Exploring Drum Terminology: Wet, Dry, and Cutting Sounds
As a drummer with over 50 years of experience, I've come across a variety of terminologies and techniques used in drumming. Two key terms that often come up are 'wet' and 'dry' sounds, as well as the concept of 'cutting' cymbals. These terms not only describe the inherent characteristics of drums but also refer to the effects used to shape the sound. In this article, we will delve into these terms and explain their significance in various drumming scenarios.
The Meaning of Wet and Dry Sounds
In drumming, the terms 'wet' and 'dry' describe the sustain and muffeling of the drums, which in turn affect the overall sound. When a drum is said to be 'wet,' it implies that it has more sustain and less muffeling. This results in a fuller, richer sound that can be likened to playing on a piece of wood rather than a cardboard box. Conversely, 'dry' drums have lots of muffeling and little sustain, leading to a more muted and controlled sound.
Similarly, when discussing sound effects on drums, 'wet' describes a setting where there is a high level of reverb, while 'dry' refers to a setting with minimal reverb. Reverb can add depth and width to the sound, making drums 'wet,' whereas a dry setting maintains a more natural and clear sound.
John Bonham's Wet Sound
John Bonham, renowned for his powerful and distinctive drumming style, often achieves a 'wet' sound. This is evident in many of his performances. However, in a particular song, an added reverb effect transformed his usual sound into an even more 'wet' one. For instance, in the song where 'The Levy Breaks,' the reverb effect was applied, which can be heard by fans and musicians alike. This showcases how additional effects can enhance and modify the inherent 'wet' qualities of the drums, creating a more immersive and engaging listening experience.
Cutting Cymbals: A Key Element in Drumming
The term 'cutting' is often used to describe cymbals that have a pronounced and distinct sound. This is achieved by playing the cymbal near the edge, which produces a wash of sound that is particularly loud and pronounced. Conversely, playing near the bell of the cymbal can create a 'tingy' and less pronounced sound that blends more seamlessly with the rest of the music.
The way cymbals are played can significantly alter the texture and dynamics of the drum sound. In the song by the Ramones, the drums and cymbals are positioned very front and center. The drummer is 'cutting' through the sound, making the cymbals audible and impactful. This technique is crucial in genres where a sharp, distinct drum sound is desired, such as in punk and metal music.
Comparative Analysis of Drum Sound
To better illustrate these concepts, let's compare the cymbal sound in two different versions of 'Peter Gunn' by Henry Mancini and Emerson, Lake Palmer (ELP).
Henry Mancini's version of 'Peter Gunn' features cymbals that blend into the music, contributing to the overall ambiance without being overly pronounced. This is a classic example of a 'wet' sound where the reverb effect is used to enhance the natural sound of the cymbals. On the other hand, ELP's version of 'Peter Gunn' features cymbals that 'cut' through the sound, making them stand out and creating a more dynamic and distinctive sound.
By analyzing these different versions, we can appreciate how the use of 'wet' and 'cutting' effects can transform the same piece of music in dramatically different ways. Whether you opt for a 'wet' sound or a 'cutting' effect, it all depends on the desired mood and the specific genre of the music.
Conclusion
In conclusion, understanding terms like 'wet,' 'dry,' and 'cutting' can greatly enhance your drumming skills and help you produce the exact sound you want. Whether you are using these terms to describe the natural characteristics of your drums or the effects you apply, they are crucial in shaping the overall sound of your music. By experimenting with these concepts, you can achieve a wide range of sounds and styles, making your performances more versatile and engaging.