TIMPANI HEAD WOES

[Tim Wyskida]

Greetings All, I'm playing timpani in an unusual manner and wonder if anyone might have some advice. Along with a drummer playing a partial traditional drumkit, I'm playing a concert bass drum, gong and timpani in a very loud, rock/metal-oriented group. Since I play everything simultaneously, I have to use the same mallets on all surfaces. It was tough finding mallets which got a full sound from the 40" concert bass drum but weren't too large for the timpani. I settled on Vic Firth TG21 bass drum mallets. Anyway, the size/hardness of the mallets combined with the velocity I have to strike the timpani (to compete with the volume of the rest of the group) ends up causing dents in the head rather easily. I'm wondering what the most durable timpani heads are. Pretty sure I'll always need to replace them on a regular basis but I'm trying to cut down on it as much as possible. Any suggestions would be appreciated. THANKS.

[donelk]

How are your drums miked? What is the stage volume? Perhaps this is a playing technique issue?  Tell us more!   :)

[Bart Elliott]

I agree with Don in that we need more information in order to give you valuable suggestions.

Without seeing/hearing what you are doing, I'm curious if you would be able to hold multiple mallets. I've played these same types of instrument, simultaneously, using a modified 4-mallet technique. I say "modified" because the bass drum mallet's shaft didn't allow for easy gripping with another stick/mallet in the same hand.

I would also be curious to see if you could quickly grab the necessary mallets IF they were placed on a tray of some sort. Again, I've played numerous pieces of music where I'm covering all the parts ... and having to switch beating apparatus every few seconds. In most cases, it can be done, with practice and forethought.

Given the fact that this with a rock band, I'm sure the volume issue would change the approach. Again, I need more info.

As far as timpani heads go ... they don't make them like they do drumheads for a drumkit. There's no two-ply head for timpani. The various heads available timpani address tone and sound qualities ... not durability.

For a rock band situation, all the drums need to be micked. If you are denting the timpani heads, you are having to play too hard as well as playing "into" the drum rather than playing off the drumhead. It's tough sometimes. I've been in recording sessions where the producer wanted me to play the timpani like they were rock tom-toms. The sound they wanted was very aggressive ... and like you ... I destroyed the heads by denting. Personally I think this was needless in a recording situation because with proper mic placement, etc., we could have captured all the attack they needed ... assuming I was using an extremely articulate mallet.

So ... more information needed for further discussion.

[Tim Wyskida]

Thanks for the responses.

Nothing is miked yet. We're working toward that. The stage volume is very loud. It could be a technique issue but I've been playing drums (drumkit) for 30 years and learned good technique from a jazz teacher for several years when I started playing. I never dent heads on my drumkit. Perhaps a different stroke is needed for timpani. Any suggestions would be appreciated.

Holding 4 mallets would be difficult because I'm using large mallets, playing very fast and consistently between everything - timpani, concert bass drum and a gong. I'm curious what kind of tray you place your mallets on and where you mount it. It's unfortunate they don't make more durable heads. I'm guessing  the need for them to be pliable for pitch bending is the reason they can't make them any thicker. Your having to play timpani like rock toms for that recording aptly describes my situation. It's sounding more and more like the only solution is miking them so I can play in a way which doesn't dent the heads.

[Bart Elliott]

It's sounding more and more like the only solution is miking them so I can play in a way which doesn't dent the heads.

Agreed!

The tendency, for those who don't play a lot of timpani, is to play into the heads. With timpani it is important to allow the mallet to come off the drumhead very quickly. Drumset players (and I've been there), play the timpani as though they are trying to make contact with something several inches below the play surface (drumhead). With the timpani, we want to strike the drumhead, going for the surface but treating it as though it is very hot and our mallets are made of butter; no melting! LOL

Another analogy ... if there was a fly on the timpani, you want to kill it but don't squish it. That's sort of a description of the type of stroke you want.

I would go with staccato mallet made for timpani, then use it on everything else. While you won't get a big "boom" out of the concert bass drum, it will still sound decent (playing towards the center of the head as much as possible).

When using a smaller mallet on a large membranophone, you are going to bring out the higher partials or harmonics of the instrument. It's not going to be this, big, deep, round tone on the bass drum, but it will be articulate, which in a rock band situation, is a huge positive.

When you mic the timpani, be sure to place the mic close to the playing surface, like you would a tom tom. It's not ideal sonically, as far as the best sound, but in a rock band, high volume situation, you'll want control and minimal mic bleed from other instruments. When I play timpani in an orchestra, the mics are placed further away for the ideal sound quality from the instrument ... and I don't have near the high volume problems like you would have.

[Jon E]

What about going electronic for you timpani and concert bass drum needs???

Just a thought.

[Tim Wyskida]

Thanks Bart. Looks like I need to work on technique. I see quite a variety of staccato mallets. Is a particular brand/model more hefty than others? A smaller mallet should definitely articulate better on the bass drum but I want to lean toward the heavier side of staccato mallets to get as much "boom" as possible. As far as where to strike the bass drum, my understanding is that the fullest sound can be achieved by striking half way between the center of the head and rim. Is this correct? I know there are variables, just generally speaking. Thanks for the miking advice. Will take it into consideration when we get rolling with that.

Jon - good idea but I strongly prefer the natural sound of the actual drums, though the drummer in this group uses a kick trigger to trigger a snare drum sound. Semi-whacky set up which comes with a fair amount of problems but it's worked out well, so far.

[Bart Elliott]

Thanks Bart. Looks like I need to work on technique. I see quite a variety of staccato mallets. Is a particular brand/model more hefty than others? A smaller mallet should definitely articulate better on the bass drum but I want to lean toward the heavier side of staccato mallets to get as much "boom" as possible. As far as where to strike the bass drum, my understanding is that the fullest sound can be achieved by striking half way between the center of the head and rim. Is this correct? I know there are variables, just generally speaking. Thanks for the miking advice. Will take it into consideration when we get rolling with that.

I use mallets that are no longer made, Feldman, with bamboo shafts. I'm not up on all the current makes and models because I have a complete sets of timpani mallets for my needs.

As far as playing the concert bass drum, you are basically correct, however, you would be using a staccato mallet made for timpani ... on the bass drum. You'll get more punch and low-end with a timpani mallet played around the center of the head. Just experiment and do what sounds best.

The center of the drumhead is a node, so it has the least vibration. Playing mid-way between the center and the edge is where the drumhead moves and vibrates the most ... which is why we get the fullest sound when we strike there. Sort of like pushing someone on a swing; we get the best results when we push at the peak.

Just a thought ... you could look into a multi-mallet that would have a timpani mallet on one end of the shaft and a bass drum mallet on the other end. It might be hard to find, but they are out there. Check with  http://steveweissmusic.com]SteveWeissMusic.com  for the mallet. If you can't find one, make your own! You probably only need one double headed mallet ... not a pair, but I don't know what you are playing rhythmically in performance.

[Tim Wyskida]

Great, thanks Bart.