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Answers to a lot of calfskin questions

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I have made a lot of calfskin heads in the last several years (Over 2000) and I have leaned a lot by doing that many heads so I am writing this thread in the hopes that it will help many of you on future projects. I know that a sticky there is already a sticky on tucking calfskin heads but I am hoping that this thread will cover these heads in a much broader discussion and hopefully answer a lot of the questions about care, maintanence etc. that I see pop up repeatedly in many different threads.

Tucking / cutting / soaking - When tucking heads I use maple flesh hoops and they are usually 1/4" thick or 3/8" thick. For the smaller 1/4" hoops I make sure to leave 2" of calfskin all the way around to ensure a good tuck so if you are making a 14" head you want an 18" calfskin round to start with. On the larger 3/8" flesh hoops which I use on all rope tension marching drums and bass drum heads you will want to leave 3" of calf all the way around because of the thicker hoop so if you are making a 20" head you will want a 26" calfskin round to start with.

When soaking the calfskin I soak it in cold water because warm water breaks down the skin fibers much faster than cold water and you can potentially risk damaging the head if you soak it for too long in warm water. I soak heads for different amount of times but it generally depends on the thickness of the skin. For my heads I use three different thicknesses that are custom shaved for my company. 9 mil. thickness for bass drum and other large drums, 6 mil. for standard batter heads and some tympani heads. and 3 mil. for resonant and snare side heads and some tympani. I try not to go over a 10 mil. max thickness because some thicker (medium weight skins) can be as thick as 14 mil. and even when wet these skins become very tough to tuck cleanly. You can expect to soak the thicker heads for 10 - 15 minutes at least and sometimes as little as 5 minutes for thinner 3 mil. heads but the best way to do it is to go by feel. Each head is different so two large 9 mil. 26" rounds may take different amounts of time before they are ready to cut and tuck.

I find that it is much easier and you run far less risk of damaging your skins if you soak and then cut. Once you soak the skin is easier to cut cleanly with a sharp Exacto knife if there is a need to trim down. A tucking spoon or other homemade tool can be used to tuck the skins around your flesh hoop and some people even just use their fingers. You will not need any glue because there is natural glue created when the skin dries around the wood hoop and will prevent the skin from slipping off for years to come.

Mounting - Once the head is tucked successfully onto the flesh hoop you can put it right on the drum and tighten the rims down just enough to form a slight collar on the drum. If it is a nice sunny and warm summer day (85 degrees or more) you can sit the drum with the head on it out in the sun and it will be dry and ready to play in a few hours. Damp or humid weather will cause the head to dry slower.

Playing and care - Many people think that calf skin heads are fragile and made only for low volume jazz or blues and need to played with a great deal of care. This is about as far from the truth as you can get. Yes, there are some things you have to be mindful of when using calf skin and they wouldn't be my choice for a metal gig, they will put up to a bit of a beating. Keep in mind that many fife and drum corps still play on calf skin heads today and are playing with stick that are 17"+ in length and up to 1" in diameter depending on the stick and weighing 100+ grams a piece in some cases. These drums are played up to 100 times a year between performances and practices and these heads will last for many years if cared for properly. If you are playing your calf skin heads on a regular basis then you will want to use a little bit of Shae butter or a NATURAL leather conditioner on your finger tips every 6 months and rub it gently into your heads. This will help to keep the natural oils in the heads which is important because without these natural oils the heads will become dry and brittle and will loose their warmth and bounce. Vintage heads look nice on vintage drums but they are basically brittle paper and won't feel or sound anything like a new head because they haven't been maintained and cared for. Remember, calfskin, like modern heads, were never meant to be played on for 50 years or more. Change them out once in a while.

This is the first of several posts I will put up in this thread dealing with different aspects of calf skin heads. If there are any specific questions you have that aren't answered by any of my posts or there is something specific you would like to see discussed please post it here and I will do my best to answer all questions.

Posted on 9 years ago
#1
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Thank you! Something like this has been needed for awhile.

John

Too many great drums to list here!

http://www.walbergandauge.com/VintageVenue.htm
Posted on 9 years ago
#2
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Yes, thank you. That's very nice of you to take the time to share your many years of experience. You are such a valuable asset to this forum.


Thank you!
Jeff C

"Enjoy every sandwich" Warren Zevon
Posted on 9 years ago
#3
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I will post on topics as they strike me so some of these things might seem out of order in the grand scheme of things but sometimes that is just how my mind works.

Picking a head.

If you are lucky enough to be able to pick out your calfskin heads in person there are a few things to consider and look for. Not all calfskin heads are created equal.

The four places that the most calfskin are coming out of for use in heads are Germany, Ireland, The United States in Pakistan. I am not getting my skins from any of these locations and currently am the only person in the United States using skins from my source. (You can ask but I'm not telling.) Irish and German calfskin tend to be a bit more expensive then all the other sources and a 16" head can run $165 or more. American sourced skins are a little less expensive but will tend to be more expensive than anything coming out of Pakistan.

I have played heads made from skins from all of these locations and have had mixed results with most. skins out of Pakistan get a bad rap because they are notoriously inconsistent from in many areas. I have seen some heads that vary greatly in thickness from one side of the head to the other but in fairness, I have also seen skins from the United States and Germany that had similar problems. So this leads us to what to look for.

New Heads

1. Hold the head in your hands and feel it. You want to find a head that feels consistent in thickness all around the head. An uneven thickness in the head can affect the way the head plays and the way it pulls and stretches over time.

2. Is the head too dry? The skin should feel pliable and move nicely in your hand and still have natural oils in it. The head won't feel oily per say but should not feel overly dry.

3. Imperfections hold the head up to the light and check for small imperfections such as pin holes or cracking. On many heads vein lines are visible so you should check those with your eyes and your hands. If the vein lines feels noticeably thinner than the rest of your head then there is a chance that the head will split prematurely along those lines.

4. The tuck. Check the inside of the head for a nice clean, smooth tuck. This will ensure a good fit on your drum and that the head doesn't come untucked while playing.

Used Heads

Follow steps 1 & 3 above.

For vintage and used heads, in most cases the heads haven't been maintained so they are going to be dry. You do want to look for any signs of discoloration such as dark brown spots because these spots could be signs of moisture that got to the skin or the skin starting to deteriorate. If the head has any spotting on it at all then you don't want to get it wet at all because the head could deteriorate very quickly, and by quickly I mean minutes, not months.

Due to their dried nature and the lack of warmth and bounce that a new head will produce I only use old and / or repaired heads on drums that are going to be show pieces or museum pieces and won't be played.

Head type

A lot of suppliers will have basic calfskin heads or slunk heads and that is where the selection ends. Slunk heads are made from the skin of unborn calf and are generally expensive because they are hard to come by. I make heads that are cut to varying thicknesses to give you the right weight for different drums and a bit of a choice. 9 mil thickness for bass drum, 6 mil for batter heads and 2-3 mil for resonant and snare side heads. The 2-3 mil thickness are the same thickness as a REMO hazy snare side head so they mimic a slunk head nicely.

Next I will discuss shipping and mounting and then painting and removing paint.

Posted on 9 years ago
#4
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During the colder months of the year there is a good chance that new heads can crack from extreme cold so I try to avoid shipping any new heads when it gets below 30 degrees. When you receive a new skin head of any type during extremely cold weather it is very important to make sure that you give that head plenty of time to acclimate to normal (room) temperature before attempting to mount it to any drum and play it or you run a high risk of the head splitting.

Extreme heat and extreme cold have an effect on how your heads will play but it is the humidity levels that will have the greatest effect on your heads. Extreme cold and dry air or extreme heat and dry air will cause your heads to tighten up and they can "potato chip" if they aren't mounted to a drum. This can happen a lot in shipping at different times of the year or depending on where they are being shipped to. In either case, once the head has reached room temperature you can spray it with water from a water bottle. Depending on the size of the head you are spraying it can take from 5 to 15 minutes for the head to relax enough to mount on a drum. Once the head is mounted on a drum you want to be sure to get the head tightened evenly to avoid pulling lopsided over time.

As an added precaution when mounting on a wood shell drum I will check all of the bearing edges for small burs, slivers or rough spots and will use a fine grit sand paper to smooth out these spots to prevent anything from puncturing and tearing through the head.

When not playing your drum with calf skin on it for a lengthy period it is best to de-tune the heads and remove any tension. If the heads are left too tight on the drum and it is stored someplace hot and dry it is possible for the head to stretch and break over time.

Posted on 9 years ago
#5
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In my shop we paint heads and there are a few others locally that paint heads as well. The type of paint is usually determined by the job and each paint type used has advantages and disadvantages.

For logos and single color lettering for calfskin heads on marching drums I generally use acrylic paints which I have found hold up decent in different weather.

This is an example of the logos I paint on front side heads.

[IMG]http://i1341.photobucket.com/albums/o750/Connecticut_Pro-Percussion/LogoHead_zps783a03a6.jpg[/IMG]

The biggest problem with using acrylic paint is the speed with which it dries. Usually by the third stroke of the bush the first stroke is completely dry to the touch.

For scenic front side heads

[IMG]http://i1341.photobucket.com/albums/o750/Connecticut_Pro-Percussion/CroppedLuzern_zps61301994.jpg[/IMG][/URL

My artist uses oil paints. Back in the 30s and 40s oil paints were the paint of choice for the big drum companies (ludwig, Leedy, Slingerland) and were painted using a stipple technique in order to prevent heavy cracking over time. The big drawback to using oils is the amount of time they take to dry. Oil paints can take up to 3 weeks to dry properly depending on the the weather but will hold up well given normal indoor use. I wouldn't take a head painted with oils out to play a lot of outdoor festivals and expose to a lot of weather. I would recommend oil paints for heads that will only be played indoors.

Another artist friend of mine named Virginia also does a few heads for local fife and drum corps etc. and she uses poster paints on the heads that she works on and has found that they dry much faster than oils but not anywhere near the quickness of acrylics and will hold up well in outdoor weather as well.

This is one of her heads

[URL=http://s1341.photobucket.com/user/Connecticut_Pro-Percussion/media/GrandRepublic_zps710c4c47.jpg.html][IMG]http://i1341.photobucket.com/albums/o750/Connecticut_Pro-Percussion/GrandRepublic_zps710c4c47.jpg[/IMG]

and some of her other work

[IMG]http://i1341.photobucket.com/albums/o750/Connecticut_Pro-Percussion/Virginia3_zpsa1d8b0e9.jpg[/IMG]

[IMG]http://i1341.photobucket.com/albums/o750/Connecticut_Pro-Percussion/Viginia2_zpse9c7c07a.jpg[/IMG]

Posted on 9 years ago
#6
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I supplied some calf skin scraps to Virginia and she conducted a test of different chemicals to remove different paints from the heads when painting. Calfskin heads can be notoriously hard to work with when painting because they are very unforgiving and soak in paint quickly and smear when trying to make the slightest correction to a mistake. The following pictures and notes from her test are reprinted here with her permission and will also soon be available on my own site.

"Luckily no big boo-boos have happened yet. But if a spillage or splash accident should ever happen while I'm painting lettering on bass drum heads, I wanted to test three different water-based paints I've used and see how well they are removed by different solvents/cleaners/methods. Thank you Matt Alling for providing me with some scrap pieces to conduct this little experiment.

From left to right, I tested Winsor Newton Brush Cleaner, rubbing alcohol, Goo Gone, nail polish remover, bleach, Testor's enamel thinner (not that I expected that to work, since that's for oil-based enamels), Oxi Clean spray, and not seen in photo, water and then sand paper. I used a cheap stipple brush - which got pretty short by the time this testing was done. But friction from that stiff brush seemed to be important, I don't think much paint would've been removed with a soft brush.

[IMG]http://i1341.photobucket.com/albums/o750/Connecticut_Pro-Percussion/CalfampPaint5_zps24b78ef3.jpg[/IMG]

I applied Holbein Acryla Colored Gesso (blue), Liquitex acrylic paint (green) and Ronan Aquacote sign paint (black) to a piece of calf skin. I use colored gesso on drum shells, but I don't use it on bass drum heads. I no longer use acrylic but I've switched to sign paint - designed to be flexible on vinyl banners. It seems to hold up very well to the different cleaning solutions.

[IMG]http://i1341.photobucket.com/albums/o750/Connecticut_Pro-Percussion/CalfampPaint6_zps507d6342.jpg[/IMG]

Goo Gone really likes to bleed and spread and doesn't really evaporate too quickly - nor does the Winsor Newton brush cleaner. I was concerned about the bleed to the back side of the calf skin - was this going to keep a damp feel and affect the sound of the drum head?

[IMG]http://i1341.photobucket.com/albums/o750/Connecticut_Pro-Percussion/CalfampPaint7_zps41fe94de.jpg[/IMG]

So then I cut three separate pieces of calf skin so that there was no chance for the ineffective Goo Gone to bleed into its neighbors. And all by itself, it seems that the Winsor Newton brush cleaner seems the most effective. Not perfect, but it was the liquid that removed the most paint."

[IMG]http://i1341.photobucket.com/albums/o750/Connecticut_Pro-Percussion/CalfampPaint4_zpsb4797e2a.jpg[/IMG]

Posted on 9 years ago
#7
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"While rubbing alcohol has been great at removing paint accidents off of drum shells, it didn't seem as effective on calf skin. I wondered if it pushed some paint deeper into the pores.

[IMG]http://i1341.photobucket.com/albums/o750/Connecticut_Pro-Percussion/CalfampPaint2_zps6d6e9081.jpg[/IMG]

Bleach was OK...again, I think it was the action of stiff bristles that helped.

[IMG]http://i1341.photobucket.com/albums/o750/Connecticut_Pro-Percussion/CalfampPaint3_zpsf69f05a6.jpg[/IMG]

In the very first test (with three different paints), I tried sand paper. I was concerned about the integrity of the calf skin. The sand paper definitely smoothed the surface, however, the calf skin didn't look any thinner when I held it up to a light. Here, I LIGHTLY sanded FIRST, then I tried the bleach and alcohol, which were not effective after the sanding, but the Winsor Newton brush cleaner removed the rest of the paint - which used to be within my oval."

[IMG]http://i1341.photobucket.com/albums/o750/Connecticut_Pro-Percussion/CalfampPaint1_zps5ea4d0a8.jpg[/IMG]

While she is not a member on this forum, I still want to publicly thank Virginia for allowing me to post this here in addition to the other information that I have posted. I hope that others find it helpful as well.

Posted on 9 years ago
#8
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fantastic info!

How about tensions, tension like a modern head for play then detension for storage?

The batter head on my ancient Duplex go limp (lol) after playing the slightest bit. I recollered them during the restoration.

Posted on 9 years ago
#9
Posts: 5356 Threads: 87
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Great info Matt thanks. Cool to see all the testing. Hey if you need any other chemicals to try let me know. I can give you some of that water miscible wash I use at work. It can be used with or deluted with different % of water. It's what I used on the painted wrap test. I have some real strong stuff also. But might be a bit much for calf. Your welcome to try some though. Each can be bought from local paper company (most sell supplies) or there's a graphic art supply place in Milford too. Quarts, gallons and 5 gal drums.

BTW been meaning to ask you....... can you do the older style Rogers bass logo?

Thanks!

Glenn.

Not a guru just havin fun with some old dusty drums.
Posted on 9 years ago
#10
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