Tambores VL - News

Installing Drumheads on Bomba Drums and Timbas

Sat, 31 Oct 2026 18:05:00 +0000

Written by Víctor E. López Valentín (“Chino”)
Artisan and Founder of Tambores VL

HOW TO INSTALL DRUMHEADS ON BOMBA DRUMS AND TIMBAS

Technical Guide to Drumhead Installation, Tensioning, and Tuning

Author: Prof. Víctor E. López Valentín (“Chino”)
Bomba Drum Artisan | Tambores VL

INTRODUCTION

Installing the drumhead is one of the fundamental stages in constructing a Bomba drum or timba. This procedure requires preparation, precision, and patience to ensure that the hide is properly installed, leveled, and secured to the instrument's tensioning system.

Proper hide placement, uniform adjustment of the tension rods, and a gradual drying and tuning process are essential for producing a functional instrument with an appropriate sound response.

This guide presents the procedure used by Víctor E. López Valentín in his craftsmanship at Tambores VL.

1. COMPONENTS, EQUIPMENT, AND TOOLS

1.1. Main Materials

Natural Hide

For Bomba drums: goat hide.
For timbas: cowhide.

Inner Metal Ring

A metal ring approximately ¼ inch thick. This measurement may vary depending on the instrument's characteristics.

The ring is placed inside the folded hide and helps secure it to the tensioning system.

Metal Hoop with Hooks

This component secures the hide through the inner ring and distributes tension evenly around the opening of the drum or timba.

Tension Rods and Mounting Plates

A system consisting of tension rods, side plates, washers, and nuts that allows the drumhead tension to be adjusted progressively.

1.2. Required Tools

Container or bucket filled with water.
Wrench for adjusting the tension rod nuts.
Pliers or gripping tool.
Scissors or a sharp knife.
Clean table or work surface.

2. PREPARING THE HIDE

Step 1. Selecting the Hide

Choose the appropriate hide for the instrument:

Bomba Drum: Goat hide.
Timba: Cowhide.

The thickness of the hide directly influences the time required to soften it and make it easier to handle.

Step 2. Soaking the Hide

Fill a container with enough water to completely cover the hide.

Place the hide in the container, ensuring that it remains fully submerged.

Allow it to soak until it becomes soft and flexible.

Important: Soaking time will depend on the thickness and individual characteristics of the hide.

3. PREPARING THE DRUM AND ITS COMPONENTS

Step 3. Aligning the Metal Hoop

While the hide is soaking, temporarily position the metal hoop with hooks over the drum opening.

Verify that the hooks align correctly with the tension rod mounting plates.

Make a reference mark between one of the hoop hooks and its corresponding mounting plate.

This mark will help maintain the same alignment during final assembly.

Step 4. Organizing the Components

Prepare and organize all parts of the tensioning system:

Tension rods.
Washers.
Nuts.
Side mounting plates.

Ensure that all components are available and ready for installation.

Step 5. Cleaning the Drum Opening

Carefully clean the upper rim of the drum.

Remove any dust, particles, or debris that could interfere with the proper seating of the hide.

4. POSITIONING THE HIDE ON THE INNER RING

Step 6. Identifying the Hide Surfaces

The hide has two distinct surfaces:

Smooth Side: This corresponds to the outer surface of the animal's skin and will become the upper playing surface of the drum.

Rough Side: This corresponds to the inner surface of the animal's skin and will face the inside of the instrument.

Step 7. Preparing the Hide on the Work Surface

Once the hide is sufficiently soft, remove it from the water.

Allow excess water to drain, but do not let the hide dry.

Spread it on a clean table with the smooth side facing upward.

Step 8. Positioning the Inner Metal Ring

Place the ¼-inch metal ring in the center of the hide.

The hide must be large enough to extend approximately 5 to 6 inches beyond the edge of the ring, allowing sufficient material for proper wrapping and securing.

Step 9. Wrapping and Securing the Hide

Position the metal hoop with hooks over the inner ring, ensuring that the hooks face outward.

Begin passing the hide over the inner ring and underneath the metal hoop with hooks.

Continue around the entire circumference until the hide is completely wrapped and secured between both components.

5. INSTALLING THE DRUMHEAD ON THE DRUM

Step 10. Positioning the Assembly

Carefully lift the assembly consisting of the hide, inner metal ring, and metal hoop with hooks.

Place the entire assembly over the drum opening.

Wrinkles may appear in the hide during this stage. This is normal and can be corrected gradually.

Adjust the hide so that the securing assembly sits at least 1 inch below the upper rim of the drum.

Step 11. Initial Installation of the Tension Rods

Begin installing the tension rods to hold the assembly in position.

Make adjustments in a crisscross or triangular pattern, distributing tension among different points around the hoop.

This procedure helps maintain an even drumhead level during assembly.

Initially, tighten the nuts by hand only.

Step 12. Removing Wrinkles

Use pliers or another gripping tool to carefully adjust the hide around the inner metal ring.

Remove wrinkles that may form in the securing area beneath the metal hoop with hooks.

Artisan's Recommendation:

As long as the hide remains wet, it will be easier to manipulate. For this reason, the assembly process should be continuous, avoiding prolonged interruptions.

6. LEVELING AND INITIAL TENSIONING

Step 13. Adjusting with a Wrench

Once all tension rods have been installed and hand-tightened, use the appropriate wrench to begin leveling the hoop.

Make small, gradual adjustments.

Continuously verify that the hoop remains level around the entire drum opening.

The purpose of this stage is not to achieve final tension but to allow the hide to settle properly and conform to the shape of the drum's upper rim.

CAUTION: Do not apply excessive tension while the hide is wet. Doing so could cause it to slip out of the inner metal ring.

7. TRIMMING EXCESS HIDE

Step 14. Removing Excess Material

After completing the initial adjustments, excess hide will remain around the hoop.

Use scissors or a sharp knife to carefully remove the extra material.

If using a knife, cut outward and above the metal hoop with hooks.

Avoid directing the blade toward the portion of the hide that will remain installed.

Step 15. Final Assembly Inspection

After trimming the hide, check the following:

Hoop alignment and leveling.
Position of the tension rods.
Uniformity of the securing system.
Height of the hide relative to the drum's upper rim.

Make small adjustments only when necessary.

Important: The hide is still wet and should not be subjected to excessive tension.

8. DRYING THE DRUMHEAD

Step 16. Initial Drying

Once assembly is complete, place the drum in sunlight and allow the hide to begin drying.

As moisture evaporates, the hide contracts and gradually develops tension.

During this process, you will notice that the instrument begins to produce sound.

Step 17. Initial Tuning

When the hide is sufficiently dry, make small adjustments to help it settle into its proper position.

Tuning should be gradual, avoiding sudden changes in tension.

9. RECOMMENDATIONS DURING THE FIRST TWO WEEKS

The drying process does not necessarily end when the outer surface of the hide appears dry.

Although the visible surface may feel dry to the touch, the underside may still retain moisture.

For this reason, Víctor recommended:

Tuning the drum gradually during the first two weeks.
Avoiding excessive tension.
Placing the Bomba drum or timba in sunlight for approximately 30 minutes each day.
Allowing the hide to continue settling before making major adjustments.

Patience during the drying and tuning process is essential for achieving proper drumhead installation.

10. FINAL OBSERVATIONS FROM THE ARTISAN

Installing a drumhead requires special attention to three fundamental aspects:

Moisture: The hide must remain sufficiently flexible during assembly.

Leveling: Initial tension must be distributed evenly around the hoop.

Gradual Tuning: Final adjustments should be made progressively, respecting the natural drying process of the hide.

Together, these elements allow the hide to conform properly to the structure of the Bomba drum or timba.

ABOUT THE AUTHOR

Prof. Víctor E. López Valentín (“Chino”)

Bomba Drum Artisan — Tambores VL

Víctor E. López Valentín developed his craftsmanship through the construction, customization, and tuning of traditional Puerto Rican Bomba drums.

His interest in documenting drum-making procedures reflects his commitment to teaching and preserving the traditional knowledge associated with these instruments.

This written guide forms part of his artisan legacy and serves as a valuable reference for those interested in understanding the techniques he used to create his drums.

Publications and Writings “Drum Tensioning and Tuning”

Tue, 29 Sep 2026 11:19:00 +0000

“With every beat, you release tension and something within you finds balance.
The sound of drums conveys much more than music.”

Bomba Drum "Pro"

Wed, 24 Jul 2024 01:35:00 +0000

This meticulously crafted Bomba drum, personalized with the signature of J. Martinez, embodies the rich tradition and rhythmic heritage of Puerto Rican music. Its robust wooden body, adorned with a solitary star, signifies the vibrant spirit and resilience of the culture. The drum's natural wood finish and carefully assembled hardware ensure both aesthetic appeal and exceptional sound quality, making it not only a musical instrument but also a piece of art that resonates with the soulful beats of Bomba, connecting past and present through its timeless rhythm.

Bomba Drum

Thu, 30 May 2024 00:43:00 +0000

Bomba Drum

The bomba drum created by Víctor López is a piece that not only reflects artisanal skill but also encapsulates the rich cultural heritage of Puerto Rico. This instrument is more than a musical tool; it is a manifestation of identity, resilience, and tradition.

The drum's body is made of wood with an aged appearance, evoking a sense of timelessness and connection with nature. The drumhead's leather, stretched and secured with metal rings and tensioners, represents the duality between the natural and the industrial, the organic and the mechanical.

The rustic texture of the wood and the metallic details create a visual contrast that symbolizes the intersection of the ancient and the modern. The rope surrounding the drumhead's edge not only serves a practical function but also adds a decorative element that highlights the authenticity of the artisanal design.

The bomba drum is central to Afro-Puerto Rican music and dance, a genre that emerged as a form of cultural expression and resistance. Playing this drum revives the history and traditions of African ancestors, celebrating their legacy and keeping it alive for future generations.

This drum is not only meant to create music but also to serve as a bridge between the past and the present. Each strike on the drumhead resonates with the echoes of stories of struggle and celebration from a community that has kept its culture alive through rhythm and dance.

Víctor López's bomba drum is a testament to the power of art to preserve and transmit cultural history. It is a tribute to the resilience and creativity of a people who, through music, find ways to express themselves and connect with their heritage. This drum, with its meticulous design and powerful resonance, invites everyone to participate in a vibrant tradition and feel the energy and spirit of Puerto Rican bomba.

Nuestros Tambores tienen “Onda Sonora”

Thu, 15 Jun 2023 02:01:00 +0000

Este artículo es para uso exclusivo de; El Centro de Economía Creativa, Inc.. En su página www.nuestrostambores.com y/o el Profesor Javier Hernández con el propósito de apoyar, contribuir y conservar la historia de nuestros tambores a través de este proyecto.

Por: Prof. Victor E. Lopez 29/5/23

Artesano de Tambores de Bomba

“De nuestra experiencia y biblioteca como contribucion para mantener viva nuestra Cultura de la “Bomba”. El articulo esta escrito enfatizando en en el tambor de Bomba como instrumento de percusion.

Nuestros Tambores tienen “Onda Sonora”

El barril de bomba es un tambor tradicional usado en la música de “Bomba” de Puerto Rico. Los barriles de bomba se fabrican tradicionalmente por artesanos diestros utilizando como recurso las maderas de roble blanco de barriles de wiskey, ron o vino.

El Tambor se define o considera dentro de los instrumentos de percusión ya que se utiliza resonando su superficie con uno o varios golpes. El origen de la palabra percusion procede del verbo latino “percutere” que significa golpear o batir. Es en este tipo de instrumentos donde mejor se manifiesta el resultado y efecto porque es el golpe directo el que produce el sonido. Los instrumentos de percusion no aportan melodia pero si contribuyen grandemente al ritmo y colorido en la ejecucion de la musica. Es quizás, una de las formas más antiguas de instrumento musical. Se distingue por la variedad de sonidos que es capaz de producir y por su facilidad para adaptarse a otros instrumentos musicales.

En forma general su clasificacion desde el punto de vista musical cae dentro de los instrumentos de entonacion indefinida o sea que no produce tonos definidos sino mas bien un ruido o retumbe el cual se adapta a los diferentes ritmos y melodias de cada musica especifica. Desde el punto de vista de estructura y de su composicion se puede clasificar de membrana. Entre ellos hay la variedad como; tambores, bombos, timbales.

El sonido que captamos y escuchamos se recibe cuando la onda de sonido se genera al golpear el tambor en la superficie del cuero o parche inicialmente. Las partículas de onda estacionaria de la superficie del tambor estan en su estado de energía potencial o sea sin movimiento y esperando a ser utilizada. Una vez que comenzamos a golpear el tambor, su superficie activa la vibración, lo que hace que sus partículas de onda se expulsen de su posición fija y produzcan el sonido.

Energia Sonora

Una forma de reconocer la energia sonora son los instrumentos musicales a traves de la energia acustica. Cada instrumento está compuesto de materiales, formas y dimensiones diferentes. Al ser utilizado aplicando energia mecánica (golpe) en el tambor, esta energía se transforma en energía sonora como resultado de la vibración de los elementos que componen la accion del golpe en el cuero. Cuando se le aplica el golpe al tambor con la mano hace vibrar el cuero y como resultado se producen las ondas sonoras que conforman los sonidos o ritmos que llegan a nuestros oídos. Los movimientos armonicos de cada golpe que activan las particulas de onda emiten y conducen a la generacion de energia sonora.

La energía sonora funciona bajo principios mecánicos sencillos. El medio de transmission se propaga a traves de forma mecanica como le hemos explicado. Segun la densidad del medio la vibracion de las particulas generada por los golpes en el cuero del tambor permitira que el sonido viaje a mayor o menor velocidad, asi como tambien se determinara lo lejos que llegara el sonido.

La velocidad de la trasmision de las ondas sonoras es mas rapida cuando estas se propagan a traves de un medio mas denso. Por eso la velocidad se debe a que la vibracion entre particulas se tranfiere con mayor facilidad entre materiales mas densos. Pero no tenemos que entrar tanto en la ciencia para conocer como funciona.

El alcance del sonido sera determinado por la densidad del medio como lo es la programacion de la energia acustica. Mientras menor sea la densidad del medio mas lejos sera capaz de llegar el ruido o sonido. Es por eso que el aire es el mejor medio para hacer llegar mas lejos las ondas sonoras porque se consume menos energia mecanica y porque es un medio menos denso para propagar la vibracion.

Instrumento Musical de Membranas

El tambor es un tipo de instrumento de percusión de la família de membranófonos. Los membranófonos son instrumentos en los que se genera el sonido por la vibración de una membrana, parche o cuero tensado.

A este grupo pertenecen los Tambores de Bomba donde el sonido se produce por membranas tensadas. Cada Tambor es individual y se afina para producir unas frecuencias o sonidos determinadas de acuerdo su uso. Tiene un cuero de chivo o cabra sujetado con un aro de metal y unos tornillos que se ajustan o se aflojan para lograr la afinación deseada o preferida.

Algunas caracteristicas en el sonido es el tamano y diametro del Tambor. Mientras mas pequeno el sonido es mas agudo y mientras mas grande el diametro, mas grueso o grave (bajo).

En teoría la piel no es de igual espesor en toda su superficie. Existe desigualdad en la misma. Esto hace que sea un poco mas dificil el conseguir el mismo grado de tensión para toda la superficie. Lo que dificulta un poco la afinación, haciendo que sea dificil obtener una sonoridad pura y con resonancia. El tambor tiene curvas que llamamos la pipa o barriga la cual ayuda a una sonoridad mas amplia y profunda con un sonido con mucho mas alcance. Siendo el Tambor “Primo” el que produce sonido mas agudo y el “Buleador” el sonido mas grave o grueso.

En el tambor se genera ondas mecanicas a traves de un medio solido que es el cuero que al ser golpeado produce la vibracion que genera las ondas y propagan el sonido. Las ondas creadas son bien sensibles y dificiles de apreciar a simple vista y van a depender del material del cuero y el grueso afectando y cambiando el sonido segun su expesor.

Bibliografia:

· Prof. Victor E. Lopez – Artesano de Madera, Cuero, Barriles de Bomba /CFI #24310

· https://es.wikipedia.org/wiki/Fuente_sonora

· https://es.wikipedia.org/wiki/Reflexi%C3%B3n_%28sonido%29

· https://conceptoabc.com/energia-sonora/

· https://es.lambdageeks.com/kinetic-energy-to-sound-energy/

· https://es.lambdageeks.com/example-of-potential-energy-to-sound-energy/

Nota aclaratoria: Parte de la información ha sido utilizada y encontrada a través de algunos temas en las páginas Web. La parte científica es más profunda. El propósito es complementar y aplicar los temas en la perspectiva del Instrumento Musical del Tambor. A esto se le suma la experiencia en la elaboración del Tambor y se complementa el propósito del artículo como medio y uso educativo. Temas específicos son propiedad intelectual de cada escritor.

"A Culture in Drums"

Sat, 10 Sep 2022 03:04:00 +0000

Visit us at; www.nuestrotambores.com

A Culture in Drums

Nuestros Tambores

Sun, 10 Jul 2022 02:20:00 +0000

Puerto Rican Foundation for the Humanities and The Center for Creative Economy, Inc.

Craft heritage + 70 years

This project documents more than seven decades of design and manufacture of percussion instruments in Puerto Rico. We invite you to explore these great stories. Nuestro Tambores is a project supported by the Puerto Rican Foundation for the Humanities and the Center for Creative Economy.

www.nuestrotambores.com

As Artisan we support this project and protect the corresponding rights that apply. We thank the Puerto Rican Foundation for the Humanities and the Center for Creative Economy, Inc. for making us part of their initiative and project.

Biography

The interest in keeping Puerto Rican music alive and attracting a new strain of musicians is the engine that drives Victor López Valentín to continue creating and restoring drums under his Tambores VL brand.

Born on April 10, 1954, Victor devoted himself to the conga and bongo from a young age. In his third grade school his teachers taught him music through guitar and flute, but it wasn't until he discovered the drums that his passion would really blossom. At the age of 14, he was already playing with different small-town groups in Moca and continued his professional development in music as an adult, playing with orchestras from the western area of Puerto Rico.

“I've been in percussion for 52 years and I've always loved music. Since the 1970s I had the ability to restore my own instrument, ”explained López, who assured that he learned it thanks to some friends.

His abilities to restore instruments are evident in a 1970 “requinto” that he acquired from Danny Rivera's conga player, Sabú Rosado, during a shared stage activity. During a break, Víctor offered to buy the fifth and when Sabú accepted, he went to his house to get the money while Danny Rivera did one of his segments.

“I bought it from him for $90 and kept it until it got a little run down and restored it myself putting all the wood in condition, changing the leather and hardware,” Victor said.

In recent years, the artisan has expanded his knowledge to other branches such as the creation of drums, a skill that he acquired in 2019 after attending a Ricardo López workshop in the town of Loíza.

“I am trying to create a new era of drums… that are to play the rhythms of bomba and maintain the culture… what I have changed are the colors and endings of the drums trying to excite the youth to make it more attractive acquiring a drum and for the tradition to continue”, revealed López.

To make his drums, the craftsman acquires white oak from recycled rum barrels “and we make them. We take its natural size and its aged form and begin to elaborate based on the sizes we need. What we call the “primo” drums or followers, and the “buleadores” are prepared. We also make some small barrels from that material and include the sticks for the “cuás”.

“Most people build their drums in 24 inches. I build them in 25” and within my process I seal them inside and out. This allows me to acquire a better sound. Goat skins are used to finish it and I build the hardware myself, ”added the craftsman about his creation process.

Among his most recent work is manipulating the stave to remove a quarter of an inch and make it finer. “This allows me to make the drums rounder, fit better and be lighter.

López has shared his knowledge with other artisans around the island, most recently with young students from a school in Patillas.

Victor's instruments can be found in the hands of various musicians in different parts of the island and also outside of Puerto Rico, specifically in the states of Connecticut and Florida.

For this artisan there is no greater satisfaction that his work inspires interest in the music of the youth of Puerto Rico and that they continue to create cultural bomb rhythms.

ourdrums

Meet Víctor López, a percussion artisan from Moca, Puerto Rico. He makes and repairs instruments and you can get it through his Facebook page under the name of Tambores VL. and/or www.tambores-vl.mozello.com

About Us

Sun, 14 Nov 2021 01:22:00 +0000

About us

We have been in the Recognition Industry since 1975 and our creativity, knowledge and experience have allowed us to grow and maintain a high degree of acceptance in the service of our clients during the last 46 years. Since 2018 we include among our products the manufacture of Artisan Drums for the touch of the “BOMBA”, indigenous music of P.R.

We are certified by the Industrial Development Company of our country as a Craftsman. We have a vast experience of 52 years (1968) playing percussion instruments which is a guarantee of having the necessary knowledge to build an instrument with sound quality and fine finishes.

We look forward to helping you make your drum unique and exclusive to you and built to your liking. Contact by email: tamboresvl@gmail.com.

Víctor López / CFI Certified Artisan # 24310

Drum "Buleador" OFFER

Tue, 19 Oct 2021 13:45:00 +0000

New Year's Offer

Drum - “Buleador” - Basic only $ 450

Purely "handmade" drum, includes shape, size and details similar to the one illustrated. The photo is for illustration purpose. Order yours now. Various colors to choose from. Other models available, prices vary:

drums-vl.mozello.com or on our page. From Facebook; Drums VL. or google my business

Call us at 939-224-1470 and orient yourself without obligation or send us an e-mail to: tamboresvl@gmail.com

"TAKE ADVANTAGE OF THE END OF THE YEAR OFFER" - Until November 20, 2021

COVID 19 Pandemic Update

Sun, 20 Sep 2020 18:01:00 +0000

Sept. 20, 2020

You can communicate through phone and via the Internet. We are manufacturing in this time of Pandemic.

Visit our pages;

drums-vl.mozello.com

Drums VL on Facebook

Drums VL on Google my Bussiness