Excessive hi-hat penetration into the overheads and snare mic is one of the most common issues with acoustic drumming. It occurs especially when recording traditionally, with standard mic setups, and can compromise mix definition, cymbal spatiality, and snare clarity, especially in genres where microdynamics are important.

To address the problem effectively and professionally, it is necessary to carefully distinguish the two phases in which it manifests itself and can be corrected: the registration phase and the mixing phaseIn each phase there are specific strategies and margins of action, which must be carefully evaluated, based on the musical context, the drummer, and the desired sound result.

How to limit hi-hat penetration when recording

The importance of timbral and dynamic balance

The first factor that determines the invasiveness of the hi-hat in the other drum tracks is the real dynamic balance between the set componentsIn many cases, the hi-hat is too loud compared to the main cymbals and snare, simply because of the drummer's touch: a hi-hat with very loud or hard-hit cymbals, or a ride and crash that are too light and played too softly, can create a disproportion that microphones faithfully capture, leading to an unbalanced mix right from the start.

Even the timbral characteristics of the cymbals play a role: a bright, defined hi-hat rich in medium-high harmonics can easily saturate the OH image, especially if the main cymbals are dark, soft or not very projective.

For this reason, the care in choosing the set and the drummer awareness with respect to this type of imbalance they represent the first real prevention tool: an attentive musician, capable of objectively evaluating the internal dynamics of one's playing, significantly reduces the need for corrective interventions during the mix phase.

To refine this awareness, it is useful for the drummer listen to recordings of your set using only the overhead track, without any other microphones obscuring the actual balance. This simple exercise can clearly reveal if your playing tends to overemphasize the hi-hat to the detriment of the main cymbals, offering a concrete reference for correction and improving dynamic control of your performance.

Overhead placement: distance and angle

A second fundamental lever is the positioning of overhead microphones. One of the main reasons why the hi-hat sounds too present in the recording is that the overheads, while intended to capture the overall image of the kit, are often found closer to the Charleston than the main dishes, or are oriented in such a way as to emphasize their presence, especially in the left area of the kit.

When you notice, during the recording, a timbre imbalance in favor of the hi-hat, a more effective strategy than moving the microphones away is tobring them closer to the main dishes (ride, crash, splash), so as to increase their relative level with respect to the hi-hat and compensate for the perceived imbalance. This approach allows for rebalance the stereo field during recording, without having to rely on corrections at the mix stage.

There are no hard and fast rules, but it's good practice. constantly monitor the tonal balance in the headphones, preferably in mono, to ensure the kit's image is consistent, balanced, and representative. Even small adjustments in distance or angle can make a significant difference.

Microphone placement and shielding on the snare drum

An effective solution to reduce hi-hat penetration into the snare drum microphone is to physically move the top microphone in a position less exposed to the hi-hat source. Even if the microphone is correctly pointed towards the snare drum head, its placement too close to the hi-hat — even laterally — results in excessive pickup, especially considering the impulsive, high-frequency nature of the hi-hat.

It is therefore preferable that the upper microphone is positioned coming from under the tom mounted in front of the snare drum, with a slight inclination — about 10° — towards the center of the kitIn this configuration, the capsule maintains excellent exposure to the snare sound, but is located off-axis with respect to the hi-hat, resulting in a significant reduction in bleed.

Additionally, where space and setup allow, it is advisable install a physical absorbent barrier between the snare drum's top mic and the hi-hat. Considering the predominantly high range of the hi-hat, even a shield made with not particularly large fibrous material can be surprisingly effective, significantly helping to reduce the direct propagation of high frequencies towards the capsule. Even a simple shield, well-positioned and made of suitable materials, can attenuate the direct component of the hi-hat without significantly altering the snare's timbre. This is particularly useful in contexts where the hi-hat is played forcefully or has a particularly sharp tone.

Similarly, the lower microphone, intended for the pickup of the tailpiece, can benefit from a thoughtful positioning. The optimal configuration requires that it be oriented from the bottom to the resonant skin, with a slight inclination towards the drummer's head, so as to avoid excessive hi-hat pickup. Again, a targeted physical shielding can help further improve insulation.

In both situations, the goal is not to suppress the presence of the hi-hat—which remains a natural and extremely important component in the balance of the kit—but to contain its impact on the microphones, which must faithfully represent the snare drum, preserving the definition, dynamics, and clarity of the overall sound.

How to reduce hi-hat penetration when mixing

When the problem is already present in the recorded tracks, the solution must be addressed during the mixing stage, using effective techniques that respect the musical balance. In this context, not all commonly recommended strategies are adequate or professional. Below, we analyze the solutions that are actually applicable and those to avoid.

Sidechain compression on overheads

A very effective technique is to apply a targeted sidechain compression on the stereo overhead track.

This configuration allows you to lower the overhead level by a few dB only when the hi-hat becomes too dominant, without affecting the overall spaciousness or the natural brilliance of the dishes.

The ideal setup for sidechain compression on overheads requires careful parameter calibration, which goes well beyond generic settings.

The principle is to insert a compressor with sidechain on the trail of the overhead, configured to receive the activation signal from the track of thehi-hatTo do this, you set a prefader send from hi-hat track to the compressor's sidechain input. This way, whenever the hi-hat is played hard, the compressor attenuates the overhead track, limiting its invasiveness without permanently altering the balance of the kit.

Contrary to the most widespread approach, which suggests moderate, prudent but often ineffective compression ratios, In my experience I have found that it is often more effective to use very high ratios (10:1, for example), but combined with a precisely calibrated threshold, in order to obtain a significant but limited compression, with a average gain reduction around 3 dB, which can rise to 5 or 6 dB only in passages where the hi-hat becomes particularly prominent.

In this scenario, a good starting point can be represented by:

• attack time of about 2 ms, to preserve the naturalness of the cymbal transient

• release of about 20 ms, for a quick but not too abrupt recovery.

However, these values must be considered indicative and adaptable:

• if unnatural artifacts appear, it will be appropriate raise the threshold (threshold) to reduce the compression effect,

• or extend the release time, if you experience any “pumping” effects on the response of the cymbals.

Careful listening to the entire track is essential to identify any anomalies and adjust the intervention consistently. When the compressor's dynamic behavior is not manageable consistently across the entire track—forcing such conservative adjustments that the treatment is ineffective—it may be more effective to adopt a strong adjustment as a general basis, then intervening via automation to modify threshold and release only at critical points. This approach allows you to preserve the positive impact of sidechain compression while avoiding side effects in passages that produce artifacts.

Gate or expander on the snare microphone

To reduce the presence of the hi-hat in the snare drum microphone, the most used technique is the use of a expander, which allows for a more gradual and musical control of dynamics than the more drastic Gate. This tool allows you to attenuate the signal in passages where the snare drum is not played, thus limiting hi-hat bleed.

However, in many musical contexts — particularly when the snare drum features ghost notes structural — the use of a gate or an expander can become problematic: an excessive regulation risks in fact suppress the most important dynamic nuances, compromising the groove and rhythmic flow of the performance.

In these cases, rather than acting exclusively on the intervention threshold, it is It is advisable to drastically limit the expander's reduction range, for example by setting a Maximum gain reduction of 3 or 4 dBThis allows you to:

• attenuate the hi-hat bleed by about 3 or 4 dB in the places where the snare drum doesn't play,

• reduce the ghost notes level only slightly, which nevertheless remain perceptible and functional to the rhythmic design.

Additionally — if you prefer to maintain a high range, you can use the snare track duplication, proceeding with a parallel expansion, then:

• applying the dynamic treatment only on the copy, in this case with an even much higher range

• keeping the original track intact,

• e mixing the two versions in appropriate proportion, if necessary automating the balance between the two to adapt to the different moments of the song.

If you use a expansion plugin with dry/wet control, the same principle can be applied in parallel within the module itself, precisely adjusting the mix between the treated and original signal. This allows not only to gradually calibrate the intensity of the intervention, but also to automate the percentage in the most critical passages of the piece. This way, an action is obtained targeted, reversible and musically transparent, which preserves the expressiveness of the snare drum while improving its intelligibility and relationship with the rest of the kit.

Furthermore, operating in parallel within the same plugin allows you to avoid possible phase shift problems between two separate tracks, which could generate comb filters and significant alterations to the tonal character of the sound.

Controlled use of the transient shaper

A technique sometimes proposed is to use a transient shaper to enhance the snare's attack. In theory, this can improve the relationship between the snare and hi-hat, making the snare strike stand out more.

However, this approach should be used with extreme caution, for two reasons:

1. By increasing the attack, you risk also enhance the impulsive components of the hi-hat, especially when it is played open and in sync with the snare drum.

2. Can distort the ghost notes, altering its internal dynamic balance.

3. In any case, it produces an exasperation of the snare attack, which could be not functional to the sound of the piece.

It should therefore be considered as a secondary technique, to be applied only after critical listening, and only if it does not compromise the overall result.

Duplication and parallel processing

A very valid strategy, but only as a convenient addition to the method, is the track duplication (for both overhead and snare) and the application of corrective treatments only on one of the two versions, to then be mixed with the original.

This solution does not introduce any destructive processing and allows you to precisely calibrate the intensity of the treatment, while maintaining the musical integrity of the source. Here too, the use of plugins already set up for parallel processing through dry/wet balancing allows for quicker and more convenient use, completely eliminating the risk of creating phase shifts between the two parallel signals.

Techniques to avoid (or use only in addition)

Some approaches, although widespread, may be ineffective or counterproductive in professional contexts:

• Dynamic EQ or, worse, static EQ: it acts too broadly, with the risk of affecting the sound of the cymbals.

• Spectral shaping plugins (Soothe2, Unfilter, etc.): they are generally not designed for percussive bleed and risk affecting rhythmic articulation.

These techniques can find application in very specific contexts or as marginal retouches, but they do not constitute a serious and systemic solution to the problem. In particular, they can be used in small doses as tools of strengthening or refinement of the main techniques previously described — never as effective substitutes.

Furthermore, the use of equalizers to reduce the presence of the hi-hat you should always favor the use of Dynamic EQs, which intervene only when necessary, without permanently altering the signal spectrum. The use of static EQs, in fact, carries a high risk of significantly change the timbre of the cymbals in overheads or that of the snare drum in close-mic recordings, introducing tonal imbalances and losses of naturalness.

When used with precision and awareness, these tools can further optimize the results obtained with the main techniques, but only on condition that the intervention remains subtle, targeted and reversible, always subordinate to critical listening of the sound material.

Conclusion

Managing hi-hat penetration is a complex but solvable problem if approached with a structured, thoughtful, and respectful approach to the musical performance. A well-balanced recording and careful mixing can restore clarity, definition, and dynamics even in the most challenging situations.

Correctly limiting the penetration of the hi-hat into the overheads and close mics of the snare, achieved both through preventative interventions during the recording phase and through targeted refinement during the mixing phase, allows you not only to improve the overall balance of the kit, but also to regain control over the sound of the hi-hat itself.

Without adequate bleed control, you're often forced to turn the hi-hat track's volume all the way down to zero to avoid interference and masking. With well-managed bleed, however, you can keep the hi-hat track active and use it to precisely adjust its volume and timbre, improving the kit's articulation and overall intelligibility.

In many cases, it will be beneficial to significantly attenuate the mid-high and high range of the hi-hat track, also drastically cutting the most intrusive frequencies, and possibly emphasize the mid-low area (typically around 200-300 Hz), to restore body and robustness to the sound, making it more integrated into the mix and less sharp.

As always, technique is no substitute for listening: each intervention must be evaluated within the specific context of the song, the style, and the rhythmic role of the snare drum. The ultimate goal remains to serve the music, not the other way around.

Introduction

The kick drum is one of the most critical elements of a mix, especially in genres such as pop, rock and funk. It is the beating heart of the groove, the connection point between the drums and the rest of the instrumentation. A good kick drum sound can transform a mix, giving it solidity, depth and impact. Conversely, a weak or muddled kick drum sound can make the mix ineffective, lacking cohesion and power.

The main challenge in bass drum mixing is to balance the low frequencies without losing definition and punch. While the snare drum plays a more prominent role in the upper part of the sound spectrum, the kick drum operates in a much more critical band, which can easily conflict with the bass and generate intelligibility and saturation problems. Mixing it requires meticulous attention to sound selection, miking, equalisation and dynamic handling.

Timbral and Impact Differences between Genres

The sound of the bass drum varies greatly depending on the musical genre. In pop, the bass drum tends to be controlled, defined and present, with a strong emphasis on attack and extreme cleanliness in the low frequencies. In rockInstead, a powerful and robust kick drum is preferred, with a combination of punchy attack and full body to stand out among distorted guitars and energetic vocals. In funkthe focus is on clarity and dynamic response: the kick drum sound must be punchy and agile, but not invasive, often working in close synergy with the bass in intricate rhythmic patterns.

These differences in timbre directly influence the mixing techniques to be adopted. A one-size-fits-all approach is not possible: it is essential to adapt each stage of the speaker's treatment to the specific musical context, balancing power, definition and dynamics.

Common Problems in the Cashier's Mix

The mixing of the box presents a number of critical issues that need to be precisely addressed:

• Weak and incisive soundA kick drum that lacks attack and presence in the mix can be neglected and irrelevant to the groove of the song.
• Low frequencies out of controlExcessive energy in the low frequencies can lead to a muddy mix lacking definition.
• Masking with bassThe bass drum and bass guitar occupy similar frequency ranges and, if not properly balanced, can overlap, making the mix muddy.
• Lack of cohesion with the rest of the batteryA kick drum sound that does not integrate well with the snare drum and other drum elements can break the unity of the groove.
• Phase problemsPoor phase management between the bass drum microphones or between the bass drum and the bass guitar can lead to frequency cancellations and loss of impact.

Objective of the Article

The aim of this article is to provide concrete and professional strategies for achieving a kick drum sound that is powerful, defined and perfectly integrated into the mix. Albeit quickly, we will analyse every step of the process, from bass drum selection and miking to equalisation, compression and low frequency management. In addition, we will explore advanced techniques to ensure optimal interaction between kick drum and bass guitar, avoiding overlap problems and improving the overall clarity of the mix. By following this detailed guide, you can achieve a kick drum that stands out in the mix without overpowering the other instruments, giving your production a professional, balanced sound. Get ready to dive into the world of mixing a kick drum and discover all the secrets to making it sound great!

Drum selection

A well chosen and correctly recorded loudspeaker constitutes the basis for an effective mix. Every aspect of its construction directly influences timbre and sound response.

Drum Materials

The material of the drum determines a large part of the sound character of the case.

• MapleIt offers a balanced sound with good attack and warm resonance.
• BirchMore brilliant and focused, emphasising high frequencies and punch.
• Mahogany: Produces deep bass and a full-bodied sound, ideal for genres that require more warmth and presence in the low frequencies.

Dimensions

The size of the drum affects depth and tone:

• DiameterA larger diameter generates a deeper, more enveloping sound, while a smaller one offers greater definition and quicker response.
• DepthA deeper box increases the presence of low frequencies and resonance, while a shallower one is more controlled and incisive.

Types of Skins

The choice of skins directly affects the sound quality and the way the bass drum interacts with the mix:

• Beating leather: It is the upper/front skin that receives the blow of the drumstick or pedal. Single-layer versions are more open and resonant, while double-layer versions control frequencies and are more compact.
• Resonant Skin: It is the bottom/back skin that contributes to the depth and sustain of the drum. A thinner skin allows for more vibration and a more open sound, while a thicker skin dampens resonance.

Tuning and Damping

Careful tuning and correct damping results in a well-balanced case free of unwanted resonances.

Skin Tensioning

The tensioning of the skins must be adapted according to the musical genre:

• High voltage: More attack and less sustain, ideal for genres such as funk or pop.
• Average voltageA balance between definition and body, suitable for rock and fusion.
• Low voltage: Deeper and more resonant sound, often used in R&B or heavier rock.

Damping

The use of dampers helps to control vibrations and focus the sound:

• Interior: Cushions or similar, applied to the inside of the drum to absorb resonances and achieve a drier, more defined sound.
• ExteriorsAdhesive gels or felt rings applied to the skins to reduce unwanted overtones.

Microphone Techniques

Microphoning is a crucial step in correctly capturing the sound of the speaker, ensuring definition and frequency balance.

Internal Microphone

• Positioned inside the box, aimed at the beating skin, it picks up the attack and high frequencies.
• A dynamic microphone is the most common option (e.g. Shure Beta 91A, AKG D112), due to its ability to withstand high sound pressures.

External Microphone

• Positioned in front of the drum hole or even a little off-set: it picks up the body and resonance of the drum.
• Moving it closer gives more presence, while moving it further away captures a more ambient sound.

Using the 'Subkick' Microphone

• A specific microphone for low frequencies (such as Yamaha Subkick) is placed externally to capture a deep and rich bass extension.
• It helps to restore greater roundness and presence in sub frequencies; but it can easily be replaced by some tricks aimed at creating an artificial harmonic that lowers the fundamental note by an octave, to be mixed with the original sound.

Positioning and Angle

• Aim the inner microphone at the knocker to achieve greater definition and attack.
• Adjusting the tilt to find the right balance between attack and body.
• Experimenting with the distance of the external microphone to adjust the amount of ambience and depth.

With careful bass drum selection, precise tuning and well thought-out miking, it is possible to achieve a solid recording that will facilitate the subsequent mixing work. The next step will be sound processing through equalisation, compression and other techniques to fit it perfectly into the mix.

Processing the Case in the Mix

Optimising the sound of the bass drum through processing is fundamental to achieving a powerful, defined and balanced mix. Techniques such as equalisation, compression and saturation allow the desired characteristics to be enhanced and low frequencies to be better managed.

Bass drum equalisation

The equalisation of the bass drum is crucial to define its character in the mix, avoiding conflicts with other instruments and improving its presence.

Noise removal and filtering

• The application of a high-pass filter (HPF) above 30-40 Hz helps eliminate unnecessary sub-bass frequencies, preventing energy build-up that can compromise the clarity of the mix.

Boosting the fundamental frequency

• The body of the case is typically located between 50 and 100 Hz. A controlled boost in this area provides depth and impact without creating excessive resonance.

Definition of the attack

• To improve the definition of the attack, a slight boost between 2 and 5 kHz increases the perception of the bass drum, making it more present and distinguishable in the mix.

Removal of unwanted resonances

• Frequencies between 200 and 400 Hz can introduce a 'muddy' and ill-defined sound, which some call 'cardboard'. A targeted cut helps to clean up the mix without sacrificing the body of the box.

Kick Compression

The use of compression on the bass drum serves to control its dynamics and maintain a constant presence in the mix.

Compressor selection

Depending on the type of sound desired, different types of compressors can be used:

• VCA (Voltage Controlled Amplifier)It offers precise control and fast response, ideal for a punchy kick drum.
• FET (Field Effect Transistor)Known for its aggressive character, it adds colour and punch to the case.
• Opticiansofter and more musical, suitable for more natural and organic mixes.

Optimal settings

• Medium-fast attackquick enough to control transients without crushing the attack.
• Release regulated on natural decayAvoid too fast a release that might introduce undesirable pumping effects, except for special effects or in certain hip-hop and similar genres

Transparent vs. aggressive compression

• Transparent compressionmaintains a natural sound with minimal reduction in dynamic range.
• Aggressive compressionemphasises the punch of the kick drum, useful in rock and funk genres.

Saturation and Distortion

Adding harmonics with saturation and distortion helps to give character to the box, enhancing its presence in the mix.

Addition of harmonics

• The use of analogue saturators or plug-ins helps to make the case warmer and more full-bodied.
• A slight drive can improve the perception of sound without excessively distorting it.

Using parallel distortion

• Applying distortion on a parallel bus allows the treated sound to be mixed with the clean signal.
• This technique adds character without losing definition.

Careful application of these techniques ensures a powerful kick drum sound that is present and integrated into the mix. With the right balance of equalisation, compression and saturation, you can achieve a bass drum that sounds great and professional, regardless of the musical genre.

Advanced Mixing Techniques

Advanced mixing techniques are essential tools for improving the character and impact of the kick drum in the mix. Through methods such as parallel compression, the use of reverb and layering with samples, a more powerful, detailed and well-integrated sound can be achieved.

Parallel Compression

Parallel compression is an effective technique for adding impact and texture to the box without sacrificing natural dynamics.

Creation of a dedicated bus:

• Create an aux/bus on which to send a copy of the speaker signal.
• Apply aggressive compression with a high ratio (8:1 or higher) and a fast attack to control transients.
• Adjust the release so that it follows the natural decay of the case.

Mixing with the original signal:

• The compressed bus is fed back into the mix and dosed with the original signal.
• This technique maintains the natural punch of the bass drum while adding more sustain and presence.

It is possible to simplify the task by using a plugin already prepared for parallel compression, such as FAbFilter Pro C2

Reverb and ambience

The use of reverb is essential to give depth to the bass drum, preventing it from sounding flat or too dry.

Use of short reverberations to avoid excessive queues

• Reverberations with a short decay (0.3-0.6s) help give dimension to the box without muddying the mix.
• The use of room reverb simulates natural environments, enhancing the feeling of space without excessive sound reflections.

Optimal pre-delay and decay

• A pre-delay between 10 and 25 ms helps separate the bass drum from the reverb, preventing the drum attack from losing definition, but be careful: if the tempo is too long it can create a splitting or echo effect
• The decay time must be carefully balanced: too long can overload the mix, too short can be unnatural.

Trigger and Sample Replacement

The use of additional samples can strengthen the sound of the bass drum, improving its definition and punch.

Adding samples to reinforce the sound of the bass drum

• Samples can be used to replace or supplement the original recording.
• You can choose samples with different characteristics, depending on your needs: more attack, more body, or a better low frequency response.

Layering of multiple samples to achieve punch and depth

• Combining several samples allows you to create a richer, more articulate sound.
• For example:
  • A sample for the attack (high frequencies, 2-5 kHz).
  • A body sample (fundamental frequency, 50-100 Hz).
  • A sample for depth (sub-bass, 30-50 Hz).
• Phase alignment between the samples and the original track is essential to avoid frequency cancellations.

Mastering and Verification of the Mix in Context

The mastering and final mix check are essential steps to ensure that the speaker sounds good in any playback system and integrates perfectly with the rest of the instruments. Before finalising the track, it is essential to carry out some listening tests and technical measurements to avoid phase problems, loudness imbalances and inconsistent sound translation.

Unfortunately, for reasons of space, we cannot go into too much detail on these topics, so we will just announce them, leaving it up to you to expand on them, perhaps even in further blog articles.

Checking Translation on Different Listening Systems

A well-balanced mix must sound consistent on several devices. For this reason, it is essential to test the speaker and the entire mix on several listening systems:

• Studio monitorsThe main reference, with a flat and neutral frequency response.
• Consumer speakersThey simulate the way in which most listeners will enjoy the song.
• Professional and consumer headphones: Headphones bring out details and problems that the monitors might miss.
• Car plantA crucial test to assess the impact of low frequencies and overall coherence.

Tip: If the speaker is too loud in some systems and too weak in others, it may need to be rebalanced in equalisation or compression.

Phase and Spectrum Correlator Control

A phase check is indispensable to avoid unwanted frequency cancellations and to ensure a full and powerful sound.

• Using a spectrum correlatorPlugins such as Waves InPhase or Voxengo Span allow you to visualise any phase problems between the bass drum and the rest of the mix.
• Mono-compatibility testing: Reduce the mix to mono to check if the sound of the speaker loses impact. If this happens, there may be a phase problem.
• Phase alignment: If necessary, correct minor mismatches between the bass drum, bass guitar and drum overheads to improve cohesion.

Tip: If the speaker sounds 'hollow' or lacks impact in mono, try inverting the phase of the internal microphone or realigning the bass phase.

Verification of Overall Dynamics

Loudness management is essential to prevent the loudspeaker from being too prominent or, on the contrary, buried in the mix.

• Integrated loudness measurementUse tools such as iZotope Insight or Youlean Loudness Meter to check the overall level of the song.
• Balancing punch and dynamicsToo compressed a speaker can lose naturalness, while one that is too dynamic may not have enough impact.
• Comparison with reference passages: Listening to the mix next to reference tracks helps to assess whether the speaker has the right volume and presence.

Tip: If the mix is too unbalanced in loudness compared to other tracks, it may be necessary to rebalance the compression on the bass drum or the entire drum bus.

Conclusion and Call to Action

The kick drum is one of the most critical elements of the mix, especially in pop, rock and funk genres. Through careful management of drum selection, recording, equalisation, compression and interaction with the bass, a powerful, defined and perfectly balanced sound can be achieved.

Your mix, your sound

To get the most out of the box in the mix, it is essential to take care of every step in the process:

• Selection and RegistrationA well-selected kick drum, with adequate skins and good miking, is the basis for an effective mix.
• Processing in the MixTargeted equalisation, dynamic compression and the use of saturation help sculpt a precise and incisive sound.
• Interaction with the BassBalanced EQ management, use of sidechain and phase control avoid conflicts in the low frequencies.
• Advanced Techniques: The use of parallel compression, strategic reverberation and layering with samples enhances presence and impact.
• Mastering and VerificationTesting the mix on several listening systems, analysing phase and managing loudness ensures consistency and final quality.

Experiment and find your own style

Every song has different requirements, and there is no one-size-fits-all solution. Experiment with different settings and techniques to find the sound that best suits your musical style. The secret of a professional mix is critical listening and a willingness to perfect every detail.

Your opinion counts!

What is your favourite technique for mixing a kick drum? Do you prefer a natural sound or a more processed approach? Do you have a plugin or method that you consider indispensable? Share your experience in the comments and join the discussion!

Read more with these articles

If you want to further improve your mixing techniques, take a look at these related articles:

How to make the snare drum sound great in the mix

Tonal and dynamic masking in the mix

20 quick tips on pop mixing

Keep experimenting, refine your workflow and take your mix to the next level! ️ ️

How to make the snare drum sound great in the mix

The snare drum is the heart of the groove, the drum that gives impact and character to a track. In pop, rock and related genres, its sound can make the difference between a powerful, engaging mix and a flat, anonymous one. If it sounds good, the piece gains solidity and dynamics; if it sounds bad, everything loses cohesion. Getting the right snare drum requires attention to the choice of timbre, the cleanliness of the signal and its integration with other instruments. Here's how to make it stand out in the mix without making it intrusive or unbalanced.

Choosing the right snare drum to get the right basic sound

To achieve the ideal snare drum sound in pop-rock and similar genres, it is essential to select the instrument that best suits your needs. The choice of snare drum has a profound effect on the character and dynamics of your groove.

Snare drum shell materials

Snare drums are primarily made of wood or metal, each with distinctive sound characteristics.

• Wood: Wooden snare drums, such as maple or birch, offer a warm, resonant sound. Maple, for example, is known for its balanced tone and good sustain, while birch provides a more pronounced attack and slightly accentuated low frequencies.
• MetalMetal snare drums, such as steel or brass, produce a brighter, sharper sound. Steel is valued for its power and sound projection, ideal for energetic rock contexts, while brass offers a full, biting sound, maintaining definition even at high volumes.

Snare drum dimensions

The dimensions of the snare drum significantly influence the sound produced.

• DiameterA larger diameter (e.g., 14") produces a deeper, fuller sound, while a smaller diameter produces higher, brighter tones.
• Depth: Greater shell depth increases low frequencies and makes the snare drum ideal for styles such as rock and pop. For example, a 14×8″ snare drum is great for achieving a full, deep sound, while thin snare drums are well suited to bright, syncopated performances such as funk.

Snare drum tuning and skins

Tuning and the choice of skins are crucial for shaping the sound of the snare drum.

• Tuning: Greater skin tension produces a higher-pitched, more defined and shorter sound, while lower tension offers deeper, warmer tones with greater sustain.
• LeatherSingle-ply skins provide an open, bright sound, ideal for genres such as jazz, while double-ply skins offer a more controlled, deeper sound, suitable for rock.

Experimenting with different combinations of materials, sizes, tunings, and heads will help you find the snare drum that best suits your style and desired sound in a pop-rock context.

If the recorded snare drum does not match the sound you have in mind, you can use equalisation, compression and transient shaping to modify its character. Comparing the sound with a reference track is an excellent solution for those who want to achieve a professional mix.

Sound cleaning with gate and phase management

When recording acoustic drums, the snare drum is often captured by several microphones simultaneously: the upper close mic, the lower close mic, the panoramic overheads and, to a lesser extent, the microphones dedicated to the other parts of the drum kit. This can lead to two main problems: excessive bleed (i.e. the sound of other instruments infiltrating the dedicated microphones) and phase inconsistencies between the various signals.

Excessive bleed can make the mix muddy and reduce control over the snare sound. A noise gate helps isolate the hit, attenuating or eliminating unwanted background sounds, such as cymbals or bass drum. However, it is essential to adjust the parameters carefully: a threshold that is too high could cut the sustain of the snare drum, making it sound unnatural, while one that is too low could still leave too much bleed. Setting a fast attack and a natural release allows you to keep the transient of the hit intact without introducing unwanted effects.

At the same time, phase management is essential to ensure that the snare drum has the right impact in the mix. Overhead microphones, being further away, record the sound of the snare drum with a slight delay compared to the close mic. This delay can cause partial phase cancellations, causing the sound to lose body and volume. The first step is to check whether reversing the polarity of the lower microphone improves the consistency of the sound. If the problem persists, you can intervene manually by aligning the waveform of the close mic with that recorded by the overheads: by moving the close mic track forward or backward by a few milliseconds until the waveform peaks coincide, the snare drum will gain impact and definition.

The combination of a well-adjusted noise gate and proper phase management allows you to achieve a clean, present snare drum that is well integrated into the mix, without unwanted interference with the rest of the kit.

Integrate the snare drum into the mix with the right equalisation correction

To make the snare drum stand out without clashing with other instruments, it is essential to understand its role in the sound spectrum and adjust the equalisation in a targeted manner. This process requires attention to the different frequency ranges to avoid conflicts with other instruments and ensure a balanced presence.

Key snare drum frequencies

• 100–250 Hz (body and belly of the sound)
  This band contains the fundamental frequency of the snare drum and determines its fullness. A slight boost in this range can make the sound more full-bodied and robust, but excessive emphasis can cause overlap with the bass drum and bass, leading to a muddy mix. If the snare sounds too “bloated” or loses definition, a cut around 150-200Hz can help maintain clarity. Using a high-pass filter around 100Hz helps eliminate unwanted sub-bass frequencies.
• 800 Hz – 1.5 kHz (attack and aggressiveness)
  This range is crucial in giving the snare drum its distinctive character. A slight boost between 1 and 1.2kHz can increase its attack and improve definition in the mix, but be careful not to overdo it, as too much in this area can conflict with vocals and guitars, causing a feeling of sonic congestion. If the snare drum sounds too “boxy”, a moderate cut between 500 and 800 Hz can reduce this feeling and improve transparency.
• 8 kHz and above (brightness and definition)
  High frequencies determine how bright and present the snare drum sounds. A slight boost above 8 kHz can give it more air and detail, making it more defined in the mix. However, excessive emphasis in this range can make it shrill and tiring to listen to. If the sound is too aggressive, a cut around 10 kHz can mitigate the problem.

Advanced equalisation strategies: the role of fundamental and harmonics

In addition to the main frequency ranges, the identification of the fundamental frequency and the higher harmonics of the snare drum can provide even more precise control over its character, allowing you to modify its tone without distorting it.

• Identify the fundamentalThe fundamental frequency of the snare drum is generally between 180 and 220 Hz, depending on its size and tuning. To find it, use a parametric equaliser with a narrow notch band and increase the gain while sliding the frequency; the point where the sound becomes fuller is the fundamental frequency.
• Change the fundamental:
  • Emphasise it → Adds body and presence, making the snare drum sound more solid in the mix.
  • Mitigate it → This makes it lighter and less invasive, useful in situations where more space is needed for other instruments.

Interventions on higher harmonics

Every instrument produces harmonics in addition to the fundamental, and managing them correctly can alter the character of the snare drum in a subtle but effective way:

• Second harmonic (octave, 2x the fundamental, approximately 360–440 Hz) → Emphasising it increases depth and presence, making the sound more rounded without inflating it. Attenuating it helps eliminate excessive resonance and “dry out” the snare drum.
• Third harmonic (high fifth, 3x the fundamental, approximately 540–660 Hz) → A boost here increases the resonance and ringy character of the snare drum, making it more ringing, open and rich in tone. Attenuating it makes it more controlled, eliminating any unwanted elements in the mid-low range.
• Fourth harmonic (second octave, 4x the fundamental, approximately 720–880 Hz) → Adjusting this affects the brightness of the snare drum. Increasing it can give greater clarity and presence, while decreasing it helps to reduce harsh or overly bright sounds.
• Fifth harmonic (major third, 5x the fundamental, approximately 900–1100 Hz) → Adjusting this band can make the snare drum sound more defined, brighter and richer in tone, without having to adjust the high frequencies. An increase emphasises its presence, while a reduction can make it less intrusive.

It is necessary to understand the meaning of these interventions and, working by ear, experiment.

Separating the snare drum from the other instruments

In the mix, the snare drum must have space without conflicting with the vocals, bass drum or guitars. To achieve this balance:

• Cut problematic frequenciesIf the snare drum sounds too muddy or boxy, reducing the range between 400 and 800 Hz can improve clarity.
• Avoid conflicts with the voiceIf the lead vocal is very prominent between 1-1.5 kHz, slightly reducing this range on the snare drum helps the singer stand out better without sacrificing attack.
• Use of high-pass filters: Eliminating sub-bass frequencies below 100 Hz prevents unnecessary energy build-up that does not contribute to the sound of the snare drum; a low-frequency filter (LHF) with a soft cut (6dB oct) starting at 8 kHz can, in some cases, free up some tonal space for the cymbals, making them clearer.

Equalisation is a subtle art: every adjustment must be made with care to avoid distorting the sound. Identifying the fundamental and working on the upper harmonics allows you to modify the character of the snare drum precisely, without sacrificing its tonal texture. Small, targeted adjustments, always listened to in the context of the entire mix, can make a big difference, making the snare drum powerful and defined without compromising the balance of the other instruments.

Add character with compression and saturation

Compression is an essential tool for shaping the sound of the snare drum, affecting both the initial transient (attack) and the sustain (tail). By carefully adjusting the attack and release parameters, you can achieve different sound characteristics:

Attack:

• Quick attack: A fast attack time allows the compressor to respond immediately to transients, reducing the initial impact of the hit. This produces a softer, more controlled sound, ideal for situations where a less aggressive snare drum is desired.
• Slow attack: A slower attack time allows the transient to pass before the compressor starts working, emphasising the initial impact of the snare drum. This makes the sound more incisive and present in the mix, a characteristic often sought after in genres such as rock.

Release:

• Quick release: A short release time causes the compressor to stop acting quickly after the transient, maintaining the natural sustain of the snare drum. This is useful when you want to preserve the tail of the sound without adding further compression.
• Slow release: A longer release time prolongs the compressor's effect on sustain, gradually reducing the sound level. This can help control unwanted resonances or create a more noticeable compression effect.

Examples of application:

1. Crisp and present snare drum:
   • Attack: Slow (e.g., 10–30 ms)
   • Release: Fast (e.g., 50–100 ms)
   • Ratio: 4:1
   • Description: These settings allow the transient to come through clearly, giving the snare a strong presence in the mix, while the fast release ensures that the compressor does not overly affect the sustain.
2. Controlled and smooth snare drum:
   • Attack: Fast (e.g., 1–5 ms)
   • Release: Medium (e.g., 100–200 ms)
   • Ratio: 3:1
   • Description: A fast attack reduces the initial impact, while a medium release maintains control over the sustain, producing a softer, less aggressive sound.
3. Snare drum with extended sustain:
   • Attack: Medium (e.g., 5–10 ms)
   • Release: Slow (e.g., 200–500 ms)
   • Ratio: 4:1
   • Description: These settings allow you to emphasise both the attack and sustain of the snare drum, ideal for genres that require a fuller, more sustained snare sound.
4. Snare drum with a “pumping” effect:
   • Attack: Fast (e.g., 1–5 ms)
   • Release: Fast (e.g., 50–100 ms)
   • Ratio: 6:1
   • Description: A fast attack and release, combined with a high ratio, create a noticeable compression effect, often used to achieve a “pumping” snare sound in electronic or pop genres.

These values are indicative and may vary depending on the musical context and the specific starting sound and desired result. It is always advisable to experiment with different settings and listen carefully to the result in the context of the mix.

Use reverb and samples to enhance the sound and define depth

The use of reverb and sample layering are two essential techniques for shaping the sound of the snare drum and defining its position in the mix. Reverb creates a sense of space and depth, while layering helps to reinforce the characteristics of the snare drum without drastically altering its tone. Both of these strategies are fundamental for achieving a snare drum that integrates perfectly into the mix, maintaining presence, attack and clarity.

Reverb: depth and placement of the snare drum in the mix

Applying reverb to the snare drum has a significant impact on its spatial perception. The way reverb is applied and adjusted depends on a few key parameters:

• Pre-delay: Determines the time between the direct sound and the start of the reverberation.
  • Short pre-delay (0–10 ms): The reverberation almost immediately overlaps with the direct sound, creating the impression that the snare drum is further away from the listener. This makes the snare drum less distinct and more immersed in the mix.
  • Long pre-delay (20–50 ms, or even longer): By delaying the onset of reverb, the direct sound remains clear and separate, emphasising it before the reverb comes into play. This creates a feeling of greater depth in the room, but with the snare drum placed further forward in the mix, i.e. closer to the listener. This is a common choice in genres where the snare drum needs to be well defined and incisive. The longer the delay, the more you need to decrease the volume of the reverb alone, to avoid producing an echo that is too defined, which, however, if timed with the speed of the song, can also become very interesting in certain contexts.
• Decay time: Check the duration of the reverberation.
  • Short decay (0.3–1.5 seconds): Keeps the snare crisp and defined, with a reverb that fades quickly. This setting is ideal for rhythmically tight genres such as pop and funk.
  • Long decay (1.5–5.5 seconds): It creates a broader, more atmospheric effect, useful in ballads, soundtracks and more spacious sound environments.
• Distribution: Adjusts the density of sound reflections.
  • High diffusion: Creates a dense, uniform reverb, suitable for snare drums that need to sound full and enveloping.
  • Low diffusion: It keeps reflections more separate, accentuating the rhythmic character of the reverberation and creating a more pronounced perception of space.

Depending on the musical style, different types of reverb can be used:

• Plate: Reverb rich in high frequencies, widely used to add brightness and sustain without weighing down the mix.
• Room: Ideal for a natural, dry effect, simulates small enclosed spaces.
• Hall: Create a long, airy tail, suitable for more orchestral or ambient contexts.
• Gated Reverb: Abruptly cut off after a certain amount of time, it is an iconic choice for an 80s snare drum sound.

Using samples to reinforce the snare drum

If the recorded snare drum lacks attack or depth, adding parallel samples can be an excellent solution. The layering consists of adding one or more samples to the original snare drum to improve certain aspects without excessively altering its character.

• Add an attack sample: If the snare drum lacks punch, you can overlay a sample with a very pronounced transient to emphasise the initial impact.
• Strengthen the fundamentals: If the snare drum lacks body, a sample with a similar fundamental frequency can add more fullness without the need for excessive equalisation.
• Add an environmental sample: If the snare drum sounds too dry, you can add a sample with more sustain or natural reflections to expand its spatiality.

The use of samples requires careful phase management: if the added sounds are not correctly aligned with the original snare drum, partial frequency cancellations may occur. It is therefore good practice to check the phase and adjust the timing of the samples to ensure consistency and power.

The application of reverb and sample layering are powerful tools for shaping the sound of the snare drum and integrating it effectively into the mix. Reverb allows you to control the depth and dimension of the sound, while layering helps to correct any shortcomings and emphasise the desired characteristics. The balance between these techniques, carefully adjusted to key parameters, allows you to achieve a clear, incisive snare drum that is well positioned in the mix.

Conclusion

In pop-rock and related genres, the snare drum is one of the most important elements in the mix. It must be present without overpowering, incisive without being intrusive. Finding the right balance between clarity, character and integration with the rest of the instruments is the key to making it sound its best. Working with gating, phasing, EQ and compression helps to achieve a solid, defined sound, while saturation, reverb and sample layering can give it additional depth and personality.

Experimenting with these techniques and listening to how the snare drum fits into the mix will help you achieve a professional sound that adds character and impact to your production.

Nowadays, it is almost impossible to imagine a musical performance without the support of percussion instruments. In popular music, various types of drums are often used, depending on ethnic, geographical and historical characteristics. Drumming, together with singing, is undoubtedly the earliest form of musical expression in human history, dating back thousands of years. Nowadays, playing a percussion instrument such as the drum kit means creating a solid rhythmic structure that acts as a support for other musical performances, giving them incisiveness and dynamism. In pop, as in rock and other modern genres, it is mainly the drummer who sets the rhythm, which the other musicians must follow.Multicultural roots.

Percussion instruments in ancient times

In the early days of humanity, the first musical instrument was undoubtedly the voice.

Percussion instruments soon joined them, providing powerful rhythmic support and a remarkable tonal counterbalance.

Many historians assert that the primary purpose of percussion instruments was practical. 

In ancient times, mystical and social rituals stimulated the emergence of various musical expressions, sometimes improvised, created to support them.

In the early days, these expressions were essentially orchestrated through the abundant use of voices and percussion instruments. 

It is remarkable to note that percussion instruments developed independently in every part of the world.

The earliest finds of plates and drums date back to around the 7th century BC.

Specifically, the plates were found in the tombs of the ancient Greeks, who believed that they had the power to ward off evil spirits.

However, some sculptures and paintings of plates and drums have been found in ancient tombs dating back to earlier periods, such as the Egyptian and Roman eras.

However, there are numerous less ancient paintings depicting metal plates used as musical instruments during banquets and celebrations.

As with everything else, as civilisations progressed, percussion instruments also evolved. 

The ancestors of modern drum parts began to appear in medieval and Renaissance Europe, and soon spread and became increasingly refined; cymbals, on the other hand, have essentially retained the same shape for thousands of years.

Use of percussion instruments for military purposes

Later, drums and cymbals, along with horns, trumpets and bagpipes, were used by armies for military training, parades and even during battles. 

The objective was to communicate effectively:

• by sending orders to soldiers even at great distances by means of “codes” expressed musically with specific melodies or rhythms, 
• to rhythmically accompany an unstoppable march by means of a hypnotic “mantra”, 
• to instil courage, team spirit and a sense of belonging, to frighten the enemy.

It was the Ottoman battalions who introduced the use of cymbals to discourage enemy troops.

These methods reached their peak during the Napoleonic period and were only subsequently scaled back; however, military bands around the world have endured for centuries.

The Nineteenth Century

Even in the 19th century, albeit to a lesser extent, percussion instruments were often used for military purposes. 

At that time, military bands were composed of numerous percussionists with different roles: bass drums and cymbals, for example, were played by different musicians, as in marching bands.

The percussion sections of classical orchestras also consisted of various percussion instruments (each generally played by a different musician) that are an integral part of modern drum kits. 

The advent of the New Orleans style 

At the beginning of the 19th century, black slaves in North America began to assemble a kind of drum kit, putting together various percussion instruments, often picked up here and there.

Little by little, the  brass bands and the  New Orleans style created by black people,  largely based on improvisation, began to establish themselves and gain popularity, winning over a large portion of the white population, first and foremost musicians.

To play a double drum with one or two cymbals attached to the bass drum simultaneously, the work of a single musician was required.

The ancestral African influences soon merged with the European musical trends exported to America. Thus, jazz was born.

The modern battery

The invention of the bass drum pedal

In 1909, William Ludwig invented the bass drum pedal, which was the decisive factor in enabling a single performer to play a percussion set. 

At that time, it was a real “turning point”; thanks to the bass drum  pedal, both hands were free to play multiple percussion instruments simultaneously, defining what would soon be called a “percussion drum kit” and, later, simply “drum kit”.

It was an instant success that spread like wildfire.

From that moment on, new drummers began playing in a seated position in order to have greater control over the pedal.

The introduction of the bass drum pedal was therefore the decisive factor in defining the advent of the drum kit and drumming technique.

Bicycle spare parts find a new use

At the beginning of history, two types of door knockers were developed: 

• the one mounted on the top of the bass drum hoop
• the one attached to the bottom of the hoop, as in modern drum kits 

The pedals were made of wood and were not spring-assisted, so the hammer had to be returned to its starting position using the foot. 

The spring-loaded return mechanism found in today's pedals was introduced in 1910. 

In 1934, ball bearings were added to make the pedal action smoother.

In 1950, the spring was incorporated into the frame, allowing for more precise pedal adjustment.

The next improvement came with the chain pedal, created by a New York shopkeeper, who removed the previous pedal mechanism and replaced it with a gear and chain derived from a bicycle. 

Prior to this, some pedals used metal parts to connect to the transmission mechanism, while others used a belt made of nylon, leather or other materials. 

The former was said to have a “quick reaction”, while the latter was said to have a bit of ‘play“. 

The chain drive combined the strengths of both systems, resulting in a robust component that quickly won the favour of all drummers. 

The Advent of the Hi-Hat

The first drum kit and the role of the drummer were thus defined, as the player of three assembled percussion instruments: bass drum, cymbal and snare drum.

The evolution of the new instrument and the most appropriate playing techniques thus began. 

Among the many experiments aimed at further enriching the drum kit, the ancestor of the hi-hat soon became established.

The first hi-hat looked like a snowshoe.

The hi-hat as we know it today is surprisingly recent and was conceived around 1930. 

The first hi-hats were mainly used to mark a variable number of subdivisions of the “beats” (from 2 to 8, also called “movements”) of the “musical bar” in order to define a complete and regular musical cadence, emphasised by the accents of the snare drum and bass drum.

The hi-hat in its original form consisted of two small cymbals attached to two axes, one above the other, joined by a hinge and held apart by a spring. 

The upper board was attached to the foot with a strap similar to a sandal, which made it look like a snowshoe; hence the name by which it was called. 

The famous jazz drummer Baby Dodds, while playing on a riverboat in Mississippi, would tap his left foot on the floor in time with the music. Noticing this, an enthusiastic fan modelled a pedal device with two small cymbals for him. It is said that this marked the beginning of the development of the hi-hat.

The original design, however, was somewhat different from what we see today. 

The basic principle was the same: two plates facing in opposite directions so that they collide when the pedal is pressed. 

The sound, muffled and dry, was very similar to that of today's hi-hats.

From its position on the ground, the hi-hat (also known as the Charleston) was raised to a higher position by means of a rod and a mechanism, which allowed it to be played with either the foot or the drumsticks, quickly influencing and completely changing drumming styles and techniques.

The modern drum kit and jazz 

In the legendary 1920s, the era of Prohibition, wealthy gangsters began to take an interest in the big jazz bands, so fashionable at the time, for their night clubs.

This led to the development of jazz clubs, where people could (illegally) consume alcohol and dance to jazz music, most of which was improvised.

The drummer played a very significant role, as he had to keep the rhythm for music that was often frenetic and unconventional.

The modern set

The first pedal Charleston (Hi-Hat) had been invented, and soon after, it became possible to tune the drums on the rim... and suddenly, “the music changed”.

Without a doubt, Gene Krupa is one of the most emblematic figures of the period: famous for his energetic and fast playing, he played an important role in establishing the drum kit as a “solo” instrument. 

He recorded a lot of music using a drum kit that was the basis for the standards.  current, with bass drum, snare drum, two tom-toms (one mounted on the bass drum and another, equipped with feet, on the floor), a hi-hat and three cymbals: ride, splash and crash.

This approach allowed for the execution of very brilliant polyrhythmic sequences, which led to the emergence of some legendary drummers who made history.

One of these was Max Roach, creator of many rhythmic patterns that are still considered benchmarks in jazz today.

White people began to imitate black Americans, devoting themselves to jazz (which developed into “swing”) and playing in prestigious concert halls across the United States.

At the same time, in Paris, the so-called gypsy jazz also began to develop.

The 1940s and bebop

Some important changes took place in the 1940s.

Jazz began to be produced increasingly as music to listen to, no longer just as accompaniment for dancing, thanks to the arrival of bebop, characterised by very fast rhythms and complex harmonies. 

The drummer began to take on increasingly complex and important roles, as such.  Music allowed certain rhythmic sequences to be performed even in a solo role, through which the drummer could better express his creativity, also enriching the stylistic panorama of jazz and the drumming anthology. 

With the increase in tempo, the rhythmic accents gradually became lighter and the role of the drums diminished in importance, giving more space to the ride and hi-hat.

During that period, drumming techniques underwent significant development, as did the drum manufacturing industry, leading manufacturers to create new and increasingly sophisticated models, not dissimilar to today's drum kits.

The Rock Era

Before 1957, all drum kit drums were made from deer or fallow deer skin.

They were frequently forgotten and damaged due to their high sensitivity to climatic factors. 

If the weather was cold and damp, the drum tones were much lower; if it was  In hot and dry conditions, however, drummers had to moisten the drum skins to obtain the correct sound.

Despite their disadvantages, drum skins made from animal hides produced a special sound and tended to last much longer than those made from synthetic materials, which became increasingly popular in the late 1950s, making tuning easier, more precise and even customisable. 

The 1950s and 1960s saw the advent of rock ’n’ roll, which established the drum kit in a new guise, very popular among the younger generations, contributing to the nascent cult of rock bands.

The playing technique of rock drummers became somewhat less agile but much more powerful, prompting drum manufacturers to produce increasingly solid and resonant drums.

Even the plates became larger and heavier, in line with the new requirements.

Initially, the performance techniques borrowed from jazz overlapped with the emerging techniques of rock, until the latter took a divergent path, which continues to this day.

To play in front of large audiences and keep up with powerful guitar amplifiers, drums capable of generating a lot of sound volume were needed.

This led to the creation of drums made from different materials, including acrylic. 

Natural leather materials were permanently replaced with Mylar, which responds better to changes in temperature and humidity and ultimately offers significantly improved durability.

To add more colour to their performances, drummers added other auxiliary percussion instruments to their sets, including modern, traditional and exotic ones.

The double pedal and customisations

At a certain point, hard rock appeared on the music scene, followed by heavy metal and various related genres.

The  The double pedal appeared in the 1980s and has been used almost exclusively by metal bands ever since.

Nowadays, every drum kit can be customised according to the drummer's needs and specific style of music.

From a basic kit, with hi-hat, bass drum and snare drum, you can now assemble a very complex, varied and customised kit.

Electronics

Meanwhile, the electronic drum kit began to emerge in the 1960s, with the first rhythm machines becoming increasingly sophisticated.

The original electronic generation of sounds from these devices was subsequently complemented by the sampling of acoustic sounds from the drum kit, either in their raw form or processed using processors (equalizers, compressors and ambient effects).

In order to simulate the variations induced by touch, digital multi-sampling techniques and new algorithms for filtering samples were introduced.

The schematic sequences of the first releases became increasingly refined and varied, until rhythms and grooves could be completely “written” and programmed using modern DAW software. 

Electronic drum kits for manual use (with pads), on the other hand, made their debut with very limited success, but then became more popular in the 1980s.  

Nowadays, there is a huge range of electronic drums available, including both studio kits and concert sets.

This corresponds to the new sound requirements determined by modern discography, which increasingly uses traditional drum sounds accompanied by various types of new electronic sounds.

These requirements are met by hybrid drum kits, equipped with traditional cymbals and drums alongside pads that can be programmed with synthetic and sampled sounds of all kinds.

AFRICAN DNA

Balanced between binary and ternary rhythmic figures

The origins

Africa's cultural revenge started with music.

When Africans touched the shores overseas, they communicated through rhythm, song and body language.

After an initial imposed condition, over time the ancient culture and its strong traditions found their rightful place in Western society, enriching it and unleashing a strong energetic power that changed the customs of the host country.

Africans dance, but not as a pastime like those who frequent discos. It is a real need that requires rhythm, alternating accents and polyrhythm, closely linked to the dance steps and the intrinsic meaning of each of the many rhythmic patterns.

The Griot family, popular Senegalese percussionists, called people from village to village with their drums, keeping them updated on all the latest news; they were a kind of town criers.

The USA, Brazil, and the Caribbean are the undeniable examples of the transformation that occurred after the arrival of African culture in these lands: Jazz, Samba, and all the Afro-Cuban rhythms.

The influences

It's impossible to imagine today's world without the influence of this music. George Gershwin, despite his classical training, was so captivated by the blues that he wrote the famous "Rhapsody in Blue" as well as many other famous compositions for the musical: "Porgy and Bess" and "Summertime," to name a few that later became standards covered by jazz musicians.

Binary and ternary rhythms

To go into more detail about rhythmic figures and the “binary and ternary”, ternary rhythms are the characterizing matrix of Afro music, the interaction with binary figures creates a “polyrhythmic wave” that is anomalous and fascinating at the same time.

It is up to the performer to choose whether to focus more on one of the two figures rather than the other; it is not just a matter of mathematics but of interpretation.

The great Peter Esrkine said during a master class that the effect of the samba rhythm is a bit like listening to two bands in two different rooms at the same time, where one plays a shuffle (ternary) and the other a rock song (binary).

Typical samba rhythm of the “Batucada” percussion ensemble of the carnival schools

Click the arrow to start the video

Periodically, musical waves arrive that change the balance of customs. African American communities, which for many generations have met regularly in churches to sing in large groups, both a cappella and accompanied by a band, release an irrepressible energy. Many prominent figures in world music were born there, such as the great Aretha Franklin, to name one of the most representative voices of soul music.

Musicians who accompany singers, and specifically drummers, have developed traditional drumming rudiments, which include sticking (combinations of single and double strokes) and linear phrases (combinations of strokes between hands and feet). So far, nothing new, but they have developed them exponentially, creating a real language or, if you like, a new style. They are called “Gospel Chops”. I am referring to those new models of hyper-technical drumming that sometimes border on the circus-like. Obviously, in a world where speed reigns supreme, all this has a great appeal, especially among young drummers.

Already Gary Chaffee, a teacher at the Berklee School in Boston https://www.youtube.com/watch?v=XFqTm61bEzA More than forty years ago, he wrote a series of innovative books. https://www.garychaffee.com/booksdvds where he explored the application of this technique in depth, these books are now part of the curriculum of all drumming schools and have certainly been a reference point for Gospel Chops drummers as well.,
https://www.youtube.com/watch?v=KFMMcEuYoaQ.

Being a technically very “flashy” drumming style, it is often used to show off one's technical ability in online videos, which, however, sometimes borders on repetitive exercise for its own sake, neglecting the musical content.

Artificial intelligence certainly won't be able to build a Stradivarius or a Gretsch from the 1950s, instruments that, with all their unmistakable merits and "perhaps" some defects, have characterized both classical music and jazz.

Many drummers, in the case of percussion, despite being endorsers of big brands, continue to use drums from the 50s/60s/70s.

A bit like with wine, there is a mandatory path for the taste buds and smell to evaluate important bottles, this also applies to the ear, the old practically handcrafted drums such as the old Ludwig, Gretcsh, Slingerland to name the most well-known, have a unique sound and personality even when comparing the same drum, same size and same year, all rigorously signed by the assembler with the date of construction next to it.

This is the fundamental difference between the new, which still has a good sound and a good finish, and the unique nuances of the vintage.

To strike or direct

Have you ever wondered what purpose a conductor serves when the musicians have a score in front of them? The answer is a question: how could 60 or 80 musicians simultaneously strike the first note? It depends entirely on the conductor's gesture.

The moments of absolute silence that precede the start of the sound help him to concentrate on the pace, or rather the metronomic speed, of the piece he is about to perform, and help the musicians to tune in perfectly to his movement.

This nuanced gesture, an exclusive code between orchestra and conductor, continues throughout the entire piece, featuring dynamic excursions dictated by the breadth of the baton's movement, its pressing nature in the accelerando, in the suspensions, in the rallentandos, and so on until the finale.

The role of the drummer

When you attend a jazz, rock, or pop concert, you may be drawn to the drummer, the figure behind the cymbals and drums who sets the pace and often performs a solo before the end of the concert.

What exactly is his role within a group or a large orchestra? Those who advocate "how I wish I'd played the drums as a kid" may never have asked themselves this question.

What strikes the uninitiated is the skill in rapidly striking the drums and cymbals, thus commanding attention. In reality, this is a secondary, albeit fascinating, aspect; the crucial role is to mark the time with fluidity and authority, providing precise cues in tempo and dynamic changes, while at the same time adopting sounds appropriate to the musical style.

Even the drums adhere to a musical score with exclusively rhythmic, not melodic, references, lacking drums that produce notes with precise pitch. It all seems easy when you watch a good drummer play.

Drummer and Conductor

A symphony orchestra has a percussion department generally equipped with symphonic timpani, which, unlike drums, are tuned to produce very specific notes, xylophone, bass drum cymbals, and various effects. But what happens when there are two "conductors," as is the case with rhythm-symphonic orchestras with a drummer, such as those often seen at concerts, festivals, or on television?

After the piece begins, the rhythmic progression is entrusted to the drummer, whose task is to support this large ensemble like a sort of pillar, playing regularly and thus putting the entire orchestra at ease, always under the watchful eye of the conductor, who with small gestures suggests interpretative nuances, sometimes dictated by a contingent emotional factor.

Video of the Vatican Christmas Concert, 2017, with Patti Smith.

Salvatore Corazza on drums with the large orchestra.