No Bad Drum Heads

There are today a lot of companies making drum heads, ranging from the global standards -- Remo, Evans, etc. -- to boutique makers such as Earthtone and Kentville. And of course, every maker offers a variety of styles, sometimes to the point of our total bewilderment.

The good news is that there is very little chance of getting a bad drum head. Most of today's heads are manufactured to close tolerances using precision tools and machinery. So a head from a reputable company will do the job it was designed to do.

OK, quality and consistency? Check! Then things get a little weird.

That's My Brand
We look to brand names as a sort of guarantee. If I've settled on head X from company B, then when it's time to replace, a newly purchased head X will be virtually identical to the one I'm replacing. That applies across all brands and all styles, and that's why we tend to 'join' a particular brand. That said, brand loyalty shouldn't be an end in itself. I have a favourite drum head maker and a favourite model, but I use all sorts of different heads. Plus I know I can start with or go back to my standard any time and know that I will get the result I'm partial to.

All for Nought?
Say all you want about shell composition, bearing edge topology and whatnot, it's up to the drum head to translate all that technology into a sound that represents you. Good drums will be delivered with quality heads that the drum company thinks will do a good all-around job. It's a good starting point, and you may not have to look any further. But often this isn't the case. Why? 'Cuz we're all different.

More Trial and Less Error
Let's say I buy a new set but they came with heads I can't stand. No choice but to replace them with my regulars. Now, if those heads don't work either, what then? Toss 'em onto the spares pile and try something else. I'll find the right head for those drums eventually, but it might take a bit of testing, and perhaps a few purchases.

Make the Investment
If my usual heads don't work, then I'll concentrate on one drum, say the small tom. Those heads are typically under $20 these days. So for about $100, I can try four or five different heads. Once I've got the sound I'm looking for, I may then commit to a full set. Ponying up $100 or more for drum heads that I may end up tossing aside seems like an expensive way to achieve my goal. But if the kit cost two or three thousand dollars, it's a pretty cheap solution. Even if I strike out 3 or 4 or more times, I still think springing for those heads will more than pay for itself in the long run.

Lost In The Shuffle(s)

There are many different types of shuffle rhythms available, and each one was 'purpose built' for a particular style of music. Note that your basic shuffle is often written as dotted 8th & 16th notes, but it's rarely played that way. Strict adherence to 1(e&)a 2(e&)a 3(e&)a 4(e&)a tends to sound mechanical or choppy, and just not swinging. Counting 1~uh 2~uh 3~uh 4~uh leaves you free to interpret and fine tune the feel of a shuffle.

The secret to a shuffle that grooves is to micro-manage the skip beats, the 'uh'. Different moods and energy levels can be created by moving the skip beat closer to or further from the beat. In fact, the skip beat can vary all the way from practically 8th notes to 32nd notes plus everything in between. That said, the most effective shuffle patterns tend to be based on triplets.

Here we have a baker’s dozen of better-known shuffle rhythms (in alphabetical order).

2-beat - This may not seem like a shuffle as at fast tempos the ride tends to be quarter notes, so the rhythm is an 'implied shuffle'. It's sometimes easier to interpret a 2-beat as 2/2 time. E.g. “Roll Out the Barrel”.

Chicago Shuffle - Here the shuffle rhythm is maintained on the snare, accompanied by steady quarter notes on hi-ht or cymbal.

Country Shuffle - A generally triplet-based rhythm with a relaxed, almost loping quality somewhat similar to a Jazz Shuffle. Think "Happy Trails".

Double Shuffle - This shuffle is played with both hands, one on the snare and the other on hi-hat or cymbal, and it's quite energetic. Check out "How Sweet It Is To Be loved By You".

Flat Tire Shuffle - Here the down beats are played on the bass drum and the snare answers with up beats. Have a listen to "My Baby Just Cares For Me".

Half-time Shuffle - Sometimes called the Purdie shuffle or Bonham shuffle ("Fool In The Rain"), the rhythm is simpler than it sounds. The lead hand plays a double-time shuffle on the hi-hit while the snare and bass drum play a basic 8th note rock rhythm mingled with triplets.

Jazz Shuffle - A straight forward shuffle that's almost always triplet based even at faster tempos. It's also a great fit for a Country Shuffle.

Lame Duck - This calls for a samba-type rhythm on the bass drum while the snare plays a simple back beat.

Scissors Shuffle - Here the skip beat is handed over to the hi-hat foot, with quarters on the bass drum.

Slo-mo Shuffle - This is useful when the tempo is very slow and you want to suggest double time without actually going there.

Stick-shift Shuffle - This one is played more like a dotted-8th-&-16th to produce a driving, machine-like quality that suits funk and certain blues styles. "Chicken Shack" is a good example.

Texas Shuffle - The bass drum plays 1 & 3 and the snare completes the full shuffle pattern. The cymbal plays a shuffle or just quarter notes.

Train Beat Shuffle - Not really a shuffle, but it often has a shuffle inner feel. The basic pattern is based on 8th notes in cut time, with accents on 2 and 4. Can sound remarkably like a steam locomotive, as heard in "Orange Blossom Special". Sometimes the accents are placed on 1 and 3.

Want a PDF copy of the rhythms? Send me an email.