TNT wrote:Michi, my lugged 12" remo is a perfert circle compression ring that is no where close to the head nor gets in the way of my legs wrapped around it since the lugs are spaced @ 7" apart.
The Remo mount is less likely to get in the way than the LP one because Remo situate the lugs further down from the bearing edge and because the Remo lugs hug the shell more tightly. With an LP djembe, that's not the case:
The compression ring is stiff so that there is just as much uniform compression on the head anywhere in circumfrence(as seen by checking the sound at any location when tuned).
Yes, the Remo ring (or band, more accurately) is very stiff because of its height, while taking up almost no width. The LP mount is also plenty stiff enough, but much wider. In my opinion, the Remo mount is a better mount than the LP ComfortCurve II rim.
I would think would be more difficult to obtain by ropes especially using your last 28 knots on a 15" drum. I checked this drums sound against many(around 15) in the store, roped and lug.
With the knot spacing at around 1.8" or less, a rope-tuned djembe will tune the skin very evenly. In terms of evenness of tension around the perimeter, I don't think there is any significant difference between a lug-tuned and a rope-tuned mount. They both work.
To me it sounded better than most, especially for such a small drum and mic with effects on it great! I played it in a latin drum circle last weekend acoustic and it really cut through especailly the hi's. I like the look of the drum alot too. I few ounces of weight, hmmmm most won't even noticed that bulk of which will be in the shells wood density.
On a fibreglass drum, I believe that the mounting hardware actually accounts for a significant fraction of the overall weight. I've never pulled apart a Remo or LP and weighed the shell and hardware separately but, given how light some of these drums are overall, the hardware has to account for a fairly large proportion. For a traditional djembe, the fraction of the weight of the hardware is relatively less because the shell is so much heavier.
There are other trade-offs involved regarding weight. The traditional hardwoods for djembes are all hard and dense, which makes them heavy. (In turn, this has a big influence on sound. Djembes made from lower-density woods and other material sound different.) To play a drum standing, it needs to have a certain weight. Drums less than 8kg in weight or so get harder to play standing up because they move around a lot. There isn't enough mass in them for inertia to stop the drum from moving when I hit it. So, 8kg or more is nice.
At the other end of the scale, once you get up around 13kg or so, it gets bloody hard work to play the drum standing up. (You can definitely tell the difference between a one-hour concert with an 8kg drum vs a 13kg drum.) But, with the traditional woods, larger shells quickly end up at 12 or 13 kg. That makes a light-weight mounting system desirable because, once you are up at 12kg, you notice every extra little bit of weight.
Just reading some history the Djembe originated from the Djem tree
I don't know where you got that from, but it is almost certainly wrong. As best as I know, there is no such thing as a "Djem" tree. The most prized traditional wood for djembes is Lenke (also called Doussie). (You can find a bit more about the traditional woods here
Do you have link for the "Djem tree" thing? I'd like to have a look.
according to the Bamana people in Mali, the name of the djembe comes from the saying "Anke djé, anke bé" which translates to "everyone gather together in peace" and defines the drum's purpose. In the Bambara language, "djé" is the verb for "gather" and "bé" translates as "peace".
Yes, that is one of the stories about the origin. I'm not sure what that has to do with tuning systems though
I read that it's uncertain that the drum may date back centuries, who knows what they are suppost to "sound" like, or what they should be made of to be called a Djembe, what I find is the peacefull purpose as stated above to be significant.
The sound of the djembe has changed dramatically over the past few decades. In particular, with the advent of steel rings and use of modern rope, the pitch of djembes went up hugely. (The traditional rawhide mounts couldn't maintain anywhere near as much tension. You can hear the difference clearly in early recordings of Ballets Africains and Ballet Djoliba, for example. What was a solo djembe back then would, at best, be called an accompaniment djembe today.)
I’m sensing some that are diehard traditionalist that surround this drum don’t take too kindly to western technology, probably the very reason for it's growing popularity, global marketing and useage.
Many people on this forum dislike the western copies. I include myself in that group. To some extent, that might be snobbery, but I don't think that it is all snobbery. Once you spend some time learning about the traditional rhythms, and spend time with a good teacher, a picture of the instrument builds up that is much larger, and a musical repertoire builds up that suggests that the traditional technique and sound (whether low or high) have a range and expressiveness that few modern copies can match.
That is not to say that the only way to play a djembe is traditionally. As far as I am concerned, absolutely anything goes, such as the recent examples we've seen of djembes played with maracas or with brushes. That's all perfectly fine, just not traditional.
Regarding whether a modern fibreglass djembe with synthetic skin should be called "djembe", my personal opinion is "no." Not because it is made of fibreglass and has an artificial skin, but because the sound is so different from a traditional djembe. In effect, the modern copy is a drum that is similar to a djembe, but sounds too different to be called a djembe and probably deserves a separate name in its own right. As an analogy, acoustic guitars made of plastic sound very different from acoustic guitars made from wood. Whether the sound difference is large enough to give the plastic version a different name is a matter of personal opinion, of course.
Regardless of where one falls in this debate, I think what matters more than anything is to have fun. After all, that's the point of playing an instrument. And people can have just as much fun on a Remo as on any other djembe. In that sense, the point is moot.
I would suggest though that taking lessons with a good teacher is worthwhile regardless of what kind of djembe you play. There are techniques and rhythmic figures in the traditional style that will almost certainly help you to produce a wider variety of sounds on your drum and produce those sounds with greater clarity. Similarly, the traditional rhythms and solo techniques will likely open new musical doors. Both will make you a better percussionist.
That is not to say that traditional style can offer everything. But it does offer a lot, so it might be worth having a look, just as much as it is worth having a look at non-traditional techniques and styles.