I wonder if you can use a clip on guitar tuner to determine the shell note? I'm am going to try this next time I swap heads. Me, as an engineering type was kind of confused as to why the drumdial numbers were unitless. I own a drumdial and love it, so, I've just rolled with it's idiosyncrasies. I wish the numbers were tied to something, and I wish it was designed so that the pointer doesn't travel around the dial several times when you sit it down. I've noticed in the drumming community that I've received shade for using a device. Ear tuning is essential to know as well, but I get great results using the drumdial.
@@allenmitchell09 The thing about ear tuning is that nature is flawed. The DrumDial will basically teach you what a tuned head sounds like. I think a lot of drummers who tune by ear get close enough for them, but how do you determine what lug to tune too? You start chasing tones. Then you end up with overtones because your heads are singing a G and your shell’s singing a Bb.
I think you owe Steve an apology. First of all, the pitch of the shell could be a small factor in the overall sound, but tuning the heads to match the shell is pointless. The relative pitch of a tuned drum is decided by a combination of head pitches. A drum with a 3rd octave G over A# will produce a 2nd octave A, NO MATTER WHAT THE PITCH OF THE SHELL IS. If you tune your heads to D# over D#, the resulting relative pitch is not going to be a D#. You would need to tune the heads to a C to end up with a D#. You may actually be creating dissonance by tuning your way. Since the tuned drums were never played, we don’t know the results. But the individual head that we did hear did not sound exceptionally good.
I owe Steve an apology? if you read the comments, some people have actually purchased the Drum Dial BECAUSE of this video. And what kind of nonsense are you spouting about a C becoming a D#? It's clear you know nothing about music theory. Thank you for your comment tho. Engagement helps my video's further visibility.
First that thing that Lennon supposedly said " Ringo is not the best drummer in the Beatles " is completely untrue and have been debunked a while ago. It's actuality a comedian that said that, and then it has been reposted and reused, like James Hatfields had said " Lars is not even the best drummer in Metallica." Don,t believe everything you hear or read online.
Thank god John Good isn't a violin builder. Imagine him trying to tell people: "This is the pitch of the violin corpus if you tap it. Tune every string to that note." FACEPALM
@@JerridFoiles well, they're tunable acoustic instrumenta. Also, 'Sounds like a drum' has already proven, that if you put tension on your heads, the tapping pitch of the shell raises from the pressure, so it's an impossible chase to match up the drumhead's pitch with the shell's untentioned pitch.
Yea, I saw that video and 'Sounds like a Drum' isn't what I would call an expert. I'm quite familiar with his videos and he really just likes to sound intelligent. While he did point out that his particular drum shell pitch changed when hardware was added, he failed to mention that some manufacturers like DW use thicker shells and lighter-mass lugs to maintain that shell pitch. Fact is, you're not putting pressure on the shell, the raising pitch is coming from the head stretching the plastic. That's what a lot of people seem to forget. Drum heads are like guitar strings, they're gonna fail long before your shell or lugs. Dankpods/The Drum Thing was brave enough to test this recently. He took a power drill and just full sent it. Tension rods and rims broke, but the lugs and shells were just fine.
Now I'm not saying Pete was a drumming virtuoso here, but he was still considered pretty good and if you do any real research, you will find that after removing Pete from the band they asked 4 other drummers to drum for them who all turned them down because they didn't like what they were doing to Pete. Not only did they not go straight to Ringo, but they weren't even considering Ringo until they had no other choice. He was literally the bottom of the barrel last resort as he was the only other drummer around at the time who could at least keep decent time, and he happened to say yes, or they might have had to stop for a while. Most don't know this and don't want to know this because they don't want the truth to get in the way of a good story. Strictly speaking, Pete got screwed and Ringo, who was a very average ordinary no frills, no thrills drummer, got lucky, simple as that.
You are way off, not that I don't want to hear the truth, is that I don't want to hear someone like you who has a personal vendetta against Ringo, and are trying to rewrite history to fit their narrative. They didn't ask 4 drummers after Pete, they went for Ringo because Harrison like his playing, and the guys like him better.
@@fastguned The first 2 drummers they asked to join them were Bobby Graham who was a really good session drummer who turned them down and Richie Galvin who also turned them down. Look up those drummers and you'll find out that Ringo wasn't the first one asked to join them after Pete. Ringo didn't suck and I have nothing against him, but he wasn't anything to write home about either and he definitely wasn't the all-time great drummer people try to crack him up to be. He was adequate, but nothing more.
@@jimo3173 I actually stumbled across a video of someone confirming what you're saying. after my comment. You probably know that Bobby Graham was the studio drummer for the Dave Clark 5 and The Kinks. also may others. I saw the Dave Clark 5 in 1964 in Montgomery Alabama and Dave's drumming was not up to par. Well the DC5 weren't that good. Roy Orbison played too and he and his band mopped the floor with the DC5 There is a rumor that Bobby or Mel Taylor of the Ventures played drums on Monster Mash. The drums sound like Bobby to me.
@@fastguned That was one major reason why Bobby Graham turned them down, because he already had a good thing going for himself with the studio work leading to a lot of hits and playing live. Dave Clark 5 were okay but not that good, you're right about that. Monster Mash could have been Bobby, but it could have been a good few other drummers too. It did have something of a surf type feel to it so who knows, it even could have been Dennis Wilson lol.
Maybe Pete was a better "player" with the females and the other three lads got too jealous. After all, he was a handsome chap and he did look quite manly with his hair combed back instead of down. No one ever seems to bring that up. Of course Ringo didn't do bad either. From Maureen to Barbara....now that's what you call an upgrade!!!! Maybe it is true what they say about those "cavemen"! But on a more serious note, I do think Ringo was a solid pocket drummer. And the lads probably could lock in with him much better. The boys didn't need a Ginger Baker or Keith Moon. On a side note....has anyone heard the song "Ringo I Love You (Yeah! Yeah! Yeah!)" by Cher? If not go search it out on youtube now!!!!! Here's a link....Not sure if it will show up or not. But what a classic song. Enjoy! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-rucS5DX8IRA.htmlsi=Zgy5pDWRGS67henv
I didn’t know that Steve Fischer is president of DrumDial, and my name is Steve. So when he said “that means you too, Steve” at beginning of video, I got scared and thought he knew I was watching. 😂
The Neil Peart R30 replica kit is nice. Only 30 kits were made. Each set came with special edition drumsticks. It cost about $30k. Came out around 2006. Back in 2010, we had Neil’s Chrome Slingerland drumkit there. Did you get the chance to see it there?
@JerridFoiles I go every year. I usually go to see my friends Gregg Potter and Cathy Rich. I do some of their promotions. If you can make it next year, I'll introduce you to them. Cathy Produced Neil's two solo 'Burning For Buddy' (Vol 1 & 2) records. Gregg does the Buddy Rich Big Band Machine thing with Cathy. The Drum Show is cool. Did you meet Bun E. Carlos while you were there? He's a staple there.
The longer this takes the funnier it is. I just made some nesting toms by taking a 12” and 16” and cutting both in half for a one up one down setup. Put them in a 16” case with a shallow snare. In small clubs with no backline, concert toms are fine. And you don’t need more than hats and a crash-ride.
I'd never call DW the Tamburo and vice-versa? Favorites? I'd rather go with the household than pretending stranger things. I don't know. Just sayin'. I loved the Muppets Show once upon a time at LA. Namastè.
Future Wife: Babeeeee you spend more time with those drums than you do with me!! Jerrid: These drums have been with me since before we met, they're like my children! Future Wife: Well I'm still waiting for you to give me a child, it's been 7 years already! Jerrid: Look I'm famous now I have a new 10 year contract to sign with Warner Brothers, I cannot babysit lil Timmy, be at work and drum the drums at the same time, these are difficult choices baby!
I sometimes tune using this method when time permits. What I have found is that the shell fundamental shifts a bit with changes in humidity, temperature, and.... the type of head and tension it is under. Just an observation.
To determine the fundamental pitch, you need to tap the interior of the shell. The actual wood from the shell. I would recommend using your normal sticks as that is your fundamental tone. Not something that mutes overtones and will have a different attack. Let the shell resonate fully. It won't harm anything. Don't hit the shell hard and only do it long enough to determine what the tonic is. If it's an issue, then just knock on the middle part of the interior with your knuckles. That should yield similar results. Striking the drum wrap exterior with the lugs installed and with a homemade mallet (the cymbal felt is a great idea!) is not the fundamental pitch. You could also check the exterior shell's pitch , but just for reference. Either way, I have never found the fundamental pitch to be the best metric for tuning drums. It doesn't translate to the drumset. The pitch you get from the shell is without any tension on the head. Plus people do not know how to tune and just rely on drum dampeners and gunk and claim they have good tone. All that other stuff about grain and the cut is just marketing BS from DW from the 90's when they first came on the scene. This is similar to the guitar tone wood debate, which I am not interested in arguing.
First of all, the mallet really doesn’t hinder as much as you might think. Secondly, it’s been proven by other content creators that when you add lugs and wraps to the drum, the fundamental pitch starts to change that being the only flaw in John Good’s approach. if you feel comfortable using a regular stick on the shell, be my guest, but I wouldn’t recommend it.
