Getting Used Drum for Your Child

However, it can be hard to buy a drum kit, which can run hundreds of dollars in cost, so the best idea is to find used drum kits. Used drum kits are noticeably cheaper, and despite what is thought, are just as good as brand new drum kits. In fact, for a young kid learning on a set of drums, you are better off to get used drum kits because it then the kids can bang the hell out of them, and you don’t have to worry about losing hundreds or thousands of dollars on an investment because your child doesn’t have a quiet volume for the drums they play, nor how hard they hit them.

Of course, that begs the question, where can you get used drum kits. Well the fact of the matter is that there is one primary place to get them, two if you count the classifieds in the paper but those don’t work all that well. The best place to find used drum kits is pawn shops. You will be able to actually find a wide array of used Musical instruments there, and drum kits are only one of them. You should be able to find cheap kits that will cost no more than a few hundred, or as low as $100.

This is the best route to go initially for the reason stated above, as well as the fact that when your child says they want a drum kit, it does not mean they will always play the drums and the last thing your family needs is a $2,000 drum kit sitting and collecting dust in the garage because your child is bored with it now.

One of the beautiful things about buying the drum kit from a pawn shop, is that if your child does not play the Electronic drums anymore because they have moved onto something else, then you can just sell it back to the same pawn shop for a lower price, or another pawn shop at a higher price and earn yourself a profit.

Used drum kits are an excellent way to get your kids involved with drum kits, without having to spend a lot of money. That provides you the assurance that if your child gets bored with the instrument, you are not going to be left with a large cost.

For anyone starting out on the drums, there is no better way to go than getting a used drum kit. Once they are rich and famous, you can get a brand new drum set. Just another way parents can save money when they are encouraging their children to try new things.


Time To Replace Drum Heads?

Well, first I will assume that you do tune your drums as needed and that all of the tension rods didn’t suddenly strip out. So, I’d suspect some drum heads now need replacement.

Drum heads, like guitar strings, don’t have to break in order to need replacing. Like guitar strings, they need to be replaced when they won’t hold tunings and the resonance in gone. Your ears should tell you “hey this doesn’t sound good anymore”. Plus, many times, drum heads won’t feel good anymore either. Hey you rock and roll animal, they just wear out.

The most common variables for when to replace your drum heads include:

How often you play ?
How hard you play ?
What kind of heads you use ?

The first head to go on my set is always the snare drum batter. It just gets a lot of hard strokes and because I like the sound of a single ply coated batter on my snare drums, that kind of head isn’t going to last as long as some other heads might. Now, I could buy other types of heads with more durability but they don’t have the sound and feel I prefer. Just like the guitar player could use heavier gauge strings, but they would feel and play like steel cables to his fingers. The point is that is a “feel vs. durability” decision that only you can make for your drum kit heads.

There is a simple test to see just how much wear your snare drum batter head gets after just one gig. At the end of the show, just take it the previously “new” head off and look at it. Does it have lots of dents in it? Is the middle “caved in” pretty deep? If it is really dented up or if it has a big “crater” spot in the middle, then it’s had it. Some drummers can get through several performances without changing snare batter heads. Some change them are every gig. I typically get about three shows out of one.

I usually change the snare bottom heads about every fifth batter head. You may experience a different replacement cycle. However, the bottom heads do wear out from the constant snare vibrations and you would be amazed at just how much a dead snare bottom head absolutely kills your snare drum’s sound.

Importance Of Drums in Classical Music

Primitive music is more rhythm than it is melody, Some of this primitive music is tremendously expressive. Melody could add very little to the foreboding pulsations of the African war drums.

In fact, melody would detract more than it would add. There is something in the constantly recurring rhythmical beat of the drums which pulsates in the blood. There is something in the incessant and ominous boom of the drums which pounds in the brain.

Melody would relieve the tension, would break the spell. But the dread rhythm of the war drums, beating in the ears, booming in the brain, speaks a terrible message which could be spoken in no other way.

If it be a dirge, how little is melody missed when the drums begin their lament! With a rhythm peculiarly expressive of grief and sorrow, the drums beat out a mournful elegy which asks nothing of either words or melody.

By contrast, what can be gayer than the castanets and tambourines of Spain or the bongas and maracas of Cuba? The quickened rhythm, the joyous accents of these instruments sing a song of gaiety and happiness which melody could scarcely supplement.

What can the melody of the bugle add to the stirring rattle of the military drum, sounding assembly or commanding a charge? The weird, the mysterious, the terrible all can be portrayed with tremendous drama and reality by bare rhythm without melody.
These ancient kettledrums were hemispherical and had skin heads stretched across the top by hoops which were held in place and tightened by adjusting screws around the rim.

Kettledrums graduated from the army and the military band into the orchestra during the time of Lully and were used commonly by him and other French composers of the seventeenth century.

As early as 1713 kettledrums had become popular in Germany, for Johann Mattheson, of Hamburg, composer and musical authority, writing of the musical instruments of his day, says that kettledrums were often used in both church and opera.

These he says were used in pairs and were tuned a fourth apart, a practice which existed for many years. Handel knew about kettledrums, using them in his “Water Music.” Bach also used them, as did Haydn and Mozart and all the other great masters who came later.

These early kettledrums, or tympani, as they are now called, were hand tuned and were pitched in C and G, the tonic and dominant of the key in which the music was written.

The large kettle was tuned to the G below the C, while the small kettle was tuned to the C, making them a fourth apart. The reason for this inversion was the limitations of the instruments.

If the tonic had been given to the large kettle and the dominant to the small kettle, the dominant would generally have been higher than the small kettle’s compass. Therefore, the tonic was given to the small kettle, and the dominant an octave below was given to the large kettle.

Kettledrums were treated mostly as military instruments, for they were hardly ever allowed to play except with the trumpets, in marches, overtures and other such music. This is only another example of following custom.

An introduction to Digital Piano

Digital PianoIn most of the implementations, a digital piano offers a different variety of piano timbres and normally some other sound as well. For instance, a digital piano might have settings for a performance grand piano, an upright piano, a tack piano, and different electric pianos like the Fender Rhodes and Wurlitzer. Some digital pianos as well incorporate other basics “synthesizer” sounds like string ensemble, and provide settings to combine them with piano.

The sounds offered by a digital piano are at times PCM samples available in ROM. Despite the fact that a digital piano plays models, it is not a sampler because it needs the capability to record samples. It does, however, be eligible as a romper. Other, more superior brands (like Yamaha & Kawai) use other sound sampling systems like AWM (advanced sign memory) or Harmonic Imaging.

The samples stored in digital pianos are generally of extremely high quality and shaped by using world-class pianos, costly microphones, and other high quality preamps in an experts recording studio.

Digital pianos do have restrictions on the authenticity with that they replicate the sound of any acoustic piano. These as well comprise of the lack of implementation of harmonic tones, which result when some mixtures of notes are sounded, restricted to polyphony, and a lack of innate reverberation when the piano is actually played percussively. They as well lack the secondary acoustic noises related with piano playing, like the sounds of pedals being low and the related machinery broken up within the piano that some in fact consider a benefit. These limitations relate to most acoustic piano instruments and their sampled foils, the difference normally being described as “visceral”.

World Needs Bad Singers

I mean why does the show seem to gather its largest audience during the audition phase and the finale? The ratings for American Idol look like a banana. The answer is quite simple. People want the bad singers as much as they want the great, so it is therefore American Idol’s responsibility to deliver them. Even more so, though, people want to see Simon smack the disillusionment from their heads.

Take American Idol: Season 6, Episode 6 Recap (please). Also dubbed the “American Idol Los Angeles Auditions”. Should we expect any larger concentration of out of their goard goofballs on American Idol than those from Hollyweird itself? Every year the LA episode is the spectacle of this phase of the audition segments. If we needed any better example than Goddess Bunny to show us that Hollywood City is full of deranged wanna-bees with sadly twisted views of the talent they posses, it would be the American Idol Los Angeles Auditions.

Throw out your psycho-babble spewing shrinks and disabled advocacy groups, the world does not despise these poor souls… we love them! Why else would we tune in by the millions to watch them do their thing! Worse yet is the folks who criticize this spectacle as exposing a disingenuous screening process… yes captain obvious, they really do want the bad singers and colorful characters in the audition phase. They make the show worth watching.

Snare Drum Buying Guide

The snare drum is the central instrument within the drum set. There are essentially two types of snare drums on the market: wooden-shelled drums and chrome-shelled drums. In rare cases, you may come across plastic or composite-shelled drums, too. A common starter snare drum a chrome 5 1/2″ x 14″ eight-lug drum.

The snare drum contains:
A shell or circular body. A top “batter” head and a bottom ultra-thin clear head. Chrome hoops (rims) that fasten the heads to the shell. Tension rods that screw into lug casings, these are used to tighten the rim onto the shell. Snare wires. A throw-off apparatus.

Whatever drum you buy make certain that the snare (thin metal strings on the bottom of the drum) are intact and that the throw-off lever on the side of the drum works properly. The throw-off is a chrome apparatus found on the side or the shell of the snare drum. It contains a lever that snaps the snare wires up against the bottom drumhead or releases them so that they hang about 1/8″ below the head. When the throw-off or strainer is in the up position, you will hear the buzz of the snare wires. When the throw-off is in the sideways position, the drum will sound similar to a high-pitched tom-tom.

Finally-and this goes for any drum-check to see if the drum has any cracks in the shell and make sure that the rims or hoops that fasten the head to the shell are not bent or dented. Also, make sure that none of the tension rods (screws) are missing, and check that none of the lugs(tension rod casings) are stripped. Don’t worry about heads, because these are dispensable. Often the head that comes with your purchase needs replacing anyway. Once upon a time, drumheads were made from calf hides (skin). However, the problem with skins was that they were very difficult to keep in tune due to fluctuations in the weather. They were also not very durable. Now days, we use plastic or Mylar heads on our drums and the most popular head manufacturer is Remo, although Evans and Aquarian make fine heads, too. On the bottom of your snare drum, you must use an ultra-thin clear head. Anything thicker will choke the snare wires and they will not vibrate.

Your Drum Setup – Drummers Tips

Drum Setup

Many of the great teachers will tell you that the snare drum or pad should be positioned at your navel or belly button. For smaller children, since their bodies are not yet evenly proportioned, some adjustments may need to be made. Your arms should be in an L-shape formation at 90 degrees and the sticks should lay comfortably on top of the drum or pad in an upside down V shape.

If your sticks rest on the rim, the drum or pad needs to be lowered. Oppositely if you find that you are leaning into the drum too much, the drum should be raised. The sound you make is only the end result of your stroke, so in order to ensure efficiency of movement, you must make sure that the snare drum or pad is conveniently placed in front of you. This applies to both a sitting and standing position.

Those who use the traditional grip often tilt their snare drum or pad so that the left side is slightly higher than the right. This is done to accommodate the turning motion in the left hand.

Setting up a full drum set (or pad set) properly is very important. First, set your drum throne so that your legs are at a 90-degree angle. In other words, when you place your feet on the pedals (hi-hat on left, bass drum on right) your legs should not be outstretched in an obtuse angle. Next, position your snare drum as previously described. Your 12″ rack tom-tom should be placed about 11 inch above the snare drum and tilted slightly toward you. If you have a 13″ rack tom-tom, it should be evenly placed to the right of the 12″ drum and also tilted toward you: a kind of mirror image of the 12″ tom.

The floor tom should be about 2″ lower than your snare drum and can be tilted slightly in your direction. As you glide your arms in a clockwise motion around your kit, everything should feel accessible to you. Place your ride cymbal to your right and position it so that your right arm is extended about 150 to 160 degrees. The stick should easily touch the main body of the cymbal, usually where the company logo is painted and the cymbal tapers or curves downward. If the stick is touching the bell or cup of the cymbal, the cymbal needs to be pulled further away from you. You will also want to tilt the cymbal toward you.

If you don’t put a rug under your drum set, you will slide around, and your playing will suffer. Make sure, however you set up your drums, that everything stays where you put it!

Musical Ringtone

A phone only rings when a special “ringing signal” is sent to it. For regular telephones, the ringing signal is a 90-volt 20-hertz AC wave generated from the switch that the telephone is connected to. For mobile phones, the ringing signal is a specific radio-frequency signal.

An alternative to a ring tone for mobile phones is a vibrating alert. It may be useful:

in noisy environments
in places where ring tone noise would be disturbing
for the hearing impaired

Types of ring tone


Early phones had the ability to play only monophonic ring tones, short tunes played with simple tones. These early phones also had the ability to have ring tones programmed into them using an internal ring tone composer. Various formats were developed to enable ring tones to be sent via SMS text, for example RTTTL encoding.


Polyphonic means that multiple notes can be played at the same time using instrument sounds such as guitar, drums, electronic piano, etc. Many phones are now able to play more complex polyphonic tones; up to 128 individual notes with different instruments are played simultaneously to give a more realistic musical sound.

Mobile phone handsets manufacturers have taken full advantage of new technologies to improve speakers in order to produce better sound quality.

Polyphonic ringtones are based upon midi or midi-like sequences so can pool in the 100+ different midi sounds, many polyphonic capable phones are able to play standard midi files, others play sp-midi which is scalable polyphony and depending on the number of channels the phone can play the handset will render that many notes. On an old polyphonic capable phone may play 4 notes at once with the flashier new handsets being able to render 128 notes at once. Many phones support SMAF (.mmf) files which is based upon a sound format devised by Yamaha.

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