I would start by tuning the reso heads about a 3rd higher than the batter heads. If you want long sustain tune the reso and batter head to the same pitch. That's always worked for me at least. There are a ton of videos on youtube about it too.

Big band I’d definitely go with the same pitch top and bottom to get the toms to sing out you may also experiment with the top head only on the drum, to find the pitch where the shell is sympathetic to the head. DW does this for you now-a-days but you can do it.

In all cases be certain the head is in tune with itself. Tap lightly near the bearing edge at each lug to verify each lug us the same pitch.

I also “seat” new heads once smomewhat right by pressing in the center before going to final tension.

Thanks guys, all help is appreciated.

It sounds like I need to tune the top heads to my liking, then add the bottom heads and try to find the right tone that will compliment that sound. Sound about right?

I like the tip about seating the heads before the final adjustment, I never thought to do that, but it makes sense.

I still have a couple of shells to clean up, and I will let you know how it works out once I have the whole set tuned.

Kurt

I always have the bottom head tensioned higher than the top. In my opinion you don't tune drums, you tension them until you get a pleasant tone. The 3ply Ludwigs seem to favor a lower-medium tension, especially on the batter side.

I agree, low to medium tension is where I usually tune (or tension) the batter heads without the reso heads. I get the impression that most people tension the bottom heads higher, so that is where I will start.

Can anyone tell me the advantages or disadvantages of the reso heads?

I am definitely putting them back on this old Hollywood set, but I am curious as to why back in the day, all the cool kids just pulled the reso heads. Is it strictly volume?

I sometimes wish I had them for my early 60’s set, but having never had them on those drums, I really enjoy the sound I can get without them.

Older drums tend NOT to have the most-even bearing edges, so seating the heads is a must. Plus, you're more than likely to not find the widest tuning range with older, rounder bearing edges, so upper-range tunings always seem to sound the best (which is a totally-subjective statement, I know!) because they keep the head seated and in contact with the edge better (which is NOT a subjective statement!) ;)

My philosophy has always been to use the right tool for the job. So, if you're looking for that ultra-low-range, super-sustaining, tympani-like clarity, then you will need to use big drums, rather than trying to tune your standard-size drums to sound really good in a lower tuning range.

Rounded bearing edges came from a time when most heads were made of calfskin. They worked very well for that because they didn't tear the skin. When plastic heads came into being, the bearing edges eventually began to change and get sharper and sharper -almost to the point that you could almost tune them to a specific pitch -like tympani- and get sustain for days.

I love calfskin heads, but they are expensive and fickle....When they are dialed-in...wow! So, for all practical purposes, I use plastic heads....Remo coated Diplomats because they are thin and will conform to the imperfect contours of vintage edges -creating a tighter seal and allowing more of the shell to blend into the overall sound. I also use Ambassadors -as do most people....but I just think the Diplomats are more like the old Ludwig Weathermaster heads.

There are no disadvantages to having resonant heads. That's the way a double-headed drum is designed. If you desire a concert tom sound, then get some concert toms. The advantage is that you have more tuning options with two heads. Or should I say...*wait for it*....TWO HEADS ARE BETTER THAN ONE! :)

What we used to do back i the day by taking off the resonant heads, was to avoid the overtones and feedback that happened when playing hard rock outdoors on a flatbed trailer for a stage! Just take the bottom head off, stuff the mic up into the drum and hit 'em hard! Only those weirdo jazz guys wanted two heads! ;) heh heh

I believe taking the bottom head off was just a fad, everyone was doing it and most probably didn't even know why.

Then you had Ringo putting t-towels over his drums, removing the kick reso head and stuffing it with pillows. I'm sure the studio engineers loved this approach because it made their job easier, soon, everyone was doing it.

I only bought this set of Hollywood/Big beat drums because when I saw the photo of them on a BST site, I thought I could cannibalize the rims and tension screws to complete my older set. The drums did not look that great in the photo, but this lady was practically giving them away, so I thought “it is worth a shot”.

When I picked them up, I was pleasantly surprised to find the set little dirty, but complete and now that I have cleaned a couple of them with a little barkeepers friend, some windex, and a light coat of turtle wax, all I can say is WOW! They literally look brand new.

There is no way I could ever break this set up. Not that I could anyway, because my older set has 20” bass and 14” floor Tom, and these rims wouldn’t fit anyway. (I couldn’t tell that in the photos, and the lady selling them had no idea)

I guess my point is that the cool kid who removed my reso rims and heads way back in the late 60’s led me to this sweet set I have now. The funny thing is, I never really even noticed or thought about finding the missing rims until recently. I have only known that set as it is, and at the end of the day, I love it for what it is.

to start I tighten the head to the max until more is not possible, in this way does a bit of stretching, is more stable later and takes well the shape of the edge, then loosen it up to the tone I need

... always tightening crosswise :)