PERCUSSION
Chris Brown has been known to swoon over antique microphones, vintage drums, and country
Telecasters. He can’t ride a horse, but does have a weakness for cowboy shirts.
Find him at [email protected].
By Chris Brown
Bearing Edges
S
hopping for a new drum kit can be
exciting. The selection and op-
tions seem endless – brand, colour,
number of drums, hardware, pedals,
cymbals...
I have helped hundreds of drummers with
their purchases over the years, but not one
has ever asked me about bearing edges. I find
this interesting, because the type of bearing
edge on your new kit has a huge impact on
the sound of the drums.
The bearing edge is the only place where
the shell touches the drum head. This is
where the energy of your stick striking the
head is transferred to the body of the drum.
The amount of head/shell contact will affect
the amount of the shell’s tone that will be
added to the sound produced by the head.
Most drummers spend a great deal of time
thinking about the woods they want to make
up the shells of their kit, but little to no time
thinking about how the bearing edge will
(literally) impact that decision.
In the last few years, Pearl and Yamaha
have begun to cut different bearing edges
onto drums of different sizes. A rack tom
under 14 in. will have sharp 45-degree bear-
ing edges while floor toms and kicks have
well-rounded 30-degree bearing edges.
Other makers stay with the tried and true,
like Gretsch, which has cut 30-degree bearing
edges into all of its products for decades.
What impact do these different styles of bear-
ing edges have on the sound of your drums?
There are four basic types of bearing edges:
45-Degree
Cut into the inside edge of shell, these offer
minimal shell contact, which allows the drum-
28 • C A N A D I A N M U S I C I A N
head to vibrate longer, thus increasing the
drum’s sustain. This limited contact with the
shell provides a more “modern” sound with
increased cut and attack. The drum sounds
brighter as the bearing edge is in contact
with the head at a single point, allowing for
more harmonics to develop and the percep-
tion of a brighter tone.
Disadvantage: the drum is more difficult
to tune and sounds less warm.
Double 45-Degree
Cutting a 45-degree angle into both the
inside and outside of the shell moves the
point of shell contact away from the edge of
the drum and the collar (bend) in the head
film. This increases sustain and allows a wider
tuning range.
Disadvantage: the bearing edge can be
more easily damaged, causing unwanted
buzzing or deadness and tuning difficulties.
45-Degree Roundover
For drummers looking for that “classic sound,”
the rounder bearing edge is what you should
be looking for. More contact provides the
shell with the most opportunity to provide
that woody warmth so characteristic of the
1960/’70s drum tones. Many makers still use
this style of bearing edge on their jazz and
vintage offerings.
Disadvantage: less attack, fewer overtones,
and less definition.
30-Degree Full Roundover
This offers the most shell contact with the
head. These drums are easy to tune and offer
the most control of overtones and that “fat”
drum tone. Many kick drums and floor toms
use this type of bearing edge.
Disadvantage: “Fat” can turn to “tubby,” less
drum definition, and muddier tones.
There is always some experimentation go-
ing on in the industry with bearing edges
receiving backside (outside edge) cuts, slight
variations in the degree at which they are cut,
and the amount of attention paid to the edge
after it is cut (sanding, gap fillers, sealants,
etc.) Some snare drum makers will combine
the roundover edge on the batter head with
a 45-degree edge on the resonant head look-
ing for the advantages of both.
I recommend you visit your favourite
drum retailer and have a listen to some well-
tuned brands to see which kind of bearing
edge you prefer. As most new drums are sold
with single-ply heads, this allows you to really
hear the differences.
I would focus on a 12-in. tom and a 16-in.
floor tom as this will give you some reference
points on the most common sized drums.
Take notes and try not to let the brand influ-
ence you. Listen for the fundamental tone,
the harmonics, the attack, and the sustain of
each type of bearing edge and this may go a
long way in helping you make the best deci-
sion about the one you prefer.
Finally, if you are purchasing used drums,
take a close look at the bearing edges. If
possible, take the batter heads off and sit the
bearing edge of the drum on a glass table. If
you see daylight under the drum or if it rocks,
the bearing edges need work and the drum
price should be adjusted accordingly. The
number one issue with used drums is dam-
aged bearing edges; this results in the drum
being out of round or impossible to tune.