The sound of your drums is definitely affected by your choice of colors.
I won’t go into all the scientific jargon, including chemical analysis, existential weights created by atmospheric conditions or imperfections which arguably can and most often do affect tonality in wooden drums. I will however explain in as simple a way possible the sonic outcome imposed by different color encumberances/enhancements on both wood ply and wood stave drum shells.
Let’s say your favorite color is black. Not technically considered a color of its own, but rather a combination of all known colors. Black is therefore a highly complex layer of elements competing for relevance in the perceived spectrum of light. The rather chaotic assemblage of colors struggling for human perception consequently inhibit passage of sound. The result of which forces sound waves to (for lack of a better term) congeal and focus energy in a direct non-wavering manner. Hence, we call that sound “focused”, and depending on the density of the wooden shell, determined by its ply or stave manufacture, it is also often referred to as “dark”. The complete opposite is true with the “color” white, which like black is not a color at all. However unlike black which is a combination of all known “colors”, white is absent any element of pigmentation. Without those elements of pigmentation, there is very little struggle for recognition. The effect then on sound waves is beyond negligent and through oscilliscopic analysis the effect is diffused or what we refer to as “open”.
*In PART 2 of this series on how color affects sound, I’ll discuss various combinations of pigments. Pink, orange, red, purple, blue green, et al, and how the varying degrees of color change the tonality of your drums
*In PART 3, I’ll teach you about the psychological nuances associated with color versus sound.
*If you make it to PART 4, I will definitely commend you personally for making it past the initial paragraph in PART 1 of this series.
I won’t go into all the scientific jargon, including chemical analysis, existential weights created by atmospheric conditions or imperfections which arguably can and most often do affect tonality in wooden drums. I will however explain in as simple a way possible the sonic outcome imposed by different color encumberances/enhancements on both wood ply and wood stave drum shells.
Let’s say your favorite color is black. Not technically considered a color of its own, but rather a combination of all known colors. Black is therefore a highly complex layer of elements competing for relevance in the perceived spectrum of light. The rather chaotic assemblage of colors struggling for human perception consequently inhibit passage of sound. The result of which forces sound waves to (for lack of a better term) congeal and focus energy in a direct non-wavering manner. Hence, we call that sound “focused”, and depending on the density of the wooden shell, determined by its ply or stave manufacture, it is also often referred to as “dark”. The complete opposite is true with the “color” white, which like black is not a color at all. However unlike black which is a combination of all known “colors”, white is absent any element of pigmentation. Without those elements of pigmentation, there is very little struggle for recognition. The effect then on sound waves is beyond negligent and through oscilliscopic analysis the effect is diffused or what we refer to as “open”.
*In PART 2 of this series on how color affects sound, I’ll discuss various combinations of pigments. Pink, orange, red, purple, blue green, et al, and how the varying degrees of color change the tonality of your drums
*In PART 3, I’ll teach you about the psychological nuances associated with color versus sound.
*If you make it to PART 4, I will definitely commend you personally for making it past the initial paragraph in PART 1 of this series.
Sound affected by drum finishes/wraps PART 1
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