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Resonant heads...

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I know that the rule of thumb here is single-ply resonant head for toms. On my player set I have an Evans G-1 coated reso, but due to that "wangy" overtone typically caused by an unmuffled single-ply head, I have a moongel on the BOTTOM head (lightly taped). Does anyone use anything other than a single ply reso head? I am not a heavy hitter.

Posted on 8 years ago
#1
Posts: 1971 Threads: 249
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Interesting...

Not a Guru... just interested..
Posted on 8 years ago
#2
Posts: 5550 Threads: 576
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What brand and time period are your drums I love the way old school Luddy's work

April 2nd 1969 scarfed pink champagne holly wood and 65/66 downbeat snare, and , supra same year very minty kit old pies
66/67 downbeat with canister
Super 400 small round knob
1967 super classic obp





once the brass ceases to glitter, and the drum looses its luster, and the stage remains dark, all you have left is the timbre of family.
Posted on 8 years ago
#3
Posts: 1427 Threads: 66
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Where are the reso heads tuned in relation to the Batter?

If they are loose, impact of the Batter will stretch them and as they come back they make an almost pitch bend effect. I have my blue kit tuned up this way. It tends to control the overtones as well. (Pin stripes on top and clear ambassador resonant)

The black kit I have coated ambassador heads and clear ambassador on the bottom. I tune them to the same pitch and get a very "pure" tone from the toms this way. Bordering on "ringy" but very jazzy.

If the bearing edges are messed up and/or the drums are out of round that can have some interesting, and generally undesirable, side effects...

Not sure how helpful that is for you.

Cobalt Blue Yamaha Recording Custom 20b-22b-8-10-12-13-15-16f-18f
Red Ripple '70's Yamaha D-20 20b-12-14f
Piano Black Yamaha Recording Custom Be-Bop kit 18b-10-14f
Snares:
Yamaha COS SDM5; Yamaha Cobalt Blue RC 5-1/2x14; Gretsch round badge WMP; 1972 Ludwig Acrolite; 1978 Ludwig Super Sensitive; Cobalt Blue one-off Montineri; Yamaha Musashi 6.5X13 Oak; cheap 3.5X13 brass piccolo
Posted on 8 years ago
#4
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The heads on the mounted tom ( Aquarian Vintage 2 coated/ Evans G-1)are tuned to the same note, which is usually around one full turn beyond just touching. It does create that "pitch bend" you are talking about, but also an after ring on the reso, without the moongel. I have seen concert video of drums with gaffer's tape on the reso heads, so this must be an issue with other people.

Posted on 8 years ago
#5
Posts: 1427 Threads: 66
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You could try going up an octave (if you can) or a third, fifth etc. something complimentary at a higher tension.

Cobalt Blue Yamaha Recording Custom 20b-22b-8-10-12-13-15-16f-18f
Red Ripple '70's Yamaha D-20 20b-12-14f
Piano Black Yamaha Recording Custom Be-Bop kit 18b-10-14f
Snares:
Yamaha COS SDM5; Yamaha Cobalt Blue RC 5-1/2x14; Gretsch round badge WMP; 1972 Ludwig Acrolite; 1978 Ludwig Super Sensitive; Cobalt Blue one-off Montineri; Yamaha Musashi 6.5X13 Oak; cheap 3.5X13 brass piccolo
Posted on 8 years ago
#6
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At one point on my 3ply ludwig I used vintage ambassadors top and bottom and it sounded pretty good. Currently I use regular ambassadors on all my kits both sides coated. I'm a big fan of that set up right now.

Posted on 8 years ago
#7
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Using a coated head instead of a clear reso head may help tone those toms down a bit. Also you could try a black dot head on the reso side if coated isn't your bag. It will dampen the head slightly like the moongel does, but also focus it a bit more than the moongel would.

Then of course there's always the retro late 60's/70's method of taking the bottom heads off ala concert tom.......:p

Posted on 8 years ago
#8
Posts: 1427 Threads: 66
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From BuddyLudwig

At one point on my 3ply ludwig I used vintage ambassadors top and bottom and it sounded pretty good. Currently I use regular ambassadors on all my kits both sides coated. I'm a big fan of that set up right now.

I run this at up on the D-20 kit, except the bass Batter is a coated emperor. Sounds good, tunes easy up or down.

Cobalt Blue Yamaha Recording Custom 20b-22b-8-10-12-13-15-16f-18f
Red Ripple '70's Yamaha D-20 20b-12-14f
Piano Black Yamaha Recording Custom Be-Bop kit 18b-10-14f
Snares:
Yamaha COS SDM5; Yamaha Cobalt Blue RC 5-1/2x14; Gretsch round badge WMP; 1972 Ludwig Acrolite; 1978 Ludwig Super Sensitive; Cobalt Blue one-off Montineri; Yamaha Musashi 6.5X13 Oak; cheap 3.5X13 brass piccolo
Posted on 8 years ago
#9
Posts: 1427 Threads: 66
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From Ludwig-dude

Using a coated head instead of a clear reso head may help tone those toms down a bit. Also you could try a black dot head on the reso side if coated isn't your bag. It will dampen the head slightly like the moongel does, but also focus it a bit more than the moongel would. Then of course there's always the retro late 60's/70's method of taking the bottom heads off ala concert tom.......:p

That's a cool idea- the dot reso heads. I think you can get clear with a clear dot too.

Point two- been there done that! But in my defense on that kit I has a mix of concert and double head toms... And to be clear, I am not suggesting it is/was a good idea!

Cobalt Blue Yamaha Recording Custom 20b-22b-8-10-12-13-15-16f-18f
Red Ripple '70's Yamaha D-20 20b-12-14f
Piano Black Yamaha Recording Custom Be-Bop kit 18b-10-14f
Snares:
Yamaha COS SDM5; Yamaha Cobalt Blue RC 5-1/2x14; Gretsch round badge WMP; 1972 Ludwig Acrolite; 1978 Ludwig Super Sensitive; Cobalt Blue one-off Montineri; Yamaha Musashi 6.5X13 Oak; cheap 3.5X13 brass piccolo
Posted on 8 years ago
#10
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