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Drum that produces a low or indefinite pitch

The bass drum is a large drum that produces a note of low definite or indefinite pitch. The instrument is typically cylindrical, with the drum's diameter much greater than the drum's depth, with a struck head at both ends of the cylinder. The heads may be made of calfskin or plastic and there is normally a means of adjusting the tension either by threaded taps or by strings. Bass drums are built in a variety of sizes, but size does not dictate the volume produced by the drum. The pitch and the sound can vary much with different sizes, but the size is also chosen based on convenience and aesthetics. Bass drums are percussion instruments and vary in size and are used in several musical genres. Three major types of bass drums can be distinguished. The type usually seen or heard in orchestral, ensemble or concert band music is the orchestral, or concert bass drum (in Italian: gran cassa, gran tamburo). It is the largest drum of the orchestra. The kick drum, a term for a bass drum associated with a drum kit, which is much smaller than the above mentioned bass drum. It is struck with a beater attached to a pedal, usually seen on drum kits. The pitched bass drum, generally used in marching bands and drum corps, is tuned to a specific pitch and is usually played in a set of three to six drums. In many forms of music, the bass drum is used to mark or keep time. The bass drum makes a low, boom sound when the mallet hits the drumhead. In marches, it is used to project tempo (marching bands historically march to the beat of the bass). A basic beat for rock and roll has the bass drum played on the first and third beats of bars in common time, with the snare drum on the second and fourth beats, called backbeats. In jazz, the bass drum can vary from almost entirely being a timekeeping medium to being a melodic voice in conjunction with the other parts of the set.

Bass drums have many synonyms and translations, such as gran cassa (It), grosse caisse (Fr), Grosse Trommel or Basstrommel (Ger), and bombo (Sp). To play this instrument, a person would strike the right side of the davul with a large wooden stick, while the left side would be struck with a rod. The military bands of the Ottoman Janissaries in the 18th century were one of the first groups to utilize davuls in their music; Ottoman marching songs often had a heavy emphasis on percussion, and their military bands were primarily made up of davul, cymbal and kettle drum players. In Ottoman society, davul and shawm players would perform together in groups called davul zurnas, or drum and shawm circles. This long reach meant that many aspects of Ottoman culture, including the davul and other janissary instruments, were likely introduced to other parts of the world. In Africa, the indigenous population took the basic idea of the davul – that is, a two headed cylindrical drum that produces a deep sound when struck – and both increased the size of the drum and changed the material from which it was made, leading to the development of the long drum. Long drums were typically 2 meters in length and 50 centimeters in diameter, much larger than the Turkish drums on which they were based. The indigenous population also believed that the tree from which the long drum was made had to be in perfect shape. Once an appropriate tree was selected and the basic frame for the long drum was constructed, the Africans took cow hides and soaked them in boiling hot water, in order to stretch them out. During the 1960s, many rock ‘n’ roll drummers began incorporating more than one bass drum in their drum kit, including the Who's Keith Moon and Cream's Ginger Baker.

In 1900, Sonor drum company introduced its first single bass drum pedal. William F. Ludwig made the bass drum pedal workable in 1909, paving the way for the modern drum kit. A bass drum pedal operates much the same as the hi hat control; a footplate is pressed to pull a chain, belt, or metal drive mechanism downward, bringing a beater or mallet forward into the drumhead. The beater head is usually made of either felt, wood, plastic, or rubber and is attached to a rod shaped metal shaft. The pedal and beater system are mounted in a metal frame and like the hi hat, a tension unit controls the amount of pressure needed to strike and the amount of recoil upon release.

A double bass drum pedal operates much the same way as a single bass drum pedal does, but with a second footplate controlling a second beater on the same drum. Most commonly this is attached by a shaft to a remote beater mechanism alongside the primary pedal mechanism. One notable exception to this pattern is the symmetrical Sleishman twin bass drum pedal. Alternatively, some drummers opt for two separate bass drums with a single pedal on each, for a similar effect.

When using a double bass drum pedal, the foot which normally controls the hi hat pedal moves to the second bass drum pedal, and so the hi hat opens and remains open. A drop clutch can be used to keep the hi hat in the closed position, even with the foot removed from the pedal.

There are 3 primary ways to play single strokes with one foot. The first is heel down technique, where the player's heel is planted on the pedal and the strokes are played with the ankle. This stroke is good for quiet playing and quick syncopated rhythms. The next technique is heel up, where the player's heel is lifted off of the pedal and the strokes originate from the hip. The ankle is still flexed with each stroke, but the full weight of the leg can be used to add additional power for louder playing situations. Lifting the heel allows access to several double stroke techniques as well. The third primary technique is the floating stroke where the heel is lifted off the pedal as in heel up, but the stroke is played primarily from the ankle as in heel down. This motion can allow greater speed and higher note density at louder volumes but is not efficient for slow tempos or sparse rhythms. Drummers such as Thomas Lang, Virgil Donati, and Terry Bozzio are capable of performing complicated solos on top of an ostinato bass drum pattern. Thomas Lang, for example, has mastered the heel up and heel down (single and double stroke) to the extent that he is able to play dynamically with the bass drum and to perform various rudiments with his feet. In order to play "doubles" on the pedal, drummers can employ 3 main techniques: slide, swivel, or heel toe. In the slide technique, the pedal is struck around the middle area with the ball of the foot. As the drum produces a sound, the toe is slid up the pedal. After the first stroke, the pedal will naturally bounce back, hit the toe as it slides upwards, and rebound for a second strike. In the swiveling double, the pedal is struck once in the normal manner for the first note, then the heel is immediately rotated around the ball of the foot to the side of the pedal while simultaneously playing a second stroke. This rotation can be to the inside or outside, either will work, and results in a faster second stroke than is ordinarily possible. ]] In many forms of heavy metal and hard rock, as well as some forms of jazz, fusion, and punk, two bass drums are used, or alternatively two pedals on one bass drum. If two drums are used, that is often to give a more impressive appearance on large stages, but sometimes, the second drum is pitched differently to provide some variety in the notes, thus creating a more nuanced sound. The first person to use and popularize the double bass drum setup was jazz drummer Louie Bellson, who came up with the idea when he was still in high school. Double bass drums were popularized in the 1960s by rock drummers Ginger Baker of Cream, Mitch Mitchell of the Jimi Hendrix Experience, Keith Moon of the Who and Nick Mason of Pink Floyd. After 1970, Billy Cobham and Narada Michael Walden used double kick drum with the jazz fusion project Mahavishnu Orchestra, Chester Thompson with Frank Zappa and Weather Report, Barriemore Barlow with Jethro Tull, and Terry Bozzio with Frank Zappa. For these genres the focus was 'odd meter grooves and mind blowing solos'. Double bass drumming later became an integral part of heavy metal, Donati is regarded as the first drummer to successfully use inverted double strokes with both feet, in addition to complex, syncopated ostinato patterns. Roddy, Hoglan and Kollias are acknowledged as the leaders of extreme metal drumming with their use of single strokes at 250+ beats per minute, while, Jarzombek and Haake's double bass drumming influenced the djent genre. The history and development of double bass (as well as notated playing instruction) can be traced in the books Encyclopedia of Double Bass Drumming written by Bobby Rondinelli and Michael Lauren and The Complete Double Bass Drumming Explained written by Ryan Alexander Bloom. In addition to these books, Double Bass Drumming written by Joe Franco and Double Bass Drum Freedom written by Virgil Donati are also commonly used resources for double bass instruction.

The "bass line" is a unique musical ensemble consisting of graduated pitch marching bass drums commonly found in marching bands and drum and bugle corps. Each drum plays a different note, and this gives the bass line a unique task in a musical ensemble. Skilled lines execute complex linear passages split among the drums to add an additional melodic element to the percussion section. This is characteristic of the marching bass drum—its purpose is to convey complex rhythmic and melodic content, not just to keep the beat. The line provides impact, melody, and tempo due to the nature of the sound of the instruments. The bass line usually has from as many as seven bass drums to as few as two. But most high school drumlines consist of between three and five.

A bass line typically consists of four or five musicians, each carrying one tuned bass drum, although variations do occur. Smaller lines are not uncommon in smaller groups, such as some high school marching bands, and several groups have had one musician playing more than one bass drum, usually small ones, with one mounted on top of the other. The drums are typically between 16" and 32" in diameter, but some groups have used bass drums as small as 14" and larger than 36". The drums in a bass line are tuned such that the largest will always play the lowest note with the pitch increasing as the size of the drum decreases. Individually, the drums are usually tuned higher than other bass drums (drum set kick drums or orchestral bass drums) of the same size, so that complex rhythmic passages can be heard clearly and articulated. Unlike the other drums in a drumline, the bass drums are generally mounted sideways, with the drumhead facing horizontally, rather than vertically. This results in several things. First of all, to ensure that a vibrating membrane is facing the audience, bass drummers must face perpendicular to the rest of the band and so are the only section in most groups whose bodies do not face the audience while playing. Consequently, bass drummers usually point their drums at the back of the bass drummer in front of them, so that the drum heads will all be lined up, from the audience's point of view, next to one another in order to produce optimal sound output.

Since the bass drum is oriented differently from a snare or tenor drum, the stroke itself is different, but the fundamentals remain the same. The player's forearms should be parallel to the ground and bent at the elbows. The line between their shoulder and elbow should be vertical and the mallet should be held upward at a 45 degree angle. The hands hold bass mallets in such a way as to place the center of the mallet in the center of the head. The mallet shaft bottom should be flush against the bottom part of the hand when playing, differing from other grips typical to percussion instruments. The motion of the basic stroke is either similar to the motion of turning a doorknob, that is, an absolute forearm rotation, or similar to that of a snare drummer, where the wrist is the primary actor, or more commonly, a hybrid of these two strokes. Bass drum technique sees huge variation between different groups both in the ratio of forearm rotation to wrist turn and the differing views on how the hand works while playing. Some techniques also call for the use of fingers supporting the motion of the mallet by opening or closing, but no matter whether it is open or closed the thumb needs to be close to the rest of the fingers. However, the basic stroke on a drum produces just one of the many sounds a bass line can produce. Along with the solo drum, the "unison" is one of the most common sounds used. It is produced when all of the bass drums play a note at the same time and with a balanced sound; this option has a very full, powerful sound. The rim click, which is when the shaft (near the mallet head) is struck against the rim of the drum, either solo or in unison. Rimshots are rare on a bass drum and usually only happen on the top drums. The different positions of the typical five person bass line each require different skills, though not necessarily different levels of skills. Contrary to the popular belief that "higher is better," each drum has its own critical role to play. Bottom, or fifth bass, is the largest, heaviest, and lowest drum in the drumline. Consequently, it is used frequently to help maintain pulse in an ensemble and is thus sometimes referred to as the "heartbeat" of the group (the bottom bass was also often referred to as the "thud" bass in days gone by, indicating that many of their notes were the last one at the end of a phrase). Although this player does not always play as many notes as fast as other bass drummers (the depth of pitch renders most complex passages indistinguishable from a roll), his or her role is essential not only to the sound of the bass line or the drum line, but to the ensemble as a whole, especially in the case of parade bands. The fourth bass is slightly smaller than the bottom drum (generally smaller in diameter) and can function tonally similar to its lower counterpart, but usually plays slightly more rapid parts and is much more likely to play "off the beat" in the middle rather than at the beginning or end of a passage. The third bass is the middle drum, both in terms of position and tone. Its function is usually that of the archetypical bass drum. This player plays an integral role in the actual rendering of complex linear passages. The second bass is known for having a job in the drumline. This player's parts are very likely to be directly adjacent to the beginning or end of a phrase and less likely to be on a beat, which is highly counter intuitive, especially to a new player. Sometimes this drum can function about the same as the top drum, but usually the second and top drummer function as a unit, playing rudimentarily difficult passages split between them. Top, or first, bass is the highest pitched drum in the bass line and usually starts or ends phrases. The high tension drum heads allow this player to play notes that are just as taxing as those of the snare line, and often the top bass will play a part in unison with the snare line to add some depth to their sound. Some bass lines have more than five bass drums, with the largest being the largest number (bass 7 on a 7 bass line), and the smallest being referred to as first bass.