The resonant as mentioned and as John Good claims, is the main actor when trying to modify the duration, the attack, and the timbre. The way to tune it is the same as I showed you a little while ago, so let’s do the same job on it, paying attention that all the areas near the edge have the same pitch.
There is no table that can predict exactly what will happen if we vary the tension of the two skins, for that, as I have already told you, practice and experience count, but in principle, I can sum it up like this:
- RESONANT SKIN (the one below) SLOWER than the swing: The sound will be deep and full-bodied.
- RESONANT SKIN (the one below) MORE PULL than the door leaf: The sound will decay quickly.
- LEATHER PULLED WITH THE SAME TUNING: The sound will be regular, strong and with a normal sustain.
I recommend I will never get tired of saying it, this is one of the many methods, but the difference will be the experience. Try many times, try different skins, but always try using your ear as the main reference, just so you can learn.
The sound will vary also and above all according to the type of skin and the type of wood with which the stem was built.
TUNE THE LEATHER OF THE CASE
For the case we need to make some important distinctions :
RESONANT SKIN WITH THE HOLE OR WITHOUT?
Having the hole or not having it is two very different things and impacts at the level of sound and tuning.
The hole makes it possible to insert the microphone into the case, making the work of the technicians easier, but obviously tends to cancel the work of the resonant skin. The advice, therefore, if you play pop/rock is to make a hole but not too big and to place it sideways and not in the center of the case.
If your genre is jazz, the case will be smaller and the hole may not be necessary, as you will need a different sound, without the classic “punch” of rock.