Drumtune PRO 2.0 - ManualAndroid - EN-v1.0B

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ANDROID MANUAL (ENG)
QUICK START GUIDE
BASIC TUNER
STEPS
ENTER BASIC TUNER

2
1.
Go to tuner via bottom menu.
2.
Tap drum image.
SELECT A DRUM
3.
In menu, select drum type
you wish to tune.
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HIT DRUM
4.
4 Hold microphone of Android device
approx. 5 cm / 2” from impact spot.
(Aim MIC holes perpendicual to
impact spot and try which distance
works best!)
Hit your drum head in the CENTER

to detect its FUNDAMENTAL TONE.
OR
Hit your drum head near the EDGE
to detect its LUG PITCH.
TIPS!
Hit gently.
Hit at the same distance from a lug.
Hit with the same force.
LOCK TARGET
5.
to detect its LUG PITCH.
*
Tap LOCK TARGET once a LUG PITCH
is detected.*
5
(*TAP AGAIN TO RELEASE TARGET)
TIPS!
The locked target tone becomes your
tuning reference tone.
Pick the tone from a lug that sings nicely!
PRESS RELEASE TARGET IF YOU WANT TO
DETECT CENTER TONE AGAIN.
REGULARLY UPDATE THE LOCKED TARGET
TONE!
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HIT NEAR EDGE
6.
* Hold microphone of Android device

to detect its DIFFERENCE with the
locked target tone.
TIPS!
Hit gently.
You can always tap to release the target to
lock onto a new tone at any time.*
CLEAR LUGS
7.
of another lug to detect the other
LUG PITCH.
Check difference between

7 DETECTED LUG PITCH and
LOCKED TARGET TONE.
TUNE UP / DOWN to match target.
REPEAT UNTIL ALL LUGS IN TUNE!
TIPS!
Match all other lug pitches totarget tone,
to ‘clear’ your drum head from
unwanted overtones.
ONLY tune in small gradual steps per lug.
Jump to opposite lugs in a cross-pattern.
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BASIC LUG TUNER

STEPS
ENTER LUG TUNER
1.
Go to LUG TUNER via icon or swipe.
SELECT # OF LUGS
2.
Tap # lugs icon.
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HIT NEAR LUG
3.
Hold microphone of Android device
* Hit your drum head near the

INDICATED LUG to detect its
3 DIFFERENCE with the target lug.
TIPS!
Hit gently.
You can always tap RELEASE LUG FOCUS
to redefine a new target lug pitch to clear
your lugs to.*
PRESS ‘NEXT LUG’
3.
Once DIFFERENCE with the target
lug pitch is detected,
press ‘NEXT LUG’ .
TIPS!
The drum key will indicate which lug is to
bechecked next!
Follow the indicated pattern!
Do not start fine-tuning until the differences
3 of ALL lugs are visualized.
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HIT NEAR NEXT LUG
4.
Hold microphone of Android device
*
Hit your drum head near the next
4 INDICATED LUG to detect its
DIFFERENCE with the target lug.
TIPS!
Hit gently.
Follow the cross pattern!
You can always tap RELEASE LUG FOCUS
to redefine a new target lug pitch to clear
your lugs to.*
PRESS ‘NEXT LUG’
5.
TIPS!
The drum key will indicate which lug is to
bechecked next!
Follow the indicated pattern!
REPEAT STEP 5 FOR ALL LUGS

Do not start fine-tuning until the differences
of ALL LUGS are visualized!
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FINE-TUNE ALL LUGS
6.
TIPS!
Press ‘next lug’ to go to the lug with the
largest difference (+ or -) *
* Start tuning from this lug.
Tune in SMALL STEPS per time per lug!
Press ‘next lug’.
Recheck & tune next lug.
Go over all lugs severall times until all lugs
match the target pitch.
REPEAT STEP 6
UNTIL
ALL LUGS ARE TUNED!
Your drum head is ‘cleared’ (= in tune)
when all lugs’ differences are marked green,
or within +/- 1 Hz of the target pitch.
NOTE
Press the drum head‘s center from time to
time, to help redistribute tension changes.
Regularly check the other lugs’ differences
again, to vizualize the overall effect of your
tuning actions! (Values get out-dated once
tension is changed.)
WOHOOOO ALL TUNED!
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SENSITIVITY SCREEN
Access Sensistivity settings in the

menu at the bottom of the screen
to adapt your microphone’s
sensitivity to the ambient noise.
TIPS!
Use ‘STUDIO’ or ‘QUIET’ whenever possible.
(ONLY Use ‘NOISY’ or ‘GIG’ to tune in louder
environments, if needed.)
If you have a drum with a long sustain, it’s

possible that the app will detect a new hit
during its sustain.
If this happens, set the sensitivity one step
upwards, until it doesn’t occur anymore.
If your phone doesn’t detect any hits, set

sensitivity to ‘STUDIO’ and check again.
Also check in your phone’s app settings if
Drumtune PRO has been granted
permission to use the microphone.
LOCK TARGET TIPS

RELEASE & RE-LOCK TARGET TO REFRESH IT!
NOTE
If you locked to a target tone, the app will focus on frequencies related to that
target tone. It will eliminate interference of other frequencies.
Make sure you ‘lock’ onto the right target tone! (EG. the right lug pitch...)
TIP:
Hit the drum near a lug that gives a correct lug pitch reading, and press ‘lock
target’ when you see the correct lug pitch reading.
Now you can check the lugs that gave erratc readings.
If you seem to get erratic readings, press release target.

Next hit near a lug.
When you see the lug pitch, press lock target again to update the lug pitch.
If the drum head’s tension changed a lot, due to tuning, it is required to update the
locked target pitch.
To do so press ‘release target’, check the new lug pitch and press ‘lock target’ again
when you have detected it. Now it is updated.
Drumtune PRO | Drum Tuner
QUESTIONS?
CONTACT: support@drumtunepro.com
www.drumtunepro.com
All rights reserved. © 2017 EXALTD CO., Ltd.
EXA® and Drumtune PRO® are registered trademarks of EXALTD CO., Ltd.
Pat. pending WO2017000047.
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ANDROID MANUAL (ENG)
QUICK START GUIDE
TUNING REFERENCES
INFO
FUNDAMENTAL TONE
Hit in center of EG. the batter head of a drum,
with both heads vibrating freely, to hear the
lowest tone that the drum can produce at a given
tuning of both drum heads.
This lowest tone is also called the ‘fundamental
tone’ of the drum.
Tune the fundamental tone of your drum up or

down, by tuning one head, or both heads, of the
drum up or down.
NOTE:
A drum’s fundamental tone isn’t a constant frequency during the decay of a drum. It
sustains for a while, before its pitch will shift over time when the sound is decaying.
As it gradually loses energy in the decay, other frequencies and overtones become
more pronounced in the timbre of the sound, which color the fundamental and
affect its decay dynamics. The frequency that is perceived, is also affected by the
impact strength and is audible after the attack of impact.
LUG PITCH
Hit near a lug, about 5 cm -7.5 cm (2”- 3”) inwards
from the edge of a drum head, to hear a higher
tone than the fundamental tone.
This higher tone is also called the ‘lug pitch’.
This tone is the ‘first order’ overtone of the funda-
mental.
For common tunings, depending tension and thick-
ness of batter and reso drum heads, the lug pitch
is about 1.5x to 2x higher in pitch than the fun-
damental tone.
Tune a drum head with itself by matching all lug
pitches to the same frequency.
NOTE:
When hitting a drum head near the edge, besides the lug pitch also higher order
overtones are present in the timbre of the drum sound. At some lugs, it could
happen that these ‘higher order’ overtones interfere with the lug pitch. If so, they
can be detected by the app instead of the lug pitch, causing instable readings.
To avoid that interferrence of unwanted frequencies, detect the lug pitch from a
drum lug that gives the correct lug pitch reading and press ‘lock target’.
With ‘lock target’ activated on the correct lug pitch you can detect the lug pitches of
the other lugs perfectly while the app kills all unwanted overtones.
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BATTER HEAD (TOP)
RESO HEAD (BOTTOM)
BATTER & RESO TENSION RELATIONSHIP

You can tune a drum to the same fundamental, with a theoretically infinite
amount of batter and reso tension combinations.
BATTER & RESO @ SAME LUG PITCH

When you tune the batter and the resonant head to the same lug pitch,
both drumheads will vibrate at the same speed which is most energy effi-
cient.
If both, the batter head and the resonant head are tuned to the same
lug pitch, the longest the fundamental tone’s sustain will be relative to
the drum’s resonance duration. The fundamental tone will sound
more pronouced, with a full bodied timbre in its decay.
BATTER & RESO @ DIFFERENT LUG PITCH

When you tune the batter and the resonant head to a different lug pitch,
both drumheads will vibrate at a different speed which is less energy effi-
cient.
By tuning both heads to different lug pitches, the decay of frequencies in
the sustain of the drum sound can be tweaked, together with the dynamcis.
The further the lug pitches of the batter head and the resonant head
are tuned apart, the shorter the fundamental tone will sustain, relative
to the drum’s resonance duration. Its timbre will become colored during
its decay as different overtones will be more audible over time.
• When the batter head is tuned higher than the resonant head, you
will have a slightly faster stick response and there will be more focus on
the attack of the sound.
• When the batter head is tuned lower than the resonant head, you will
have a less defined stick response and there will be less focus on the
attack of the sound.
• When you tune the batter and the resonant head to a different lug
pitch, especially at deeper shell sizes in comparison to their diameter, you
could hear a downward or upward pitch bend; as the heads wouldn’t
stay vibrating in sync over the total resonance duration.
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P4 ROCK TUNING (WIDE, SHORT)

interval
P4
G2 D2
interval
Octave interval
P4
G3 E1
A1
P4
interval
Below tuning is just an example of a possible tuning style. The possibilites are endless!
These estimated lug pitches may work well for your drum kit or musical style, or not...
Explore different tunings! Use these values as a starting point if you like.
Then tweak the kit’s tuning until your kit sounds & feels right for your needs.
KICK Fundamental 41 Hz / E1 @ medium/short sustain:

• Lug pitch batter head: 65 Hz
• Lug pitch reso head: 77 Hz
FLOOR TOM Fundamental 55 Hz / A1 @ short sustain:

RACK TOM 2 Fundamental: 73.5 Hz / D2 @ short sustain:

RACK TOM 1 Fundamental: 98 Hz / G2 @ short sustain:

SNARE Fundamental: 196 Hz / G3 @ medium/short sustain:

TIP!
These suggested lug pitches are estimated values to bring you close to your
targeted fundamental tones, but they may not be spot-on for your drum.
Clear heads to suggested lug pitches first. Next, check the fundamental tone.
Then tweak one, or both drum heads to reach the fundamental tone. EG:
• If the fundamental tone is too low, tune up resonant head evenly.

• If the fundamental tone is too high, tune down batter head evenly.
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P4 ROCK TUNING (WIDE, OPEN)

interval
P4
G2 D2
interval
Octave interval
P4
G3 E1
A1
P4
interval
KICK Fundamental 41 Hz / E1 @ medium/short sustain:

FLOOR TOM Fundamental 55 Hz / A1 @ maximum sustain:

RACK TOM 2 Fundamental: 73.5 Hz / D2@ maximum sustain:

RACK TOM 1 Fundamental: 98 Hz / G2 @ maximum sustain:


TIP!

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M3 ROCK TUNING (COMPACT, SHORT)

interval
M3
G2 D#2
interval
Octave interval
M3
G3 G1
B1
M3
interval
KICK Fundamental 49 Hz / G1 @ medium-short sustain:

FLOOR TOM Fundamental 61.5 Hz / B1 @ short sustain:

RACK TOM 2 Fundamental: 78 Hz / D#2@ short sustain:

RACK TOM 1 Fundamental: 98 Hz / G2 @ short sustain:


TIP!

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M3 ROCK TUNING (COMPACT, OPEN)

interval
M3
G2 D#2
interval
Octave interval
M3
G3 G1
B1
M3
interval
KICK Fundamental 49 Hz / G1 @ medium/short sustain:

FLOOR TOM Fundamental 61.5 Hz / B1 @ maximum sustain:

RACK TOM 2 Fundamental: 78 Hz / D#2@ maximum sustain:

RACK TOM 1 Fundamental: 98 Hz / G2 @ maximum sustain:


TIP!

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TYPICAL SNARE DRUM TUNINGS
LOWER TUNING
Fundamental: 165 Hz / E3 @ medium/short sustain:
MEDIUM TUNING
Fundamental: 196 Hz / G3 @ medium/short sustain:
• Lug pitch reso head: 385-395 Hz
HIGHER TUNING
Fundamental: 220 Hz / A3 @ medium/short sustain:
• Lug pitch reso head: 385-410 Hz
TIP!
Tune the batter head first first, then dial-in the reso until the drum reaches
its fundamental target tone.

• If the fundamental tone is too high, tune down resonant head evenly.
The batter head & the resonant head cooperate to get your sound & feel:
The batter head’s tightness affects how tight your stick response feels, and
its lug pitches largely determine your snare drum’s after-ring timbre; as well
as its rimshot/rimclick vs. dead-center hit tonal contrast.
In general for most tuning styles, it’s OK to keep the resonant head suffi-
ciently tight to get a more snappy wire response, nonetheless keep it still
loose enough, to preserve a lively body in your sound and avoid messy wire
response. Adjust your strainer tension to the resonant head tension to avoid
choking the drum head with the wires & to keep their response natural.
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TYPICAL KICK DRUM TUNINGS
LOWER TUNING
Fundamental: 36.5 Hz / D1 @ medium/short sustain:
MEDIUM TUNING
Fundamental: 41 Hz / E1 @ medium/short sustain:
HIGHER TUNING
Fundamental: 49 Hz / G1 @ medium/short sustain:
TIP!
Suggested lug pitches are estimated values to bring you close to
the target fundamental, but they may not be spot-on for your drum.
Clear heads to suggested lug pitches first.

Then check the fundamental:
• If the fundamental is too low, tune up resonant head evenly.

• If the fundamental is too high, tune down batter head evenly.
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DRUM SOUND INFO

A drum does not produce a single tone when struck.
Because its drum heads vibrate at different speeds at different locations, it
creates a whole tonal range containing many frequencies at once.
FUNDAMENTAL TONE OF THE SOUND

The frequency range of a drum contains the fundamental tone and a blend of
higher and lower tones, which are also called partials, like overtones…
The most audible tone at a center hit is the fundamental, and it is generat-
ed where your heads vibrate at the slowest speed.
At some spots your heads vibrate faster, which creates additional tones.
These additional tones color the sound, and define the timbre of your drum’s
sound.
TIMBRE OF THE SOUND

A drum sound isn’t constant but its tones change during the decay!
The sum of all aditional frequencies and how they behave during the decay
of the drum sound is referred to as timbre.
At different moment after impact, the timbre of the sound changes dynamical-
ly. Some tones die faster than other during the decay of a drum sound.
This can be audible as an overtone ‘ring’, a ‘pitch bend’ etc… in the sustain.
The blend of frequencies present in the sound, while playing a certain funda-
mental tone, make up for the character and color of your instrument.
EG. The difference in their timbre is why a guitar, a piano a saxophone and a
drum sound different when they all play the same fundamental tone.
It is the same note, but it has a totally different sound character and color,
when played on different instruments.
Timbre can be affected by head choice, hoop materials, bearing edge construc-
tion, shell material, damping materials, etc.
CLEARING
Since a drum sound contains that many tones, we percieve it in such a way
that it is never truly out of tune with other instruments.
A badly tuned drum may not sound truly off-pitch with other instruments,
but its sound can be very unpleasant to listen to when its heads are out of
tune with themselves.
A drummer can tune a drum head to itself by matching the tuning of all lugs of
the drum head to the same lug pitch.
Tuning all lugs to match the same pitch, ensures an even tension around the
bearing edge of a drum.
This makes the drum head vibrate at the same speed around the bearing
edge, which reduces the amount of different overtones audible in the timbre
of the drum sound.
A cleared timbre is easier to amplify live, leaves ‘space’ for other instru-
ments in the band, and is often way more pleasant to listen to.
NOTE: Tuning all lug pitches to the same frequency is also called ‘clearing’.
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COMFORT TUNING RANGE OF A DRUM

Drums are not tuned to standard tunings, like generally is the case with gui-
tars. There are no rules for drum tuning!
When playing a fill it may sound more melodic when all individual drums of
the kit are tuned to fundamental frequencies that sound well together (for
example in an interval, or to nicely spaced notes that fit a chord, etc.)
When it comes down to tuning drums, you are free to create your own,
unique sound.
However, you cannot force your drum to a fundamental tone that is too
high or too low, without its sound becoming dull, or choked.
Each drum has its own “comfort tuning range”, covering a certain range of
fundamental tones.
The term “comfort” is hereby referring to the amount of tuning options

you’ll have to reach a given fundamental tone.
When tuning to fundamental tones within this comfort tuning range, you
will be able to tune your drum with a wide variety of different head tensions
for batter and resonant head.
The diameter is the most predominant in determining the drum’s entire fre-
quency range, but also the combination & types of drum heads affects the
width and the extremes of this entire tuning range.
The comfort range is smaller that the entire tuning range of the drums.
If you want to tune lower or higher than that “comfort tuning range”, then
the lug pitches of both heads will need to become tuned gradually closer to
one another.
(You’ll simply have less tuning options to reach the extremes of your drums
tuning range.
When passing the extreme ends, the drumheads will become too slack or
too choked to still sound as a common drum sound, but it may get you a
useful effect stil for certain occasions.)
NOTE: Explore your drum’s tuning range to get to know the acoustic capa-
bilities of your drum. Once discovered, you’ll truly know your drum and will
be able to use its full acoustic potential to create a wide palette of different
sounds, with their own feel, and dynamics.
Experiment.
Take the time to get acquainted with your drum and drum head combo. Me-
thodically explore different lug pitches for both heads to understand how
to achieve certain sounds in function of your musical needs. You can store
custom presets for any tuning you like, so that you can always retrieve it
later on!
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Sweet spot & Eigenfrequency

Based on its attributed properties, we assume that the Eigenfrequency is
also referred to as the ‘sweet spot’ in common drummer-lingo, but it
often it seems to be wrongly defined as the pitch of the shell.
The ‘Eigenfrequency’ of the drum, mounted onto a stand, in a playing situa-

tion, is not simply the natural frequency of the bare shell by itself.
A drum is a mechanical system, made of several components.

The ‘Eigenfrequency’ of a drum is the frequency whereat its entire mechani-
cal system naturally resonates.
This entire mechanical system is comprising of the shell, together with its
hardware like the hoops, screws & lugs, the heads & their tension, the stand
& its suspension, including the ‘mechanical coupling’ to the floor, and its
properties, etc.
Any vibrations in the entire spectrum of the drum sound that are harmoni-
cally related to that Eigenfrequency’s pitch, and especially the one equal to
it, will vibrate more efficiently, or most efficiently, and thus become more
present in the sound, while these will also be sustaining longer throughout
the decay duration of the sound.
For tuning this translates into the following:

If you tune the fundamental tone of the drum to the ‘Eigenfrequency’ of
its mechanical system, you'll hear a more full bodied tone, and the funda-
mental tone will sound louder and sustain longer, with fewer audible over-
tones in the timbre.
NOTE: In general, tuning a drum to the Eigenfrequency of its entire mechan-

ical system, doesn’t necessarily yield magical benefits that are especially
useful from a musical point of view.
Drum-tuning folklore tends to attribute mythical characteristics ‘the mysteri-
ous sweet spot of a drum’...
You can make a drum sing clearly and sustain for a long enough period
of time, when tuned to any fundamental tone within its tuning range,
as long as you take a moment to figure out how both heads are best
tuned to create that given fundamental tone with the dynamics you
need.
The desired resonance duration of a drum depends on your musical needs

and its context with the other drums in your kit. A drum that is tuned to sound
forever, may require some form of muffling to control its resonance duration...
Take your time to explore different tunings for both heads for a given
fundamental tone, and listen to what tuning gives you the most useful
result.
A given fundamental tone can sound awful when both heads are tuned at lug
pitches X and Y, while the exact same fundamental tone may sound super duper
awesome when both heads are tuned to lug pitches W and Z.
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THE LOW & HIGH EXTREMES

OF A DRUM’S TUNING RANGE
You can tune a drum to low notes or high notes within its entire tuning
range and get an awesome sound, but you’ll just have less tuning choices
or freedom to tune both heads further apart, to reach these notes.
This means you can’t play as much with the pitches/tension of both
heads to affect and control the dynamics of the sound.
To reach fundamental tones that are outside of the comfort tuning

range, your tuning style-options become increasingly limited.
The more you approach the extreme limits of your drum’s tuning range,
the less different tuning choices you’ll have to tune both heads apart.
The extreme lowest, or the extreme-highest fundamental tone can only

be reached if both heads are tuned to their minimum, or maximum lug
pitch, before getting too slack or too choked to sound proper still.
How low or high the fundamental tones at those limits are, depends on
the diameter of the drum, and on the choice of heads.
(With thicker & heavier heads, you could squeeze out a lower fundamen-
tal tone at the bottom-end of your drum’s tuning range, than with thin-
ner & lighter heads, for example. If both sides of the drum have the
same head type installed, then the lug pitches of heads will be tuned in
unison at their lowest or highest extreme.)
NOTE:
If you use the sustain slider in the tuning preset it’s important to under-
stand this principle.
You can only a drum very low or very high when tuning to lug pitches
around the MAXIMUM sustain option. Select that switch position for the
extreme lows and highs, or at least a switch position close to that.
If one of both, or both drum heads are tuned to a lug pitch that is chok-
ing the head, or making it too slack, then the drum’s overall fundamental
tone and the drums decay dynamics may be sounding sub-optimal.
Such a situation can happen when tuning too high, or too low, or when
tuning both heads to far apart for a given fundamental tone.
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KEEP IN MIND THAT A DRUM SOUND IS AFFECTED BY THE

FOLLOWING:
1. Tuning relationship between batter and resonant head

2. Tension distribution evenness around the bearing edge
3. Drum head choice
4. Applied damping/muffling
5. Drum material, geometry and construction, hardware
6. Suspension of the drum: how its coupled to the stand & floor
7. WHERE and HOW you hit the drum (Don’t underestimate this!)
8. With what kind of stick/mallet/impact-medium you play
9 Miking choices
10. Gating, EQ & effects, mixing, amplification, etc.
11. The acoustic characteristics of the surroundings
12. The position of a drum in its surroundings
13. Humidity & temperature of the air
14. Etc...
TUNING TIP FOR NON-AMPLIFIED GIGS

Sometimes it could happen that a kit, which sounds great when sitting on
the drum throne, sounds rather dull (with a lack of vibrant tonal projection)
when listening to it from the audience’s standing point…
If the kit is amplified and close-miked, usually it isn’t a big deal.

Nonetheless, when playing without miking/amplification, or with more dis-
tant miking, and especially for ‘lower tunings’, it may help tune your kit a bit
higher than to what it sounds good like when you’re sitting on the throne.
(Don’t be afraid to tune up the batter head of the kick a bit, if you need
more projection, for example.)
In case of an non-amplified, or a non-close-miked gig, on average; if your kit
is tuned low, then a slightly ‘higher tuning’ tends to cut through the overall
sound better, and would give your kit a more vibrant tonal projection in the
audience.
Different applied damping/muffling can affect the decay dynamics,

the sticking feel, and the color timbre of a drum sound dramatically.
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GETTING USED TO THE APP

Because toms feature less overtones than usually present on snare
drums, it’s best to start with tuning the toms first to get used to the app
and understand when to use lock target or not.
Once you get the hang of the app on your toms, you’ll know when to use
‘lock target’ and when not. This will mean you understand how to kill over-
tones by using ‘lock target’.
Now, you can comfortably shift to tuning your snare drum and deal with
overtones by using ‘lock target’ correctly.
After your comfortable tuning your snare with the app, it‘s time for the
kick. You’ll notice it’s not always easy to tune a kick at the lugs near a mi-
crophone hole in the resonant head.
Nonetheless you’ll find it starts sounding great once you get close to the
pitches you want to clear the heads to.
Don’t hesitate to experiment while

tuning!
Finding your sound takes time and

effort, but it is worthwile!
Listen carefully to the sound of your

drum & discover where it sounds best!
Tweak your tuning until your drum

sound is to your liking and fits the mu-
sical effect you are after for!
Use the app to help you with tweaking,

tuning and clearing pitches, but never
stop listening to your drum sound and
trust your ears when creating your
personal drum sound.
Once you found your sound, you can

use the app to assist you to always
retune to that sound!
Drumtune PRO | Drum Tuner
QUESTIONS?
CONTACT: support@drumtunepro.com
www.drumtunepro.com
All rights reserved. © 2017 EXALTD CO., Ltd. NEXT
EXA® and Drumtune PRO® are registered trademarks of EXALTD CO., Ltd.
>
Pat. pending WO2017000047.

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2.

ANDROID MANUAL (ENG)

QUICK START GUIDE

ENTER BASIC TUNER

Hit your drum head in the CENTER

HIT NEAR EDGE

Hit your drum head near the EDGE

Check diﬀerence between

TUNE UP / DOWN to match target.

REPEAT UNTIL ALL LUGS IN TUNE!

BASIC LUG TUNER

ENTER LUG TUNER

HIT NEAR LUG

* Hit your drum head near the

PRESS ‘NEXT LUG’

Do not start ﬁne-tuning until the diﬀerences

3 of ALL lugs are visualized.

HIT NEAR NEXT LUG

PRESS ‘NEXT LUG’

REPEAT STEP 5 FOR ALL LUGS

FINE-TUNE ALL LUGS

WOHOOOO ALL TUNED!

Access Sensistivity settings in the

If you have a drum with a long sustain, it’s

If your phone doesn’t detect any hits, set

LOCK TARGET TIPS

If you seem to get erratic readings, press release target.

Drumtune PRO | Drum Tuner

ANDROID MANUAL (ENG)

QUICK START GUIDE

Tune the fundamental tone of your drum up or

BATTER HEAD (TOP)

RESO HEAD (BOTTOM)

BATTER & RESO TENSION RELATIONSHIP

BATTER & RESO @ SAME LUG PITCH

BATTER & RESO @ DIFFERENT LUG PITCH

P4 ROCK TUNING (WIDE, SHORT)

KICK Fundamental 41 Hz / E1 @ medium/short sustain:

FLOOR TOM Fundamental 55 Hz / A1 @ short sustain:

RACK TOM 2 Fundamental: 73.5 Hz / D2 @ short sustain:

RACK TOM 1 Fundamental: 98 Hz / G2 @ short sustain:

SNARE Fundamental: 196 Hz / G3 @ medium/short sustain:

• If the fundamental tone is too low, tune up resonant head evenly.

P4 ROCK TUNING (WIDE, OPEN)

KICK Fundamental 41 Hz / E1 @ medium/short sustain:

FLOOR TOM Fundamental 55 Hz / A1 @ maximum sustain:

RACK TOM 2 Fundamental: 73.5 Hz / D2@ maximum sustain:

RACK TOM 1 Fundamental: 98 Hz / G2 @ maximum sustain:

SNARE Fundamental: 196 Hz / G3 @ medium/short sustain:

• If the fundamental tone is too low, tune up resonant head evenly.

M3 ROCK TUNING (COMPACT, SHORT)

KICK Fundamental 49 Hz / G1 @ medium-short sustain:

FLOOR TOM Fundamental 61.5 Hz / B1 @ short sustain:

RACK TOM 2 Fundamental: 78 Hz / D#2@ short sustain:

RACK TOM 1 Fundamental: 98 Hz / G2 @ short sustain:

SNARE Fundamental: 196 Hz / G3 @ medium/short sustain:

• If the fundamental tone is too low, tune up resonant head evenly.

M3 ROCK TUNING (COMPACT, OPEN)

KICK Fundamental 49 Hz / G1 @ medium/short sustain:

FLOOR TOM Fundamental 61.5 Hz / B1 @ maximum sustain:

RACK TOM 2 Fundamental: 78 Hz / D#2@ maximum sustain:

RACK TOM 1 Fundamental: 98 Hz / G2 @ maximum sustain:

SNARE Fundamental: 196 Hz / G3 @ medium/short sustain: