Drum kit

A drum kit, also called an acoustic drum kit or drum set, is a special collection of percussion instruments that one person can play. It usually has drums, cymbals, and sometimes other small instruments like a tambourine or a cowbell. The person who plays the drum kit is called a drummer, and they often sit on a special chair called a drum throne. They use sticks called drumsticks to hit the drums and cymbals, and they use their feet on pedals to play certain parts of the drum kit, like the bass drum and hi-hat.

A typical drum kit includes a snare drum, a big bass drum, a few tom-toms, and some cymbals such as a ride cymbal and a crash cymbal. Sometimes it also has hi-hat cymbals, which can be played with feet or hands. Drum kits can be small, with just a few pieces, or very large with many extra parts.

Drum kits are very important in music. They are part of the rhythm section and are used in many kinds of music, from rock and pop to blues and jazz. Whether the music is loud and fast or slow and smooth, the drum kit helps set the beat and keep the music moving.

History

Early development

Before drum kits were created, drums and cymbals were played separately by different musicians. In the 1840s, musicians started using foot pedals to play more than one instrument at once, but these pedals weren’t made widely until much later. By the 1860s, musicians began grouping several drums together into a single kit. This included the bass drum, snare drum, cymbals, and other percussion tools, all played with drumsticks. In musical theater, where money was limited, drummers needed to replace many percussion players, which helped lead to the creation of the drum kit.

Double-drumming let one person play both the bass and snare drums with sticks, while tapping the foot on a “low-boy” to play the cymbals. This style of playing simple beats first supported marching soldiers and later helped create ragtime music, which had a swinging, dance-like feel. The drum kit was called a “trap set,” and drummers were known as “trap drummers.” By the 1870s, some drummers used a special pedal to help play the bass drum with their feet.

William F. Ludwig Sr. and his brother started Ludwig & Ludwig Co. in 1909 and created the first successful bass drum pedal system. In 1912, drummers began using wire brushes instead of sticks because they made quieter sounds that didn’t overpower other instruments.

20th century

During World War I, drum kits were often set up like marching bands, with many percussion instruments around a bass drum. Drum kits became very important in jazz, especially Dixieland jazz. The modern drum kit developed in the 1920s in New Orleans during the vaudeville era.

Drummers like Baby Dodds, Zutty Singleton, and Ray Bauduc took marching rhythms and added instruments like tom toms, cowbells, and woodblocks to ragtime music, creating a new jazz drumming style. Because of limited space and money in theater orchestras, bandleaders asked percussionists to play many parts. Metal stands were built to hold drums and cymbals, with a special tray called a “trap” for extra items like whistles and cowbells. These kits were called “trap kits.” Hi-hat stands became available around 1926.

In 1918, Baby Dodds changed the way drummers played by using drum rims instead of woodblocks, hitting cymbals with sticks, and adding a side cymbal above the bass drum, called the ride cymbal. William Ludwig made an early low-mounted hi-hat after seeing Dodds play, and later raised it to create the modern hi-hat. Dodds also helped popularize Chinese cymbals. Because early recording technology was poor and loud sounds could ruin recordings, Dodds used quieter tools like woodblocks and drum rims.

In the 1920s, drummers were hired to play at many shows, concerts, and theaters. They also provided sound effects for silent films. As films with recorded sound became popular in the 1930s, many drummers lost these jobs, though some found new work creating sound effects for movies.

Playing

Main article: Drum beat

When a drummer plays, they use two main things:

• A groove that sets the basic rhythm and feeling of the song (examples include a backbeat or shuffle). Grooves help create the mood of the music.
• Drum fills and other ornaments and variations that add excitement and interest to the drumming. Fills might include a sting at the end of a part or show off special skills.

Main article: Drum fill

A fill is a change from the regular rhythm in a song. It can be used to connect parts of the song, like between verses or before a chorus. Fills can be simple or very complicated and help make the music more interesting. They also signal important changes in the song. A vocal cue is a short fill that introduces when a singer will start singing.

Main article: Drum solo

A drum solo is a part of the music where only the drums play, and no other instruments are heard. This lets the drummer show off their skills. Drum solos are common in jazz and some rock music, like heavy metal and progressive rock. During solos, drummers can use complex rhythms that they couldn't use when playing with other instruments.

Main article: Grip (percussion)

Most drummers hold their drumsticks in one of two ways:

1. The traditional grip, where one hand holds the stick overhand and the other underhand. This grip was used in marching bands and is common in jazz.
2. The matched grip, where both hands hold the sticks the same way. This grip is popular among modern drummers.

Components

Drums

Bass drum

The bass drum is the lowest-pitched drum and usually provides the beat or timing element with basic pulse patterns. Some drummers may use two or more bass drums or a double pedal on a single bass drum, which enables a drummer to play a double-bass-drum style with only one drum. This saves space in recording/performance areas and reduces time and effort during set-up, taking down, and transportation. Double bass drumming is a technique used in certain genres, including heavy metal and progressive rock.

Snare drum

The snare drum provides the backbeat. When applied in this fashion, it supplies strong regular accents played by the non-dominant hand and is the backbone for many fills. Its distinctive sound can be attributed to the bed of stiff metal wires held under tension against the bottom head (known as the snare head). When the top head (known as the batter head) is struck with a drumstick, the snare wires vibrate, creating a snappy, buzzing sound, along with the sound of the stick striking the batter head. Some drummers may use two or more snare drums at a kit, known as secondary snares, to diversify and create different sounds on backbeat.

Toms

Tom-tom drums, or toms for short, are drums without snares and played with sticks (or whatever tools the music style requires) and are the most numerous drums in most kits. They provide the bulk of most drum fills and solos.

They include:

• Traditional double-headed rack toms of varying diameters and depths
• Floor toms (generally the widest and largest toms, which also makes them the lowest-pitched toms)
• Single-headed concert toms
• Rototoms

The smallest and largest drums without snares (octobans and gong drums, respectively) are sometimes considered toms. The naming of common configurations (four-piece, five-piece, etc.) is largely a reflection of the number of toms, as conventionally only the drums are counted, and these configurations all contain one snare and one or more bass drums, (though not regularly any standardized use of two bass/kick drums) the balance usually being made up by toms.

Other drums

Octobans are smaller toms designed for use in a drum kit, extending the tom range upwards in pitch, primarily by their great depth and small diameter. They are also called rocket toms and tube toms.

Timbales are tuned much higher than a tom of the same diameter, typically have drum shells made of metal, and are normally played with very light, thin, non-tapered sticks. Timbales are more common in Latin music. They have thin heads and a very different tone than a tom but are used by some drummers/percussionists to extend the tom range upwards. Alternatively, they can be fitted with tom heads and tuned as shallow concert toms.

Attack timbales and mini timbales are reduced-diameter timbales designed for drum kit usage, the smaller diameter allowing for thicker heads providing the same pitch and head tension. They are recognizable in genres of the 2010s and more traditional forms of Latin, reggae, and numerous other styles.

Gong drums are a rare extension of a drum kit. This single-headed mountable drum appears similar to a bass drum (around 20–24 inches in diameter) but is played with sticks rather than a foot-operated pedal and therefore has the same purpose as a floor tom.

Most hand drums cannot be played with drumsticks without risking damage to the head and bearing edge, which is not protected by a metal drum rim. For use in a drum kit, they may be fitted with a metal drum head and played with sticks with care, or played by hand.

Cymbals

In most drum kits and drum/percussion kits, cymbals are as prominent as the drums themselves. The oldest idiophones in music are cymbals, a version of which were used throughout the ancient Near East very early in the Bronze Age period. Cymbals are mostly associated with Turkey and Turkish craftsmanship, where Zildjian has made them since 1623.

While most drummers purchase cymbals individually, beginner cymbal packs were brought to market to provide entry-level cymbals for the novice drummer. The kits normally contain four cymbals: one ride, one crash, and a pair of hi-hats. Some contain only three cymbals, using a crash/ride instead of the separate ride and crash. The sizes closely follow those given in Common configurations below. Most drummers extend the normal configuration by adding another crash, a splash, a china cymbal or an effects cymbal.

Ride cymbal

The ride cymbal is most often used for keeping a constant rhythm pattern, every beat or more often, as the music requires. Development of this ride technique is generally credited to jazz drummer Baby Dodds.

Most drummers have a single main ride, located near their dominant hand – within easy playing reach, as it is used regularly – often a 20"–22" in diameter, but diameters of 16"–26" are not uncommon. It is usually a medium-heavy- to heavy-weight cymbal whose sound cuts through other instrumental sounds. Some drummers use a swish cymbal, sizzle cymbal, or other exotic or lighter metal rides, as the main or only ride in their kit, particularly for jazz, gospel, or ballad/folk sounds. In the 1960s, Ringo Starr of the Beatles used a sizzle cymbal as a second ride, particularly during guitar solos.

Hi-hats

Hi-hat cymbals (nicknamed "hats") consist of two cymbals mounted, one upside down, with their bottoms facing each other, on a hollow metal support cylinder with folding support legs that keep the support cylinder vertical. Like the bass drum, the hi-hat has a foot pedal. The bottom cymbal is fixed in place. The top cymbal is mounted on a thin rod, which is inserted into the hollow cymbal stand. The thin rod is connected to a foot pedal. When the foot pedal is pressed down, it causes the thin rod to move down, causing the upper cymbal to move and strike the lower. When the foot is lifted off the pedal, the upper cymbal rises, due to the pedal's spring-loaded mechanism. The hi-hats can be sounded by striking the cymbals with one or two sticks or just by closing and opening the cymbals with the foot pedal. The ability to create rhythms on the hi-hats with the foot alone expands the drummer's ability to create sounds, as the hands are freed up to play on the drums or other cymbals. Different sounds can be created by striking "open hi-hats" (without the pedal depressed, which creates a noisy sound nicknamed "sloppy hats") or a crisp "closed hi-hats" sound (with the pedal pressed down). High hats can also be struck with the pedal partially depressed.

A unique effect can be created by striking an open hi-hat (where the two cymbals are apart) and then closing the cymbals with the foot pedal. This effect is widely used in disco and funk. The hi-hat has a similar function to the ride cymbal; the two are rarely played consistently for long periods at the same time, but one or the other is often used to keep what is known as the "ride rhythm" (e.g., eighth or sixteenth notes) in a song. The hi-hats are played by the right stick of a right-handed drummer. Changing between ride and hi-hat, or between either and a "leaner" sound with neither, is often used to mark a change from one song section to another.

Crashes

Crash cymbals are usually the strongest accent markers within the kit, marking crescendos and climaxes, vocal entries, and major changes of mood, swells, and effects. A crash cymbal is often accompanied by a strong kick on the bass drum pedal, both for musical effect and to support the stroke. It provides a fuller sound and is a commonly taught technique.

In jazz, using the smallest kits and at very high volumes, ride cymbals may be played with the technique and sound of a crash cymbal. Some hi-hats will also give a useful crash, particularly thinner hats or those with a severe taper. Alternatively, specialized crash/ride and ride/crash cymbals are designed to combine both functions.

Other cymbals

Effects cymbals

All cymbals, other than rides, hi-hats, and crashes/splashes, are usually called effects cymbals when used in a drum kit, though this is a non-classical or colloquial designation that has become standardized. Most extended kits include one or more splash cymbals and at least one china cymbal. Major cymbal makers produce cymbal extension packs consisting of one splash and one china, or more rarely a second crash, a splash, and a china, to match some of their starter packs of ride, crash, and hi-hats. However, any combination of options can be found in the marketplace.

Some cymbals may be considered effects in some kits but "basic" in another set of components. Likewise, O-zone crashes have the same purpose as a standard crash cymbal, but are considered to be effects cymbals due to their rarity, and the holes cut into them, which provide a darker, more resonant attack. Many drummers use cymbal stacks which is the practice of stacking multiple cymbals, usually effects cymbals, splashes or crashes, on top of each other which creates a short, sharp sound, sometimes reminiscent of a hand clap or hi-hat.

Accent cymbals

Cymbals, of any type, used to provide an accent, rather than a regular pattern or groove, are known as accent cymbals. While any cymbal can be used to provide an accent, the term is more narrowly applied to cymbals for which the main purpose is to provide an accent. Accent cymbals include chime cymbals, small-bell domed cymbals, and those cymbals with a clear sonorous/oriental chime to them, such as specialized crash, splash, and china cymbals.

Low-volume cymbals

Low-volume cymbals are a specialty type of cymbal, made to produce about 80% less volume than a typical cymbal. The entire surface of the cymbal is perforated by holes. Drummers use low-volume cymbals to play in small venues or as a way to practice without disturbing others.

Other acoustic instruments

Other instruments that have regularly been incorporated into drum kits include:

• Wood block and cowbell, especially in classic rock and other genres.
• Tambourine, particularly mounted on the hi-hat stand above the cymbals; an ordinary tambourine can be used, or a tambourine produced specially for drum kit use.
• Timbales can be used to extend the range of tom-toms, particularly when the drummer owns them for other musical settings; a traditional timbale is tuned far higher than a tom of the same diameter, so the result is not always the most ideal.
• Keyboard percussion instruments, such as tubular bells or a glockenspiel.
• Gongs.
• Triangles.
• Found objects, including spanners, brake drums, buckets, cardboard boxes, washboards, oil barrels, and jam and kerosene tins (anything ordinary that can be struck to produce sounds, patterns, and grooves).

See also Extended kits below.

Electronic drums

Electronic drums are used for many reasons. Some drummers use electronic drums for playing in small venues, such as coffeehouses or church services, where a very low volume for the band is desired. Since fully electronic drums do not create any acoustic sound (apart from the quiet sound of the stick hitting the sensor pads), all of the drum sounds come from a keyboard amplifier or PA system; as such, the volume of electronic drums can be much lower than an acoustic kit. Some use electronic drums as practice instruments because they can be listened to with headphones, which enable a drummer to practice without disturbing others. Others use electronic drums to take advantage of the huge range of sounds that modern drum modules can produce, which range from sampled sounds of real drums, cymbals, and percussion instruments such as gongs or tubular bells that would be impractical to take to a small gig, to electronic and synthesized sounds, including non-instrument sounds such as ocean waves.

A fully electronic kit is easier to soundcheck than acoustic drums, assuming that the electronic drum module has levels that the drummer has preset in their practice room; in contrast, when an acoustic kit is sound checked, most drums and cymbals need to be mic'd and each mic needs to be tested by the drummer so its level and tone equalization can be adjusted by the sound engineer. Also, even after all the individual drum and cymbal mics are sound checked, the engineer needs to listen to the drummer play a standard groove, to check that the balance between the kit instruments is right. Finally, the engineer needs to set up the monitor mix for the drummer, which the drummer uses to hear their instruments and the instruments and vocals of the rest of the band. With a fully electronic kit, many of these steps can be eliminated.

Drummers' usage of electronic drum equipment can range from adding a single electronic pad to an entire drum kit (e.g., to have access to an instrument that might otherwise be impractical, such as a large gong), to using a mix of acoustic drums/cymbals and electronic pads, to using an acoustic kit in which the drums and cymbals have triggers, which can be used to sound electronic drums and other sounds, to having an exclusively electronic kit, which is often set up with the rubber or mesh drum pads and rubber "cymbals" in the usual drum kit locations. A fully electronic kit weighs much less and takes up less space to transport than an acoustic kit and it can be set up more quickly. One of the disadvantages of a fully electronic kit is that it may not have the same "feel" as an acoustic kit, and the drum sounds, even if they are high-quality samples, may not sound the same as acoustic drums.

Electronic drum pads are the second most widely used type of MIDI performance controllers, after electronic keyboards.^{: 319–320}  Drum controllers may be built into drum machines, they may be standalone control surfaces (e.g., rubber drum pads), or they may emulate the look and feel of acoustic percussion instruments. The pads built into drum machines are typically too small and fragile to be played with sticks, so they are usually played with fingers.^: 88  Dedicated drum pads such as the Roland Octapad or the DrumKAT are playable with hands or sticks and are often built to resemble the general form of acoustic drums. There are also percussion controllers such as the vibraphone-style MalletKAT,^: 88–91  and Don Buchla's Marimba Lumina.

MIDI triggers can also be installed into acoustic drum and percussion instruments. Pads that trigger a MIDI device can be homemade from a piezoelectric sensor and a practice pad or other piece of foam rubber, which is possible in two ways:

• Triggers are sensors that can be attached to acoustic drum kit components. In this way, an electronic drum sound will be produced when the instrument is played/struck, as well as the original acoustic sound, if so desired.
• Trigger pads can be mounted alongside other kit components. These pads make no significant acoustic sound themselves (if not modified to do otherwise), but are used purely to trigger the electronic sounds from the "drum brain". They are played with the same drum sticks as are used on other drum kit components.

In either case, an electronic control unit (sound module/"brain") with suitable sampled/modeled or synthesized drum sounds, amplification equipment (a PA system, keyboard amp, etc.), and stage monitor speakers are required to hear the electronically produced sounds. See Triggered drum kit.

A trigger pad could contain up to four independent sensors, each of them capable of sending information describing the timing and dynamic intensity of a stroke to the drum module/brain. A circular drum pad may have only one sensor for triggering, but a 2016-era cymbal-shaped rubber pad/cymbal will often contain two; one for the body and one for the bell at the center of the cymbal, and perhaps a cymbal choke trigger, to allow drummers to produce this effect.

Trigger sensors are most commonly used to replace the acoustic drum sounds, but they can also be used effectively with an acoustic kit to augment or supplement an instrument's sound for the needs of the session or show. For example, in a live performance in a difficult acoustical space, a trigger may be placed on each drum or cymbal and used to trigger a similar sound on a drum module. These sounds are then amplified through a PA system so the audience can hear them, and they can be amplified to any level without the risks of audio feedback or bleed problems associated with microphones and PAs in certain settings.

The sound of electronic drums and cymbals themselves is heard by the drummer and possibly other musicians in close proximity, but, even so, the foldback (audio monitor) system is usually fed from the electronic sounds rather than the live acoustic sounds. The drums can be heavily dampened (made to resonate less or have the sound subdued), and their tuning and quality is less critical in the latter scenario. In this way, much of the atmosphere of the live performance is retained in a large venue, but without some of the problems associated with purely microphone-amplified drums. Triggers and sensors can also be used in conjunction with conventional or built-in microphones. If some components of a kit prove more difficult to mic than others (e.g., an excessively "boomy" low tom), triggers may be used on only the more difficult instruments, balancing out a drummer's/band's sound in the mix.

Trigger pads and drums, on the other hand, when deployed in a conventional set-up, are most commonly used to produce sounds not possible with an acoustic kit, or at least not with what is available. Any sound that can be sampled/recorded can be played when the pad is struck, by assigning the recorded sounds to specific triggers. Recordings or samples of barking dogs, sirens, breaking glass, and stereo recordings of aircraft taking off and landing have all been used. Along with the more obvious electronically generated drums, there are other sounds that (depending on the device used) can also be played/triggered by electronic drums.

Virtual drums

Virtual drums are a type of audio software that simulates the sound of a drum kit using synthesized drum kit sounds or digital samples of acoustic drum sounds. Different drum software products offer a recording function, the ability to select from several acoustically distinctive drum kits (e.g., jazz, rock, metal), as well as the option to incorporate different songs into the session. Some computer software can turn any hard surface into a virtual drum kit using only one microphone.

Hardware

Hardware is the name given to the metal stands that support the drums, cymbals, and other percussion instruments. Generally, the term also includes the hi-hat pedal and clutch, and bass drum pedal or pedals, and the drum stool.

Hardware is carried along with sticks and other accessories in the traps case, and includes:

• Cymbal stands
• Hi-hat stand
• Floor tom legs
• Tom-tom drum brackets or arms
• Snare drum stand
• Bass drum pedal or pedals
• Drum key
• Assorted accessories such as spare washers, cymbal sleeves, wire snare cords, washers for tension rods, etc.

Many or even all of the stands may be replaced by a drum rack, which is particularly useful for large drum kits.

Drummers often set up their own drum hardware onstage and adjust it to their comfort level. Major bands on tour will often have a drum tech who knows how to set up the drummer's hardware and instruments in the desired location and with the desired configuration.

Common configurations

Drum kits are grouped by how many drums they have, not counting cymbals or other instruments. Snare, tom-tom, and bass drums are always counted, but other drums might or might not be.

Traditionally, drum sizes in America and the United Kingdom are given as depth times diameter, both measured in inches. Recently, many manufacturers list sizes as diameter times depth. For example, a hanging tom 12 inches wide and 8 inches deep might be listed as 8 inches × 12 inches by one company and 12 inches × 8 inches by another. The sizes below are typical, but many drums vary.

Three-piece

A three-piece kit has a bass drum, snare drum (14" wide), hi-hat (12–14"), hanging tom (12 x 8-9" deep), and a suspended cymbal (14"–18"). These were very common in the 1950s and 1960s.

It is a good size for children.

Four-piece

A four-piece kit adds a second tom, which replaces the cymbal. It is 10" wide and 8" deep for fusion music, or 13" wide and a bit deeper than the 12" tom. Sometimes, a 14" hanging tom is added instead. Both toms are usually mounted on the bass drum.

Another cymbal is often added, so there are separate ride and crash cymbals. These kits work well for small spaces like coffee shops.

Four piece with floor tom

When a floor tom is added instead of a mounted tom, it is usually 14" for jazz and 16" otherwise. The four-piece kit is popular in rock, pop, and rhythm and blues. It is also common in music schools and for new players.

Five-piece

The five-piece kit is the most common setup for many types of music, like pop, rock, jazz fusion, and electronic music. It adds a third tom to the four-piece kit, giving three toms total. This lets drummers play different sounds.

Small kits

If toms are left out, or the bass drum is replaced by a beater on a floor tom, the result is a two-piece cocktail drum kit. These are used in styles like trad jazz, bebop, rockabilly, and jump blues. Some very small kits for young players leave out the hi-hat.

Extended kits

Common additions to drum kits include:

• Effects cymbals, like splash and china cymbals
• Double bass drums or a double bass pedal
• Extra rack toms and crash cymbals
• A crash/ride cymbal in addition to the main ride cymbal
• A second floor tom
• Octobans or timbales
• A second pair of hi-hats
• Cymbal stacks
• Gongs
• Multiple ride cymbals
• An electronic sound module or sequencer

See also other acoustic instruments. Using some electronic drums in an acoustic kit is also becoming common.

Accessories

Sticks

Main article: Drum stick

Sticks are usually made from wood, like maple or hickory, but sometimes from metal or carbon fiber. They are used mainly for the snare drum and come in different weights and shapes. Some sticks have nylon tips, while others have wood tips. The numbers and letters on sticks mean different things depending on the brand. Famous drummers often have their own special sticks made just for them.

Besides drumsticks, drummers also use special brushes and other tools for softer music. Sometimes, drummers use the bottom part of the stick for a louder sound. Drummers carry their sticks in a stick bag, which they often attach to their drum set.

Muffles

Drum muffles are tools that make drums sound softer. They can be placed on the outside or inside of the drum. Common muffles include rings, gels, and even pieces of cloth or wallets. For bass drums, drummers might use pillows or soft bags inside to muffle the sound. Silencers are rubber pieces that cover the drumhead to make it quieter. Cymbals can be muted with fingers, rubber rings, or special magnetic discs.

Stick holder

There are different kinds of stick holders, like bags that attach to drums or small cases that hold a pair of sticks.

Sizzlers

A sizzler is a small metal chain that hangs across a cymbal to give it a special sound. It is a safe way to change the cymbal’s sound without making a permanent hole in it. The chain can be moved or taken off easily.

Cases

Main article: Drum case

Drum kits can be protected with different kinds of covers. Drum bags are made from strong cloth and protect drums from rain but not from hard bumps. Hard cases are like suitcases and offer more protection. Professional drummers often use special flight cases for travel.

Microphones

Microphones are used to capture the sound of drums for recordings or to make them louder on stage. Dynamic microphones are often used for drums, while condenser microphones are used for recording. Sometimes drummers use effects to change the drum sound, like adding reverb or delay.

Monitors

Drummers using electronic drums or a mix of electronic and regular drums often use a monitor speaker to hear themselves. Even drummers with regular drums might use a monitor to hear better in loud bands. Some drummers use a special vibration system to feel the bass drum beats.

Bass drum gear

Accessories for the bass drum include special patches to protect the drumhead, pillows to change the sound, and gloves to help with grip. Some drummers use old sleeping bags as a cheaper option for bass drum pillows.

Gloves

Some drummers wear gloves to help them hold the sticks better and prevent blisters.

Drum screen

Main article: Drum screen

In some places, like small venues or churches, drummers might use a clear screen around their drums to control the volume. This screen, also called a drum shield, helps the sound engineer manage the loudness better.

Carpets

Drummers often bring carpets to prevent their drums from moving during play. The carpet also helps reduce noise and protects the floor.

Practice equipment

Drummers use tools like metronomes to keep a steady beat and practice pads to play quietly. In recent years, electronic drums with headphones have become popular for quiet practice.

Tuning equipment

Main article: Drum key

Drummers use a drum key to tune their drums. There are different kinds of keys and tools, like ratchet wrenches and tension gauges. Some drummers tune by ear, while others use a digital tuner for precise tuning.

Notation and improvisation

Main articles: Percussion notation and Musical improvisation

Drum music can be written down, learned by listening, or improvised. Professional drummers often read music notation, while others improvise, especially in jazz, rock, and blues.

Recording

In the past, drums were recorded far from the microphone to avoid noise. Today, drums are often recorded separately with a click track to keep the tempo steady. This allows other instruments and vocals to be added later.

Drum manufacturers

Main article: List of drum manufacturers

Many companies make drums. Some use American sizes, like ddrum, Camco, Drum Workshop, Gretsch Drums, Ludwig Drums, Slingerland Drum Company, and Tama Drums. Others use European sizes, such as Brady Drum Company, Mapex Drums, Meinl Percussion, Pearl Drums, Premier Percussion, Rogers Drums, Sonor, and Yamaha Drums.