a good choice (for example, R&B or Jazz), while rock and other heavier music might call for a lower, “beefier” tone. Again, it’s important to consider the style of music and how your sound fits in with all the other instruments. For resonant (bottom) head tuning, it’s usually a good idea to tune it tightly, especially on the snare. The goal is to eliminate unwanted overtones (more on that below) without choking off too much of the drum’s natural sound.

While your drums will undoubtedly sound a little different in the confines of the studio than in your house or rehearsal space, checking the heads and tuning prior to the session will help you get the tone you want without keeping the engineer and other band members waiting. Plus, any tuning or other preparation you can do in advance will create more time you can spend actually recording your tunes. Once you’re set up and the engineer has the mics ready, have him record a little bit of your playing while he’s dialing in the sounds.

The drums often sound different in your headphones than they will through the studio’s large speakers, so you’ll want to quickly check out your overall sound in the control room before you start tracking. Don’t be afraid to ask the engineer or your bandmates for a second opinion on how the drums sound. There’s nothing worse than having to redo a solidly played take due to gnarly overtones or other unwanted sounds…which brings us to the important topic of drum muffling. 

Drum Muffling

All the buzzes, rattles, and rings that seem like no big deal at home will be magnified and captured for all eternity in the studio. While some recording situations allow for a “wide open” drum sound, it’s often a good idea to filter out any unwanted resonance before you begin.

Silicon muffling products such as Drumtacs are a great choice for snares and toms because they dampen extra ringing without drastically changing the sound of the drum. They also are easy to add and subtract from the top or bottom heads and should not impede your playing since most are only about the size of a quarter.

Another popular muffling strategy involves placing small squares of duct tape on the heads, which you should try to space them evenly along the edges of the drum. In the case of famed drummer Steve Jordan, you can also tape a bunch of paper towels from the bathroom to your snare.

While this technique may seem a bit extreme, it serves as a fine example of the unconventional measures some drummers take to get the sound they want in the studio. In this case, the paper towels deaden the drumhead to create a tone with almost no resonance or sound decay that is the hallmark of Jordan’s unique sound on recordings with D’Angelo, John Mayer, Keith Richards, and many other well-known artists.

There are also plenty of other muffling options for your snare and toms. Some drummers use plastic muffling rings, a small towel on the drumhead, or the old-fashioned “wallet-on-the-snare” technique.

Regardless of what method you choose, getting those overtones under control is a critical part of the recording process. The engineer can do a lot to alter the drum sound in the mixing and post-production phase with effects like reverb and compression, however, starting with a good recorded drum sound goes a long way.

As Burst says, “any sound that is coming from your drums, the mics will pick up. Try to isolate the overtone that is bothering you and eliminate it. Check the tuning and make sure you have even tension across the head. Sometimes there is also a loose lug or two that causes a funky sound.”

Along with the snare and toms, it’s also important to make sure your bass drum has the right tone. A small pillow or blanket inside the drum will often do the trick, and you can experiment by placing it closer or further away from the batter head to get a range of tones. If the bass drum you are using does not have a hole in the resonant head, you can lean a small pillow against the head to kill some of the extra ringing.

Burst says that “for most kinds of music, you want a hole in the bass drum, and in fact, a lot of recordings from the ‘70s had no resonant head at all. It totally depends on the type of music you’re recording”. The best approach is to ready for anything, and always keep your ears attuned to the sound you’re producing.

Now that you have chosen an appropriate rig, tuned it up, and muffled out unwanted overtones, you’re ready to dial in that perfect drum sound and get to work on your hit record! 

Read part 2 of this series: Getting the Perfect Headphone Mix & Working with a Click Track.

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