Heel-Operated Bass Drum Pedal
Project Number:ME-HXA-1001Heel-Operated Bass Drum PedalA Major Qualifying Project Reportsubmitted to the Faculty ofWORCESTER POLYTECHNIC INSTITUTEin partial fulfillment of the requirements for theDegree of Bachelor of SciencebyDaniel SavastanoMichael SherrerdGregory AndujarDate: April 28, tswebsitewithouteditorialorpeerreview.
AbstractStandard, toe-operated, bass drum pedals require the user to have both leg coordinationand strength, both of which can be troublesome attributes for the average drummer. Ergonomicstudies, however, revealed that the toe is the most natural balance point and the heel the mostnatural striker for foot-actuated devices. To improve the ergonomics of the bass drum pedal, withthe focus specifically on reducing repetitive muscle fatigue and improving the consistency of thedrummer’s tempo, the goal of this project was to develop a heel-operated pedal design. Designspecifications for this pedal were developed based on benchmarking of existing toe-operatedpedals. The final heel-operated design utilizes a four-bar linkage as the working mechanism, andhas an input-output angular velocity ratio comparable to that of a standard toe-operated bassdrum pedal. With the use of SolidWorks, Esprit, and Fourbar software packages, the teamsuccessfully designed, manufactured, and tested a prototype of the envisioned pedal.i
Executive SummaryStandard, toe-operated, bass drum pedals require the user to have both leg coordinationand strength, both of which can be troublesome for the average drummer. Through ergonomicstudies it was proposed that a heel-operated bass pedal could alleviate these issues. These studiesrevealed that the toe is the most natural balance point and the heel the most natural striker forfoot actuated devices. A heel-operated pedal is configured so that it uses the toe for balance andthe heel for striking, reducing leg coordination issues.Ergonomic research also focused on the muscle groups used while playing either a toeoperated or heel-operated pedal. This information is significant because when playing with a toeoperated pedal it is not uncommon for a drummer to experience shin splints or other leg injuries.These injuries occur because of the relatively weak muscle groups that are used to activate thetoe-operated pedal. Alternatively, the muscles groups used to operate the heel-operated pedal arenaturally much stronger and will be able to withstand the forces put on them while playing.In addition to ergonomic research a kinematic and dynamic analysis were done on astandard toe-operated pedal in order to create performance specifications for the heel-operatedpedal. An analysis of the toe-operated pedal revealed that an input-to-output of 1:3 was desirablealong with a maximum playable rate of 330 beats per minute. A final performance specificationwas developed by a pressure indicating film test in which the pressure of a beater hitting adrumhead with a single stroke was measured and converted to force. The force for the toeoperated pedal was converted to be 8.16 lbf.Design specifications were also created based upon the conducted background research.Using these design specifications seven initial concepts were developed and each was analyzedfor advantages and disadvantages. A final design, a 4-bar linkage with a heel plate instead of afootboard, was then chosen to analyze and explore further.Ergonomic research first helped to determine the starting angle of the foot, which is 10ºfrom horizontal. Then, using this angle in Program Fourbar, the link lengths were optimized togive the best input-to-output ratio and desirable transmission angles. The input-to-output ratiowas optimized to be 1:5.9 while the transmission angles ranged from an initial angle of 62 to amaximum angle of 90 . Using these link lengths a SolidWorks model of the design was createdii
and the forces acting on the pedal were analyzed to ensure that it would not fail while beingplayed.The model was modified until it passed the stress analysis with a minimum safety factorof 2.9 and was then made into a prototype. Several parts were able to be salvaged from an oldertoe-operated pedal and only a few parts needed to be machined. These parts were machined inWorcester Polytechnic Institute’s Washburn Machine Shops and then assembled into a workingprototype. This prototype includes two special features: an adjustable foot rest to make the pedalmore universal, and a self-adjusting heel plate to adjust to the angle of the player’s footthroughout the stroke.Testing of the heel-operated prototype consisted of three elements. The first two, apressure indicating film test and a tempo test, were repeats of those done on the toe-operatedpedal. These tests revealed that the beater was capable of hitting the drum head with 7.25 lbf andthe maximum playable rate of the pedal was 270 beats per minute. The third test was a feedbacktest from drummers who have tried the heel-operated prototype. All of the drummers wereimpressed with how comfortable the pedal was to play, but also offered recommendations ofhow it could be improved. Taking these recommendations into consideration it was decided thatfuture designs will have a longer and wider area for the foot, a spring underneath the heel plate toit return to its original position quicker, and pins and bushings instead of shoulder bolts for aquicker, smoother stroke.iii
AcknowledgementsWe would like to thank Professor Holly Ault for all of her support and guidancethroughout this past year. Without her we would have not learned as much as we did about all ofthe different considerations that go into designing and building a product from scratch. Wewould also like to thank Benjamin Hawkins for all of his help with the Esprit files and machiningour parts.iv
TableofContentsAbstract .iExecutiveSummary .iiAcknowledgements . ivListofTables. viiiAuthorshipPage . ixIntroduction.1Background.2Toe- ‐OperatedPedals.2HowTheyWork .2DirectDrivevs.ChainorBeltDrive .3PlayingStyles:HeelUpvs.HeelDown .4Ergonomics .9RepetitiveMotionDisorder.10Toe- ysis .11SolidWorksModelDynamicAnalysis.14TempoTesting .17SlowMotionVideoAnalysis .18ForceofBeateronDrumhead .21Pressure Indicating Film Test .22Heel- ‐OperatedBassPedals .23ConceptDesignandSelection .26Heel- ‐OperatedBassDrumPedalDesignSpecifications .26PreliminaryDesigns .28Concept1.28Concept2.28Concept3.29v
ngaDesign .32DevelopingtheConcept .33SolidWorksModelDynamicAnalysis tions.47Testing .48PressureIndicatingFilmTest.48TempoTesting .48Drummer’sFeedback .49Conclusions.50Recommendations .50References.51AppendixA:FootandToeMuscles ns.54PositionAnalysisEquations ations .55AppendixC:PartDrawings .61vi
List of FiguresFigure1:PearlToe- ‐OperatedBassDrumPedal(PearlDrumPedalP- ‐2000C/P- ‐2000BInstructionManual) s(DoubleBassPedalBuyersGuide,2010) ) ,2001) Ranges(gla.ac.uk) 2000) sModelofPearlP- ‐2000C.15Figure13:Concentric2UsedforAnalysis e) .17Figure16:SpringinY- tionImage .18Figure18:FootPlateSlowMotionImage .19Figure19:DrumHeadSlowMotionImage edonDrumhead.21Figure21:Toe- ‐OperatedPressurePaperResults.23Figure22:Heel- 3:Heel- ‐OperatedPedalPatent5,866,830PositionB .24Figure24:Concept1:4- ‐BarRigidLinkageDesign .28Figure25:Concept2:ChainandPulleyDesign .28Figure26:Concept3:4- ‐BarLinkageWithCurvedInputLink cept5:SideBandDesign .30Figure29:Concept6:AlternateChainandPulleyDesign .31Figure30:4- rksModelofHeel- ‐OperatedPedalDesign.34Figure32:SolidWorksModel .38Figure33:HeelForces nfigurations .40Figure36:ContactPointsonBeaterandDrumHead .40Figure37:ContactConfiguration .41Figure38:SimulationGraphResults .42Figure39:Concentric1Mate .42Figure40:ToePlateEsprit.44vii
Figure41:HeelRestEsprit .44Figure42:U- ‐BracketEsprit.45Figure43:HexBarTaper ortModification lTestedPressurePaper.48List of ts nOverTime .20Table5:ForcesActingontheHeel- able7:FootMuscles(Martini,2010) .52Table8:ThighMuscles(Martini,2010) .53viii
Authorship PageSectionAbstractExecutive SummaryIntroductionBackgroundToe-Operated PedalsHow They WorkDirect Drive vs. Chain or Belt DrivePlaying Styles: Heel Up vs. Heel DownErgonomicsMuscles That Move the FootMuscles That Move the ThighsRepetitive Motion DisorderToe-Operated Pedal AnalysisVector Loop Kinematic AnalysisSolidWorks Model Dynamic AnalysisTempo TestingSlow Motion Video AnalysisForce of Beater on DrumheadPressure Indicating Film TestHeel-Operated Bass PedalsConcept Design and SelectionHeel-Operated Bass Drum Pedal Design SpecificationsPreliminary DesignsConcept 1Concept 2Concept 3Concept 4Concept 5Concept 6Concept 7Choosing A DesignDeveloping The ConceptSolidWorks Model Dynamic AnalysisManufacturingUnforseen ProblemsRecommendationsTestingPressure Indicating Film TestTempo TestingDrummer’s FeedbackConclusions and RecommendationsAuthorGA, DS, MSGA, DS, MSDSDSDSDSDS, MSMSGAGAGAGADSDSGADSGADS, MSMSDSDSGA, DS, MSDSDSDSDSDSDSGAGADSDSGAMSGAGAMSMSMSMSDS, MSix
IntroductionWhen it comes to playing drums, the bass drum plays a significant role in creating arhythm and sound that both keeps time and is appealing to the audience. The bass drum is playedwith one’s feet via stepping on a specially designed pedal. Throughout its history, the standardbass pedal has always been toe-operated, meaning that the pedal is struck with the distal portionof the foot and the heel is used for balance. This method, however, has been known to not alwaysbe effective as many people are unable to play the bass drum due to foot coordination problems.Also, this method of playing tends to put a lot of strain on the ankle and shin and can sometimescause injuries to these relatively weaker parts of the leg. (Workman, 2006) For these two reasonsit has been decided that an alternate approach to the standard bass pedal should be constructed inorder to attempt to alleviate these issues.Relative to the foot the heel is the most natural striker and the toe is the most natural forbalance. Therefore, it is proposed that a heel-operated bass pedal, one in which the toe is downand the heel strikes, will help alleviate the coordination problems that people may have and makeplaying the drums more accessible to everyone.Furthermore, ergonomic studies suggest that a heel-operated pedal will greatly reducemuscle fatigue due to the fact that the drummer will be using different muscle groups to operatethe pedal. With the standard pedal, as previously mentioned, the majority of the strain is placedon the muscles in the ankle and shin. In comparison, with the heel-operated pedal the majority ofthe strain will be placed on the calf, quadriceps, and hamstring, which are naturally strongermuscles than those in the ankle and shin. (Martini, 2000) By transferring the strain of playing tothese stronger muscles the team hopes to reduce leg related injuries and increase the enduranceof the drummer.1
BackgroundBefore delving into the design of a heel-operated bass drum pedal some backgroundresearch was done in order to better understand the ergonomics, kinematics, and dynamics oftoe-operated and heel-operated pedals. This chapter first explores different types of pedals andplaying techniques, along with the ergonomics of those playing techniques. Subsequently akinematic and dynamic analysis of a standard toe-operated pedal is discussed, along with an indepth examination of a patent for an existing heel-operated pedal.Toe- OperatedPedalsHowTheyWorkIn order to better understand how the heel-operated pedal should work, a foundation ofknowledge must first be built by examining the operation of a standard toe-operated pedal. Thestandard pedal that was chosen for analysis was the Pearl Eliminator 2002B. A diagram of asimilar pedal, the 2000C, and its components can be seen below in Figure 1. The 2000C is chaindriven, whereas the 2002B is belt driven; otherwise these models are identical.Figure1:PearlToe- ‐OperatedBassDrumPedal(PearlDrumPedalP- ‐2000C/P- ‐2000BInstructionManual)Simple analysis from visually observing the pedal while someone is playing it tells onethat the pedal operates by pushing the footboard down, which simultaneously rotates the beatershaft, and causes the beater to strike the drum. Then, when the pressure from one’s foot is takenoff of the footboard, a spring is used to return the beater to its original position.2
DirectDrivevs.ChainorBeltDriveThe main difference between direct drives and chain or belt drives is the fact that directdrives use a rigid link, whereas chain and belt drives use a non-rigid link to connect thefootboard to the rotation shaft. All three of these can be seen in Figure s(DoubleBassPedalBuyersGuide,2010)Both of these options have advantages as well as disadvantages. A non-rigid link allowsfor a lighter feel on the foot, is more adjustable, and also tends to last longer than the rigid linksystem. (Double Bass Pedal Buyers Guide, 2007) The chain drive is a little more durable than thebelt drive, and has very little lag, but also needs to be cleaned regularly and makes unwantednoise. The belt drive, on the other hand, is faster, lighter, and doesn’t require much maintenance,but is less durable and sometimes has unwanted lag between when one’s pushes down thefootboard and when the beater begins to move.The rigid link direct drive system, however, allows for more speed and control of thepedal. Having no chain or belt in the system eliminates any lag that can be caused by a loose linkand thus allows the pedal to be extremely responsive. The ability to have a rigid line of forcetransmission directly from the pedal to the beater makes these systems capable of more easilyproducing precise and intricate rhythms. The rigid link systems are not quite as durable as theirnon-rigid counterparts but they do require little to no maintenance. The disadvantages of therigid link pedals are that they have little adjustability and can feel more mechanical and lesssmooth to the player. Both of these methods, rigid and non-rigid, will be explored whendesigning the heel-operated pedal. (Double Bass Pedal Buyers Guide, 2010)3
PlayingStyles:HeelUpvs.HeelDownThere is no right or wrong style to play the bass drum. Each method, heel up or heeldown, see Figure 3, just provides a different aspect to ni,2000)There are however advantages and disadvantages of each style. When playing heel up,the drummer is able to generate more power and speed while exerting less stress and strain onthe body. When playing heel down, most of the relatively weaker muscles in the leg are beingused to drive the beater head, and for beginning drummers this is the main problem. Until adrummer’s leg is strengthened through time and experience, most drummers tend to play heeldown. When playing heel down, the drummer is primarily using only the muscles in the shin andankle. The problem with using those muscles is that in order for this style to work effectivelyone must have strong shins. Playing heel down allows the drummer to make controlled soft beatsagainst the drumhead. When playing heel down, most drummers position themselves fartheraway from the drum, because it creates a more natural position of one’s foot to strike the footpedal. When playing heel up most drummers position themselves so that their knee is positioneddirectly over the foot pedal which also makes it easier to play the drum set because one ispositioned closer. Heel up is the more commonly used style for experienced drummers.ErgonomicsDuring our ergonomic research we learned that a seated operator can operate footcontrols more easily than a standing operator (Kroemer, 2001). This is because the operator’sseat largely supports his/her body, in relation to a standing operator, who has to shift his/her4
weight over to one leg, causing the operator more fatigue. Thus the reduced weight on theoperator’s feet allows him/her to move more freely and, given suitable conditions, allows theoperator to exert larger forces with less stress on the rest of the body. From this inquiry we canmake the assumption that designing foot controls for a seated operator is ideal. Figure 4 shows aseated operator’s proper knee angle range. This angle range will produce maximum performanceand is considered the best Kroemer,2001)The largest forces can be generated with extended or nearly extended legs in thedownward direction, limited by body inertia, and in the forward direction, limited by both inertiaand the back support. (Kroemer, 2001)Another factor that decides how much force can be generated by the foot is the pedal(ankle) angle. See Figure 5. In this figure, D represents the horizontal distance to the foot pedalfrom the front of the seat, and H represents the vertical distance to the pedal below the seat. Wemust also consider in our design that the mechanism must fit within the preferred and regularspaces for the feet, assuming a seated operator, see Figure 6.5
01)Figure6:IdealFootWorkspace(Kroemer,2001)Good design practices recommend that motions be limited to fewer than 400 repetitions.When repetitive motions are unavoidable, the design should minimize the loads on the user andposition the joints in the most natural or neutral position where the muscles have maximumstrength. Repetitive motion injury is what can occur when a body part is repeatedly overused.For our design repetitive motions are unavoidable since the use of a bass pedal requiresrepetition to keep a rhythm. A key reason for redesigning for heel-operation is to avoid shinsplints, caused by tightening muscles and increased friction, which causes a pull on the tendonsover time(Workman. 2006). The tight muscles then lose their elasticity and when under activitythey do not allow enough stretch. This pulls the tendon from the bone it attaches to causing thepain felt on the shins.6
The injury that is most common at the ankle is tenosynovitis, an inflammation of tendonsand tendon sheaths in particular where these tendons cross tight ligaments. To avoid these it isbest to create a design in which the operator is using a more natural range of angles, in particularfor the ankle between 15 to -35 degrees on a horizontal axis. See Figure eofAnkleRanges(gla.ac.uk)MusclesThatMovetheFoo
Apr 28, 2011 · The bass drum is played with one’s feet via stepping on a specially designed pedal. Throughout its history, the standard bass pedal has always been toe-operated, meaning that the pedal is struck with the distal portion of the foot and the heel is used for balance. This
around the drum. 4) Insert one bass drum spur (5) (leg) on each side and hand tighten them with the T-handle located on the bracket. 1) Bass Drum 2) Bass Drum Hoops 3) Bass Drum Heads a. Front b. Back 4) Bass Drum Tension Rods & Claw Hooks 5) Bass Drum Spur 6) Bass Drum Pedal 7) Bass Drum Beater 8) Floor Tom 9) Floor Tom Key Rods 10) Floor Tom .
The bass drum is the foundation of the drumset.The basic function of the bass drum is to state the beat or pulse of the song. The BASS DRUM is played with the bass drum pedal by the right foot.The bass drum pedal beater should rebound off of the bass drum head like a bouncing ball. Properly adjusting the angle of the bass drum pedal beater is .
BASS DRUM TECHNIQUE The bass drum is commonly referred to as the kick drum. It is struck with a bass drum pedal that is played with the foot. The bass drum beater is usually made of hard felt or wood.
PEARL DRUM PEDAL P-3002D P-3002DL / P-3001D. In the initial factory setting, the Index Mark is centered in the Window as shown (Fig. 2). Index Mark Initial Setting . Spherical Rubber Grips allowing the front of the bass drum to be raised while keeping the pedal flush on the floor. Insert the bass drum hoop into the clamp, and turn the Wing
ond bass pedal much of the time. This book will not devote much space to introducing double bass technique, pedal setup, double kick warm-ups, or other two-footed concerns, but will feature exercises, beats, and lls that indicate a second bass drum pedal. The Complete Double Bass Drumming Explained (Hudson Music 2016)
their bass drum. Learn the art of playing a steady pulse on the bass drum with your hi-hat on 2 and 4. Investigate different beaters for the bass drum pedal: i.e., a lamb’s wool beater verses a harder felt beater. Investigate different hi-hat sizes for a “chic” sound that works for
coloration. In Virginia, red drum are called "channel bass." Anglers in North Carolina refer to red drum less than 15 pounds as "puppy drum," those 15 to 30 pounds as "yearlings," and those heavier than 30 pounds are simply "drum." Throughout the text, I will use the accepted common name, red drum. The red drum is a member of .
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