Jazz is an expressive style of music, involving a blend of improvisation, rhythmic complexity, and dynamic nuance. While some forms are loud and aggressive, most jazz is played at moderate volumes, in small venues, by small groups. All of that factors into which snare heads tend to work best. These are heads geared more towards tone, sensitivity, and articulation, rather than towards durability or volume. The sound of the snare shell and wires is what takes precedence.
Those characteristics are best heard through simple head designs – single-ply heads without dots or dampening rings. Still, there are many varieties to sort through. There are different ply thickness, different coating types, different brands, and different timbres. How do you choose?
We picked our 5 favorite jazz snare heads to help you narrow your search. Similar to Best Snare Heads For Metal, we’ll talk about each drumhead and what their strengths and weaknesses are. Some are darker or brighter than others, some are better for brushes, and others work well for louder players. Hopefully, after reading through the descriptions below, you’ll know which drumhead is best for you.
On with the list! These are the best snare drum heads for jazz.
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Remo
Fiberskyn Diplomat
Specs:
1-ply, 7.5-mil
Polyspun fiber surface
If you’ve played drums for a while, you can probably identify a Remo Fiberskyn from across the room. These heads have a unique look due to their polyspun fiber surface – a surface Remo designed decades ago to provide a natural look and sound. These heads have a warm tone, soft articulation, and a smoky brush sound. The Ambassador version is common in orchestral settings, but the Diplomat is our favorite for low-volume jazz.
Some players shy away from the Fiberskyn Diplomat because of its 7.5-mil base ply. They figure the sound will be too bright or resonant. That may be true of clear and coated Diplomats, but not so much with the Fiberskyn. It’s important to realize the surface layer of a Fiberskyn is 3-mil thick, giving this head a combined thickness of 10.5-mil. The resulting sound is warmer than many players expect. The surface also acts as a subtle moderator on the head’s resonance. The tone sings, but without many long harsh overtones.
While the 3-mil thick surface warms up this head’s sound, it’s not as tough as standard coating. Over time, the top layer can bubble and chip. That makes the Fiberskyn Diplomat the least durable head on this list. Corrosion usually takes a while, so don’t let it dissuade you too much from using this head. If you’re playing at relatively low volumes, the head will probably lose much of its tone by the time the surface starts to go, and it would have been time for a change anyway.
For the cost of some durability, you get the benefits. Many jazz drummers love this head’s balance of warmth and articulation. Because of the thinness of the base ply, subtle notes can still activate the snare wires. Intricate pattern can be heard, although with less definition than you’d hear with a standard single-ply coated head. Many players also really like the brush sound of the Fiberskyn surface. It’s not as rough as most coatings, so brush work gives a more subtle, smoky wash that’s perfect for low-volume gigs. All together, the combination of warmth, soft articulation, and mild brush sound makes it easy to see why this head works so well for so many jazz drummers.
Remo
Coated Ambassador
Specs:
1-ply, 10-mil
Coated surface
The Remo Coated Ambassador is one of the most popular heads in drumming history. It has a very straightforward design, consisting of a coated 10-mil single ply. The sound is bright and resonant, allowing the characteristics of the drum to be heard. That’s why so many drum manufacturers install Ambassadors on their snare drums. Jazz drummers who like a lively head with good articulation can keep things simple with a Coated Ambassador.
The Ambassador is the brightest model on the list. Whether that’s good or bad depends on the player, of course, but many jazz drummers like the results. Most jazz players use a wood snare, where a boost in head brightness can help bring out subtle strokes from the drum. That’s especially true with vintage wooden snare drums, which are usually very dark in timbre.
This head’s coating should also be mentioned. It has the roughest surface texture of any of the heads listed here. It’s also the least durable. The coating wears down at a higher rate, leading to a smooth spot towards the center after prolonged use.
What does that mean for jazz drummers? Well, the brush sound will change over time. At first, the coating may be too loud for some players. The extra friction amplifies the brush’s wash quite a bit. After the coating wears a little, many drummers find a nice middle ground, where the coating is worn just enough. Then the coating typically wears down too much. At that point, brushes can get lost in the mix, since there isn’t enough friction being created by the coating. The process usually takes many hours of play, but it’s something to be aware of.
If you haven’t tried a Coated Ambassador before, it’s almost worth buying just to know what the most popular head around sounds like. Since so many other heads are based on it, it’s also a good starting point to finding other good jazz heads to try. If you prefer a bright and resonant snare head, you probably won’t need to look much further than the classic Ambassador.
Evans
Coated UV1
Specs:
1-ply, 10-mil
UV-cured coated surface
The Evans UV1 is the newest model on this list. It’s a single-ply head with a 10-mil thickness – both standard options that are seen on many heads. However, the UV1’s coating is what’s unique. Evans developed a UV-cured finish that’s extra durable for their UV series. That’s a bonus for longevity, but it also impacts the sound of this head. The UV1 has a warmer resonance than either the Remo Ambassador or the Evans G1. All are 10-mil single-ply heads, but the UV1 coating decreases high frequencies a bit more than the rest.
Evans probably developed the UV coating with sticks in mind, but we really like how it holds up to brushes. Even among standard coatings, there are differences to consider between Evans and Remo. As we mentioned, Remo’s coating has a rough surface, but tends to lose texture faster. Evans coating isn’t quite as rough, but holds the texture longer. An Evans Coated G1, for example, doesn’t wear as quickly as a Remo Ambassador.
The same applies to the Evans UV1, but with even more durability. It has Evans’ semi-rough texture, while the surface wears down very slowly. Players who like the brush sound of either a new Evans coated head or the sound of a partially-worn Remo will probably love the UV1. The head will slowly lose tone, like any drumhead, but the coating should stay almost like new.
The overall tone of a UV1 is another interesting thing about this head. It bridges the gap between the brighter Remo Ambassador and darker 12-mil thick heads. You get some of the stick attack characteristics of a 10-mil head mixed with some of the darker resonance of a 12-mil head. Extremely soft notes might not be heard quite as well on a UV1 as they are on a standard single-ply head, but the difference is minor. A UV1 should provide plenty of articulation for most jazz applications.
The UV1 would be a good choice for jazz drummers who use brushes frequently and don’t want to change their batter heads as often. If you find that your snare head’s coating tends to wear out before the head’s tone, a UV1 could help you save money in the long run. Sure, a Remo Ambassador will give you slightly more more articulation, but the UV1’s coating will go on and on.
Remo Renaissance
Ambassador
Specs:
1-ply, 10-mil
Textured surface
Like the Remo Fiberskyn, the Remo Renaissance series is another type of head common in both concert percussion and jazz. The Renaissance Ambassador is constructed with a 10-mil single ply of specially treated film. It gives this head a unique look, sound, and texture. The tone is dark for a single-ply head, while retaining quite a bit of resonance. The film enhances low to mid frequencies, giving it its dark timbre, and the lack of traditional coating extends the tone. Together, it makes a good choice for jazz drummers who want warm articulation and dark resonance.
The Renaissance Ambassador is interesting in both stick attack and resonance. In some ways, this head is a cross between a Coated Ambassador and a Fiberskyn. The Renaissance doesn’t have the pointed attack or clarity of the Ambassador, but the attack isn’t quite as soft as a Fiberskyn either. The tone also lays somewhere in between. The Renaissance has an earthy sound, as if you blended the tone of a synthetic and calf head. Overall, it’s a unique sound that isn’t found in any other model.
Another big selling point of the Renaissance Ambassador is the brush sound. As we mentioned, it doesn’t have the grit of a coated head. Instead, it sounds almost like a clear head that’s been roughed up by sandpaper. Brush volumes are fairly subtle. The lack of coating adds resonance, as well, while increasing the head’s lifespan considerably.
Overall, this head would be a good choice for jazz players who want a dark tone, longer resonance, and a subtle brush sound. Its tone is somewhere between a Fiberskyn and a Coated Ambassador, so if both of those heads intrigue you, you may be able to split the difference with a Renaissance Ambassador.
Evans
Coated G12
Specs:
1-ply, 12-mil
Coated surface
The Evans G12 might not often be thought of as a jazz head. It’s a 12-mil single-ply head, 20% thicker than the standard weight. It doesn’t have quite as much articulation or resonance other heads on this list. However, for some jazz drummers, the G12 could be a great option. If you play a more aggressive style of jazz, like to tune your snare a bit lower, or have a snare drum that’s too bright, this head might be worth considering.
The tone of an Evans G12 is on the darker side for single-ply heads. While it uses standard Evans film, the extra thickness diminishes some of the high frequencies. You get a rounder type of stick sound, with a mellower resonance. That can be good or bad, depending on your drum. On darker drums, a 12-mil head may not provide enough articulation, especially at lower volumes. On bright drums, this head might be a just right, taming some of the harshness of tone. Again, in a jazz setting, this head is probably best at medium volumes and up. Retaining articulation at very low volumes usually requires a 10-mil design.
The Evans G12 comes with Evans’ standard coating. While it’s not as tough as the UV coating we mentioned above, it holds up well. This type of surface is semi-rough and wears at a slow rate. Remo coating is designed to be grittier, but generally wears a bit faster. In terms of brushes, the G12 coating is very similar to the UV1. It provides a medium wash sound, albeit with the slightly darker tone of the 12-mil base ply.
Finally, if you like the sound of a G12, but prefer Remo heads, check out the Remo Coated Ambassador X. They’re both very versatile drumheads, including for some jazz players. In fact, we mention these two heads in The Most Versatile Snare Drum Heads. When comparing the two, the Ambassador X is slightly brighter in attack and resonance than the G12. The differences in coating designs described above will also apply.
Wrap-Up
There you have it – our 5 best snare drum heads for jazz. The one that’s best for your situation depends on what type of tone you prefer, how much articulation you need, and how you use brushes. No head can do everything perfectly, but one of the heads we listed should give you most of what you’re looking for.
By Peter Treuden – About the Author
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