Editing Drum kit (section)

==History==

===Early development===
{{More citations needed section|date=July 2019}}

Before the development of the classic drum kit, drums and cymbals used in military and orchestral music settings were played separately by different percussionists. In the 1840s, percussionists began to experiment with foot pedals as a way to enable them to play more than one instrument, but these devices would not be mass-produced for another 75 years.<ref>{{Cite web|date=2012-06-08 |title=Classic: The Birth Of Bass Drum Pedals |url=https://drummagazine.com/classic-the-birth-of-bass-drum-pedals/ |access-date=2022-11-03 |website=DRUM! Magazine |language=en-US}}</ref> By the 1860s, percussionists started combining multiple drums into a kit. The bass drum, snare drum, cymbals, and other percussion instruments were all struck with hand-held drumsticks. Drummers in [[musical theatre|musical theater]] appeared in stage shows, where the budget for [[pit orchestra]]s was often limited due to an insufficient amount of money able to purchase a full percussionist team. This contributed to the creation of the drum kit by developing techniques and devices that would enable one person to replace multiple percussionists.

[[Double-drumming]] was developed to enable one person to play both bass and snare drums with sticks, while the cymbals could be played by tapping the foot on a "low-boy". With this approach, the bass drum was usually played on beats one and three (in {{music|time|4|4}} time). While the music was first designed to accompany marching soldiers, this simple and straightforward drumming approach led to the birth of [[ragtime]] music, when the simple marching beats became more [[Syncopation|syncopated]]. This resulted in a greater [[Swing music|swing]] and dance feel. The drum kit was initially referred to as a "trap set", and from the late 1800s to the 1930s, drummers were referred to as "trap drummers". By the 1870s, drummers were using an overhang pedal.<ref>{{Cite book |last=Britt |first=Dan |title=A History of the American Drum Kit |publisher=Oxford University Press |year=2018 |isbn= |pages=74–75}}</ref> Most drummers in the 1870s preferred to do double-drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems, such as that of drummer Edward "Dee Dee" Chandler of New Orleans in 1904 or 1905.<ref>Porter/Hull man/Hazel (1993). ''[[iarchive:jazzfromitsorigi00port/page/18/mode/2up|Jazz – From its Origins to the Present]]'', p. 18. {{ISBN|0-13-512195-7}}.</ref> This led to the bass drum being played by percussionists standing and using their feet, hence the term "kick drum".  

[[William F. Ludwig Sr.]] and his brother Theobald founded [[Ludwig Drums|Ludwig & Ludwig Co.]] in 1909 and patented the first commercially successful [[bass drum pedal]] system.<ref name="DRUMHISTORY"/> 

In 1912, drummers replaced sticks with wire brushes and, later, metal fly swatters as the louder sounds made by using drumsticks could overpower other instruments.

===20th century===
By [[World War I]], drum kits were often marching-band-style bass drums with many percussion items around them and suspended from them. Drum kits became a central part of jazz, especially [[Dixieland]]. The modern drum kit was developed in the [[vaudeville]] era, during the 1920s, in New Orleans.<ref name="Cohan">{{cite book |last1=Cohan |first1=Jon |title=Star sets: Drum Kits of the Great Drummers |date=1995 |publisher=Hal Leonard |location=Milwaukee, Wisconsin |isbn=0-7935-3489-5}}</ref>

Drummers such as [[Baby Dodds]], [[Zutty Singleton]], and [[Ray Bauduc]] took the idea of marching rhythms and combined the bass drum, snare drum, and "traps"{{snd}}a term used to refer to the percussion instruments associated with immigrant groups, which included miniature cymbals, [[Tom drum|tom toms]], [[Cowbell (instrument)|cowbells]], and [[Woodblock (instrument)|woodblocks]]. They started incorporating these elements into ragtime, which had been popular for a few decades, creating an approach that evolved into a jazz drumming style.

Budget constraints and space considerations in musical theater pit orchestras led bandleaders to pressure percussionists to cover more percussion parts. Metal consoles were developed to hold Chinese tom-toms, with swing-out stands for snare drums and cymbals. On top of the console was a "contraption" tray (shortened to "trap"), used to hold items like whistles, klaxons, and cowbells. These kits were dubbed "trap kits". Hi-hat stands became available around 1926.<ref name="DRUMHISTORY">{{cite book |title=The Drum Book: The History of the Rock Drum Kit |first=Geoff |last=Nichols |year=1997 |location=London |publisher=Balafon Books |pages=8–12 |isbn=0879304766 }}</ref>

In 1918, [[Baby Dodds]], playing on [[Mississippi River]] riverboats with [[Louis Armstrong]], modified the military marching setup, experimenting with playing the drum rims instead of woodblocks, hitting cymbals with sticks (which was not yet common), and adding a side cymbal above the bass drum, which became known as the [[ride cymbal]]. William Ludwig developed the "sock" or early low-mounted [[hi-hat]] after observing Dodds' drumming. Dodds asked Ludwig to raise the newly produced low-hat cymbal nine inches to make them easier to play, thus creating the modern hi-hat cymbal.<ref>Information on Dodds is found in his own contemporary journals/biography "The Baby Dodds Story" – Louisiana State University Press, 1992, and from a contemporary witness – drummer George Wettling, who confirms that Dodds was the first drummer to keep the now-famous broken-triplet beat that became the standard pulse/roll of what we call ride cymbal playing.</ref> Dodds was one of the first drummers to play the broken-triplet beat that became the standard rhythm of modern ride cymbal playing. He also popularized the use of [[China cymbal|Chinese cymbals]].<ref>pp. 8–9, Jon Cohan's- "Star Sets"- Wording, see page nine; paragraphs 1–4. Further: see the Percussive Arts Society, 'Hall of Fame' Article, by Rick Mattingly].</ref> Recording technology was crude, which meant loud sounds could distort the recording. To get around this, Dodds used woodblocks and drum rims as quieter alternatives to cymbals and drum skins.<ref name="New Grove">{{cite book |last1=Sheridan |first1=Chris |editor1-last=Kernfeld |editor1-first=Barry |title=The New Grove Dictionary of Jazz |date=2002 |publisher=Grove's Dictionaries |location=New York |isbn=1-56159-284-6 |page=373 |volume=3 |edition=2}}</ref>

In the 1920s, freelance drummers were hired to play at shows, concerts, theaters, and clubs to support dancers and musicians of various genres. Orchestras were hired to accompany silent films, and the drummer was responsible for providing the sound effects. Sheet music from the 1920s shows that the drummer's sets were starting to evolve in size to support the various acts. However, by 1930, films with audio were more popular, and many were accompanied by pre-recorded soundtracks. This technological breakthrough put thousands of drummers who served as sound effects specialists out of work,<ref>{{Cite web |last=LeBlanc |first=Jason |date=2018-01-30 |title=A Quick History of the Drum Machine, from the 1980s to Today |url=https://www.funktasy.com/music-gear-tech/drum-machine-history/ |access-date=2022-11-03 |website=Funktasy |language=en-US}}</ref> with some drummers obtaining work as [[Foley artist]]s for those motion-picture sound tracks.