How to Choose Drums Heads: The Complete Buyer's Guide!

A complete guide to drum heads, covering single and double ply designs, coated vs clear finishes, and how to choose the best drum heads for your playing style. Learn the key differences between Evans and Remo, and find the right heads for your kit.

If your kit doesn’t sound, feel or tune the way you want it to, the problem is often the drum heads. Whilst shells, cymbals and hardware all play their part, the drum head is the point of contact between the player and the drum, and it has a direct impact on tone, response and overall playability. A simple head change can completely transform a drum, taking it from open and resonant to focused and controlled without changing anything else.

In many cases, changing drum heads will have a bigger impact on your sound than changing the drums themselves.

That also makes drum heads one of the most confusing parts of building or upgrading a kit. From single ply and double ply drum heads through to coated and clear designs, there are plenty of options that can look similar on paper but behave very differently in use. Add in the differences between brands like Evans and Remo, and it becomes much harder to know which heads are actually right for your setup.

At Graham Russell Drums, helping drummers choose the right drum heads is something we do every day, both in-store and through the website. Whether the issue is unwanted overtones, poor tuning stability, worn stock heads or simply not getting the sound you want from the kit, the right head choice can make a dramatic difference. If you’re trying to work out how to choose drum heads, this guide breaks down the main drum head types, explains how they perform in real playing situations, and helps you choose the best drum heads for your setup and playing style.

Single Ply vs Double Ply Drum Heads

One of the most common questions drummers ask when choosing drum heads is whether to go for single ply or double ply drum heads. Whilst this refers to the number of layers used in the head, in reality it has a major impact on tone, feel and how the drum responds under the stick.

Single ply drum heads are made from a single layer of film, most commonly around 10mil thick. Because there is less material, they vibrate more freely, producing a more open, resonant sound with a wider dynamic range. This results in longer sustain, more pronounced overtones and a more natural representation of the shell’s tone.

On the kit, single ply heads feel noticeably more sensitive and responsive, particularly at lower dynamics. They react quickly to lighter strokes and allow the drum to “breathe” more, which is why models such as the Remo Ambassador or Evans G1 are widely used in jazz, acoustic and lower-volume settings.

At Graham Russell Drums, we regularly see drummers switch to single ply heads when they want their kit to feel more expressive and responsive, particularly on toms and snare drums where tone and sensitivity are a priority.

Double ply drum heads are constructed from two layers of film, typically around 7mil + 7mil, although this can vary slightly between models. The additional mass reduces how freely the head vibrates, resulting in a more controlled and focused sound with fewer high overtones and a slightly lower perceived pitch.

Under the stick, double ply heads feel more solid and stable, especially at higher volumes. They require a bit more energy to activate compared to single ply heads, but in return they offer greater durability and a more consistent response. Models such as the Remo Emperor or Evans G2 are commonly used on toms in rock, pop and general-purpose setups for exactly this reason.

From a tuning perspective, double ply heads tend to be more forgiving. They have a slightly narrower tuning range, but are easier to control, especially in live environments where excessive overtones can become difficult to manage.

Many modern double ply drum heads also incorporate built-in dampening systems to further control the sound. For example, the Evans EC2 uses a Sound Shaping Technology (SST) control ring mounted on the underside near the outer edge of the head. This ring is relatively narrow and designed to reduce high overtones without completely choking the drum, allowing for a controlled sound that still retains some sustain.

By comparison, the Remo Pinstripe uses two plies of film with a layer of dampening material applied between them at the outer edge. This creates a more pronounced level of control, reducing sustain further and producing a deeper, shorter sound. In practice, Pinstripes feel more “pre-dampened” straight out of the box, making them a popular choice for players who want a tight, focused tom sound with minimal ringing. More modern designs such as the Evans UV2 take this further, combining double ply construction with a UV-cured coating for increased durability while maintaining a controlled, balanced tone.

We often see drummers move towards these types of heads when they’re trying to solve specific problems, such as excessive overtones, inconsistent tuning or a lack of control in louder playing environments.

Key takeaway

If you want a more open, resonant and sensitive sound, single ply drum heads are the better choice. If you need durability, control and consistency at higher volumes, double ply drum heads will be more suitable. Most setups end up using a combination of both, depending on the role of each drum and the balance between tone and control.

Coated vs Clear Drum Heads

Once you’ve decided on ply construction, the next step is choosing between coated and clear drum heads, and this is where the feel and character of the kit really starts to change. On paper the difference is fairly simple, but in practice it has a noticeable impact on attack, feel and how the drum sits within a mix.

Coated vs clear drum heads at a glance:

• Clear heads: brighter, more attack, more projection
• Coated heads: warmer, smoother, more controlled

Clear drum heads are made from a smooth, untreated film, which allows the head to respond quickly and freely. The result is a brighter, more immediate sound with a sharper initial attack and more pronounced projection. Under the stick, they feel fast and direct, with a clean rebound and a very defined transient.

This is why heads such as the Evans G2 Clear or Remo Emperor Clear are so widely used on toms in rock, pop and heavier styles. They help the drums cut through guitars and cymbals more easily, particularly in live environments where clarity and projection are key.

Coated drum heads, by comparison, feature a textured surface created by applying a thin layer of coating to the outer ply. This slightly softens the attack and reduces high-frequency overtones, resulting in a warmer, more controlled and more balanced sound.

That coating also changes how the head feels to play. There’s slightly more resistance under the stick and a less “slippy” rebound, which many drummers find easier to control, especially when playing ghost notes or more dynamic patterns. The response feels a bit more contained, which can make the drum sit more naturally within the kit rather than jumping out of the mix.

In practice, coated heads are used on the vast majority of snare drums. The added control helps manage overtones, particularly at higher tunings, while the textured surface gives a more consistent and predictable response. They are also essential for brush playing, where the coating allows the brushes to engage properly with the head and produce a full, sweeping sound. This is one of the main reasons models such as the Remo Ambassador Coated or Evans G1 Coated are so widely used on snare drums.

Heads such as the Evans UV1 or Remo Controlled Sound Coated build on this further, offering added durability and focused control while still retaining the feel of a coated surface.

Clear heads do appear on snares in certain higher-volume or attack-focused setups, where maximum cut and articulation are the priority, but they are far less common in general use.

In real-world use, the choice often comes down to how you want the drums to sit in your overall sound. Clear heads tend to sit on top of the mix, with more attack and presence, while coated heads sit slightly within it, offering a smoother and more controlled response.

At Graham Russell Drums, one of the most common setups we recommend is combining both finishes across the kit, particularly for players looking for a balanced, versatile sound. For example, using clear double ply heads on toms for projection and durability, paired with a coated single ply head on the snare for feel and control. It’s a simple combination, but it works consistently across a wide range of styles.

Key takeaway

If you want more attack, projection and a faster, more immediate response, clear drum heads are the better choice. If you prefer a warmer tone, smoother feel and more controlled response, coated drum heads will be more suitable. Most setups combine both to balance attack and control across the kit.

Batter vs Resonant Drum Heads

Once you’ve chosen your drum head type and finish, the next step is understanding how batter and resonant heads work together. This is where a lot of drummers get caught out, because even with the “right” batter head, the drum can still feel difficult to tune or sound inconsistent if the resonant head isn’t doing its job.

If a drum feels “off” and you can’t work out why, the resonant head is often the missing piece.

Batter vs resonant drum heads at a glance:

• Batter head: controls attack, feel and stick response
• Resonant head: controls sustain, tone and how the drum “speaks”

The batter head is the one you strike, so it has the biggest influence on attack, feel and how the drum responds under the stick. This is usually where most changes are made, whether that’s moving to a more durable head like an Evans UV2, adding control with an Evans HD Dry, or opening things up with a single ply option like a Remo Ambassador.

But the batter head only tells part of the story.

The resonant head plays a crucial role in how the drum sustains and how the note develops after the initial hit. It controls how long the drum “speaks”, how evenly it responds across the tuning range, and how connected the drum feels overall.

In practice, most tom setups use single ply heads on the resonant side, typically models like the Remo Ambassador or Evans G1. These heads are thin enough to let the shell resonate naturally, helping the drum produce a more open and balanced sustain. Some drummers do experiment with double ply resonant heads for added control, but this is far less common and tends to produce a shorter, more focused sound.

One of the most common issues we see at Graham Russell Drums is drummers upgrading their batter heads but leaving the original resonant heads on for years. Over time, these heads lose tension and consistency, which can make the drum feel harder to tune and less responsive overall. In many cases, replacing the resonant head makes just as much difference as changing the batter.

On snare drums, the resonant side is even more critical. The snare side head is much thinner, typically around 3mil, allowing it to respond quickly to the snare wires and produce a crisp, sensitive sound. Heads like the Evans Hazy 300 or Remo Ambassador Snare Side are widely used because they offer a reliable balance of sensitivity and durability without choking the drum.

For bass drums, the relationship between batter and resonant heads has a huge impact on low-end response. A more open setup will give you a longer, fuller note, while heads with built-in control, such as the Evans EQ3 or Remo Powerstroke 3, help focus the sound and reduce unwanted boom. This is particularly useful in live settings where too much sustain can become difficult to manage.

The easiest way to think about this is to treat the drum as a complete system rather than two separate heads. The interaction between batter and resonant heads affects everything from tuning stability to sustain and feel. Small changes on the resonant side can completely alter how the drum behaves, even if the batter head stays the same.

Key takeaway

If your drums feel difficult to tune, lack sustain or sound inconsistent, the issue isn’t always the batter head. The relationship between the batter and resonant head is what shapes the overall response, and getting both working together is key to achieving a balanced, consistent sound.

Evans vs Remo Drum Heads

Once you have a clear idea of the type of drum head you need, the next question most drummers ask is whether to choose Evans or Remo. Both brands are widely used at every level of playing, from beginner kits through to professional touring and studio work, but they do have slightly different characteristics that become more noticeable over time.

Evans vs Remo — which is better?
Neither is objectively better. Evans and Remo drum heads offer comparable quality, but they differ in feel, response and how they control overtones. The right choice depends on how you want your kit to behave.

Evans vs Remo at a glance:

• Remo: more open, resonant, traditional feel
• Evans: more controlled, consistent, modern response

At a basic level, both brands offer directly comparable models, such as the Remo Ambassador and Evans G1, or the Remo Emperor and Evans G2. The differences are more subtle, but they tend to show up in how the heads feel, respond and behave once they’re on the kit.

In general, Remo drum heads tend to feel more open and traditional. Heads like the Ambassador or Diplomat allow the drum to resonate more freely, producing a wider spread of overtones and a slightly more “raw” or organic response. This can make the drum feel more alive under the stick, particularly at lower dynamics, and is one of the reasons Remo remains so widely used in jazz, studio work and more classic setups.

By comparison, Evans drum heads tend to feel more controlled and consistent. Models like the Evans G2 offer a balanced, versatile sound, while more specialised designs such as the Evans EC2, UV2 or HD Dry introduce additional control through built-in dampening and durability-focused construction.

For example, the Evans HD Dry uses small vent holes to reduce sustain and remove unwanted overtones, creating a very tight, focused snare sound. Remo takes a more traditional approach with designs like the Powerstroke 3, which uses an internal control ring to reduce overtones while maintaining a more natural feel, or the Pinstripe, which uses edge dampening between the plies for a deeper, shorter tone.

Models like the Evans UV1 or Remo Controlled Sound Coated show how both brands approach durability and control in slightly different ways while still targeting similar applications.

In real-world use, this often comes down to feel as much as sound. Remo heads can feel slightly more open and responsive, while Evans heads tend to feel a bit more contained and predictable under the stick. These differences are subtle, but they become more noticeable as you spend more time with the kit.

At Graham Russell Drums, we regularly see drummers switch between the two depending on what they’re trying to fix. If a kit feels too stiff or controlled, moving to Remo can help open things up and bring more tone out of the shells. If the drums feel inconsistent, overly ringy or difficult to manage in a live setting, Evans heads often provide a more controlled and stable response straight away.

It’s also very common to mix both brands across a kit. For example, using a Remo Ambassador Coated on the snare for feel and sensitivity, paired with Evans G2 Clear or EC2 heads on toms for added control and durability. This kind of setup is something we see regularly in both live and studio environments.

Key takeaway

Remo drum heads tend to feel more open, resonant and organic, while Evans drum heads offer a more controlled, consistent and refined response. Both are excellent, but the best choice comes down to how you want your kit to feel and respond.

When Should You Change Drum Heads?

A common question we get asked is when should you change drum heads, and the answer isn’t always obvious. Drum heads don’t suddenly stop working, they gradually lose their tone, feel and consistency over time, which makes it easy to overlook.

If your kit suddenly feels harder to play, sounds dull, or won’t tune the way it used to, there’s a good chance the heads are the issue.

Signs it’s time to change your drum heads:

• Loss of attack and definition
• Dull or “lifeless” sound
• Visible dents or worn coating
• Difficulty tuning or holding tension
• Inconsistent response across the drum

One of the first signs is a loss of attack and definition. If your drums start to sound dull, lifeless or harder to tune, it’s often because the head has stretched and lost its ability to vibrate evenly. This is particularly noticeable on snare drums, where the response can start to feel sluggish or inconsistent.

Visible wear is another clear indicator. Dents, stick marks and worn coating all affect how the head responds. On coated heads, once the surface has worn away, the sound becomes brighter and less controlled, and brush playing becomes much more difficult.

Tuning is often where worn heads become most frustrating. If the drum won’t hold its tuning, feels uneven across the lugs or never quite settles into a consistent pitch, the head has usually lost its structural integrity. In most cases, replacing the head will solve these issues immediately.

At Graham Russell Drums, one of the most common things we see is drummers trying to fix worn heads with tuning or dampening, when the real issue is simply that the head has reached the end of its lifespan. A fresh head will almost always make a bigger and more immediate difference.

How often you should change your drum heads depends on how often and how hard you play. For regular gigging or rehearsal, batter heads may need replacing every few months. Lighter players may get significantly longer out of them, while resonant heads tend to last longer overall but will still benefit from being replaced periodically.

If your kit feels inconsistent or harder to control than it used to, a full refresh can make a noticeable difference. Replacing all your tom heads at once using a drum head pack or tom pack is one of the easiest ways to restore balance and consistency across the kit.

Key takeaway

If your drums sound dull, feel harder to tune or don’t respond the way they used to, it’s probably time to change your drum heads. In most cases, a fresh set will make a bigger difference than any adjustment to tuning or setup.

Choosing Drum Heads for Your Playing Style

Once you understand how drum heads are built, the next step is choosing what actually works for the way you play, and this is where everything starts to come together.

A setup that sounds great in isolation can behave very differently in a live mix, rehearsal room or studio environment. Choosing the right drum heads isn’t just about construction, it’s about solving specific problems, whether that’s controlling overtones, improving durability or getting more tone out of your kit.

For many drummers playing rock and pop, the goal is a punchy, controlled sound that translates clearly in a band setting. If your toms feel too open or difficult to manage, moving to a head like a Remo Emperor or Evans G2 will tighten the sound and reduce unwanted sustain, making the kit feel more consistent and easier to control.

At Graham Russell Drums, this is one of the most common upgrades we recommend. Players often come in with overly resonant toms, and a simple head change immediately makes the kit feel more balanced and predictable.

In heavier styles, control becomes even more important. Fast playing and higher volumes can quickly expose excessive sustain or inconsistent response. In these situations, many drummers move towards more dampened designs such as the Evans EC2 or Remo Pinstripe, which are designed to shorten sustain and keep the drums sounding tight and defined.

For jazz, acoustic and more dynamic playing, the priorities shift towards sensitivity and tone. If your kit feels too restricted or lacks character, switching to a more open head like a Remo Ambassador or Evans G1 can bring the drums to life, allowing them to respond more freely at lower dynamics.

Coated heads are particularly common here, especially on the snare drum. They provide a warmer tone, more control and the texture needed for brush playing. Heads like the Remo Controlled Sound or Evans UV1 are also popular choices for players who want added durability without losing that traditional feel.

In studio situations, drum head choice is often about control and consistency rather than volume. A drum that sounds great on its own can create problems in a mix if it produces too many overtones or doesn’t sit well with other instruments. In these cases, more controlled heads can help shape the sound at the source, reducing the need for excessive dampening or processing later.

For bass drums, heads like the Remo Powerstroke 3 or Evans EQ3 are widely used because they provide a focused low-end response with controlled sustain, making them easier to manage in both live and recording environments.

At Graham Russell Drums, we often see drummers take a mixed approach, using different types of heads across the kit to shape the response of each drum individually.

For more general-purpose playing, most drummers are looking for a balance between tone, durability and versatility. Heads like the Evans G2 or Remo Emperor are often used as an all-round option, offering enough control for louder situations while still retaining enough sensitivity for more dynamic playing.

This is also where tom packs or drum head packs can be a practical option. Upgrading all of your tom heads at once helps create a more consistent sound across the kit, and it’s one of the most effective ways to refresh your setup.

Ultimately, choosing the right drum heads comes down to identifying what you want to improve. Whether that’s more control, more tone or better consistency, understanding how different heads behave in real playing situations makes it much easier to build a setup that works for you.

Frequently Asked Questions

What drum heads should I buy?

If you’re unsure where to start, a versatile double ply drum head such as the Remo Emperor or Evans G2 is a reliable choice. These offer a good balance of durability, control and tone, making them suitable for a wide range of styles. At Graham Russell Drums, this is one of the most common starting points we recommend when upgrading from stock heads.

Are Evans or Remo drum heads better?

Both Evans and Remo produce high-quality drum heads, and neither is objectively better. Remo drum heads are often associated with a more open, traditional sound, while Evans drum heads tend to offer a more controlled and consistent response. The best choice depends on the sound and feel you’re aiming for.

What is the difference between single ply and double ply drum heads?

Single ply drum heads are thinner and more resonant, producing a more open sound with greater sensitivity. Double ply drum heads are thicker and more durable, offering a more controlled tone with reduced overtones. The choice depends on whether you prioritise tone and responsiveness or durability and control.

Should I use coated or clear drum heads?

Coated drum heads provide a warmer, more controlled sound and are essential for brush playing, particularly on the snare drum. Clear drum heads offer a brighter, more attack-focused sound with greater projection, making them a popular choice for toms in louder styles. Many drummers use a combination of both across their kit.

How long do drum heads last?

The lifespan of drum heads depends on how often and how hard you play. Regular gigging or rehearsal may require new batter heads every few months, while lighter use can extend this significantly. If your drums sound dull, are difficult to tune or show visible wear, it’s usually time to replace them.