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subject: Cymbals And Live Music [print this page]

Selecting and maintaining your cymbals as discussed

in the previous sections of this guide are essential

parts of developing a professional drum sound and

attitude. Making sure that you, your band and your

audience can hear your cymbals is equally important.

Any acoustic instrument has physical

limitations and forcing it to compete

with amplified instruments on stage

puts it at an often overwhelming

disadvantage. Today more

than ever, it is up to the

drummer to ensure that

the cymbals, as well as the

drums and other percussion

effects, are properly heard.

Combining acoustic drums

and electronic technology is the

modern, practical and intelligent

approach to handle the situation.

In studio applications, a drummer will work with the

producer and sound engineer to find the right mics and

recording techniques to capture the full range of drum

and cymbal sounds. In live rehearsal and performance

situations, it is in a drummers best interests to understand

how to mic, mix and monitor his or her own

drumsetand possess the necessary equipment.

For the modern drummer, acoustic drums and

microphones go hand-in-hand. Beyond the obvious

benefit of amplifying the drums in live situations and

recording them in the studio, there are other reasons to

mic the drums.

Even in low volume conditions, drum miking can add a

higher level of comfort to your playing and presence to

your sound. Miking gives you control of your sound

letting you balance the volume of your kit separately and

with the band. Plus, with your own mics you wont be

at the mercy of a sound person who may not have the

right quality or quantity of mics to cover your set-up.

Optimum live cymbal miking is accomplished through

the use of a dedicated mic on the hi-hat and two

overheads. These mics are then mixed with the rest of

the drum mics and sent to the drummers in-ear or

external monitor speakers and the house PA system.

Use a separate mic with a tight frequency range,

sensitivity and pattern for the hi-hat (A). Position the

mic 3-4 above the open, top hi-hat cymbal at 10

oclock and pointing straight down.

To capture the sound of the other cymbals, position

two mics with a wider range, response and pick-up

pattern on boom stands over the drums and 12 to

18 above the highest cymbals (B). Place one at

10-11 oclock and the other at 1-2 oclock. For the best

overall coverage pattern, angle the mics downward at

around 45 and pointing towards the middle of the kit.

Purchasing your own mics, a mixer or monitors may

not seem high on your priority list at first but its an

investment that will pay off quickly by saving you money

on replacing sticks, heads and cymbals. More than that,

it may ultimately save your hearing and your hands while

advancing your knowledge and your career.

After your drums, your cymbals are the most important

part of your sound and most expensive part of your kit. In

addition, where the sound of your drums can be modified

by the use of different heads, tuning and muffling,

cymbals perform best in their natural state. Therefore,

keeping them in optimum condition is critical for a number

of musical, visual and financial reasons.

Cymbal Position and Playing Techniques

Two basic yet often overlooked aspects of cymbal care

are correct positioning and playing techniques. Applying

the following simple rules will protect your cymbals and

allow you to get the best sound, performance and lifespan

from them.

Keep your cymbals tilted at a slight angle so that

you are striking them on the face; not directly on

the edge (A).

Use a glancing stroke to pull the sound out

of the cymbal rather than a straight stroke into the

edge of cymbal (B).

Relax. Developing a smooth, fluid playing style

will enhance your sound while protecting your

cymbals and your hands.

Cymbal Stands

It is important to maintain the parts of your cymbal stands

that contact and support the cymbals because they also

help protect the sound and condition of the cymbals.

This includes the wingnuts, seats, felts and sleeves on

the tilter section of the cymbal stand (C) as well as the

clutch, felts and seat on the hi-hat. These parts tend to

wear out over time and should be inspected and replaced

as needed. Individual parts and repair kits are offered

by cymbal, hardware and accessory companies and

available at most drum shops and music stores.

Cymbal Bags and Cases

A top-quality, well-padded cymbal bag or hard case

(preferably with soft dividers) will protect your cymbals

during storage and transport. For local gigs, a soft bag

or light to medium-weight hard case offer protection and

practicality without breaking your back or bank account.

Major tours require the strength and protection of heavyduty

road cases. A full range of hard and soft cases

are available from a wide variety of cymbal and case

companies. Compare prices and features and choose the

one that best meets your needs.

Cymbal Cleaning

Regular cleaning will help keep your cymbals looking

and sounding like new. For light dirt, fingerprints and

tarnish, try gentle cleaning with warm, soapy water. In

more extreme instances, a specially-formulated cymbal

cleaner may be required. Several good cymbal cleaning

and polishing products are commercially available,

including Groove Juice, which is highly recommended

for TRX and other B20 cymbals. Be sure to consult the

manufacturers directions and try cleaning a small test

area before using any polish or cleaner on your cymbals.

Care

7

by: Cymbalism

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