Step No. 6
In early tempering stages, strike with a relatively large mallet covered in very soft felt. This acts acoustically like a low‑pass filter: it suppresses many high-frequency overtones and allows the mode (1,1) fundamental to dominate. As the head becomes more uniform in tension and closer to ideal alignment, gradually transition to harder mallets (which excite additional overtones) to assess overtone alignment, timbre, and overall tone quality.
Physically, a soft, heavy mallet favors large-scale membrane deformation corresponding to the (1,1) mode, while harder or lighter mallets excite smaller-scale, higher-frequency vibration modes more efficiently. Therefore, mallet choice has a direct acoustic effect on the spectrum (not just a subjective “tone color” effect ) and significantly influences what the tuner or your ear perceives during tuning..
Unification of vibrating mode (1,1) at all lug points is the objective in the initial stage of tempering. It is a good idea to experiment with different mallets until you get a solid reading on the meter. If at all possible, it is best do this process in a completely quiet room. As the head becomes more clear, gradually move to a harder mallet. The harder mallet will allow more of the higher partials to be heard in the spectrum.
Photo Courtesy of John J. Papastefan
1. Place the pedal of the drum so that it is in the lowest range for its MSR, heel to the floor, and ensure the pedal is stable. If the drum has a master tuner, lower the head to the threshold of pitch. Ideally, all tension rods should be engaged; but if the counterhoop isn’t perfectly flat, even tension may leave a few lugs slightly disengaged at very low tension. That is acceptable — achieving uniform tension among engaged lugs matters more at this stage than full lug engagement.
2. Mute the other timpani to prevent sympathetic vibrations from influencing your measurement.
3. Start at lug no. 1 (usually closest to the playing spot). Ensure the head is at rest, place a microphone near the normal striking spot, strike gently (pp–p) with the soft mallet, and read the tuner or tuner + spectral analyzer. Use a light touch — do not overstrike! The aim is to excite primarily mode (1,1).
4. For drums without a master tuner: if the reading is sharp, gently press the center of the head; if flat, slightly increase tension at the lug. Re‑strike and re‑measure until the reading corresponds (or approximates) to the desired lowest note of the MSR.
5. Employ the cross‑lug tuning sequence (diametric cross‑lug tensioning, with orthogonal lugs at 90°). Work quadrant by quadrant: after each adjustment, damp the head thoroughly before the next strike to avoid residual vibrations influencing the tuner or spectral readout.
6. Make only small incremental adjustments — aim to tune upward (sharpen) rather than downward (flatten), for better head stability and longevity.
7. For each pair of opposing lugs (and their orthogonal partners), ensure they are balanced before proceeding. Focus especially on lugs near playing position, but do not neglect orthogonal lugs — they significantly influence overall head behavior and stability.
8. Once all lugs yield consistent (1,1) readings, shift the pedal to mid‑playing range. Strike at the normal playing spot with a medium or hard stick: first softly, then louder. Check whether the perceived pitch remains consistent across dynamics. If not, return to the lowest tension and repeat the tuning process. Be patient: subtle adjustments may require several cycles.
9. After you have achieved consistent pitch across lug points, test with mallets of varying hardness and dynamics. A well‑tempered drum should produce a strong, immediate, sustained principal tone plus several well-aligned overtones (partials up to the 5th, 6th, or even 7th), supporting a stable “virtual fundamental.”
Note again: even when mode (1,1) is in tune at every lug and across various pedal positions, overtone alignment — hence timbre — will shift as tension (pedal position) changes. As you move away from the “sweet-spot,” higher modes diverge more from their near‑harmonic alignment, subtly changing tone color and slightly reducing clarity or pitch focus. This is a natural consequence of the physics of circular membranes; the goal is not perfect harmonicity, but an optimal compromise across range.
