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14 ″ stand tom

The TomTom (also tom-tom or Tom ) is a cylindrical, rarely bulbous, one or both sides equipped with fur, built in different sizes drum and is an integral part of the drum sets and instruments of marching bands .

Word origin

Tom-Tom is onomatopoeic and has been derived from the Bengali word tomtom since the 18th century . Related terms for drums are tam tam in other East Indian languages, tong tong in Malay and tamattama in Sinhalese for a small pair of kettle drums in Sri Lanka .


The boiler is mostly made of plywood, rarely plastic, even more rarely metal or other materials. When manufacturing from wood, several layers are built up. Thinner shells, for example with four layers, are provided with reinforcement rings. Different types of wood are used. In the 1960s, beech kettles were common. Tropical wood was also used, for example in the high-priced Sonor Signature series. One of the most popular woods currently used in Tomtom construction is maple , which offers a warm, balanced and sustain-rich sound, can be processed very well, and there are abundant resources, especially in North America .

Fur covering

The eardrums are stretched with metal hoops, more rarely made of wood, and can be - within certain limits - tuned tonally and adjusted to the preferred musical style in terms of tightness. The typical sound of the tom tom can generally be described as center-weighted. Until the 1940s it was common practice to nail the resonance heads - natural heads at the time - to the respective bowl; therefore these were not tunable.

A special feature of tom heads (as opposed to snare heads) is that they can be used as batter heads as well as resonance heads.

Types of tom-toms

A drum kit has any number of toms, depending on the musical style and the ideas of the drummer. In today's standard structure, there are usually three toms of different sizes and tom versions.

A distinction is made on the drum set:

  • Toms , which are constructed with a holder at either Tomgelenk on the bass drum, tom stand or separate. From the 1990s it became modern to fasten these toms with systems that were mostly attached to the tension rings in a somewhat cantilevered manner. The aim was not to drill any more holes into the boiler and to prevent as much contact between the materials (wood, metal) as possible.
  • Under Rack Toms refers rack toms that are either fixed or fixed swinging freely on a rack that takes the place of Tom Mounts, cymbal stands and other hardware. With large sets, this has the advantage of saving space on the one hand, and on the other hand during assembly and dismantling, since the positioning of the parts is fixed, which avoids the need for readjustment. In addition, this can mean considerable weight savings when transporting, especially with large drums. So there are also cymbal holding arms on a rack to which the cymbals are attached.
  • Concert toms that are not provided with resonance heads, do not have any lugs on the underside, and therefore are not provided with ridges there.
  • Floor toms (Engl. Floor toms ) standing on feet, which are adjustable in height.
  • There are also rototoms . These do not have a bowl and are tuned using a frame to which they are connected and fastened.

The frame height of the tom toms ranges from 14 to 60 centimeters. The industrial dimensions for hanging toms are between 6 and 16 inches , for floor toms between 14 and 18 inches in diameter. There are differences in the depth dimension.

Web links

Commons : Tomtom  - collection of images, videos and audio files

Individual evidence

  1. Sarwar Morshed: English Reduplicative Loans in Bangla. In: Parole: Journal of Linguistics and Education, Volume 9, No. 2, 2019, pp. 117–123, here p. 123
  2. Claudia Magaly Cicero's Cetina, MTeresa Galarza Ballester: A semantic overview of Anglo-Indian borrowing: linguistic areas and contact effects.
  3. Wieland Ziegenrücker: General music theory with questions and tasks for self-control. German Publishing House for Music, Leipzig 1977; Paperback edition: Wilhelm Goldmann Verlag, and Musikverlag B. Schott's Sons, Mainz 1979, ISBN 3-442-33003-3 , p. 179.