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Behind the Art, Behind the scenes, Drum December, Drum Works, How Po Makes Hand Drums, Kingston Artist, Po's Drum Making Process, Portia Chapman, Portia Po Chapman Frames and Stretchers, Studio Process, Uncategorized, woodworking

Drum December Day 12 – How to Make a Drum Frame Using 6 Clamps

Portia "Po" Chapman
Close-up of several blue C-clamps tightly securing a glued joint on a wooden drum frame using the 6-clamp method, Day 12 tutorial by Portia Po Chapman.
Mastering the “6 Clamp Method” to ensure a secure, even bond on the dry-bent drum frame.

Drum December Day 12: Mastering the 6-Clamp Method

Welcome to Day 12 of Drum December! Today is the day we tackle dry-bending and clamping head-on. In this tutorial, you’ll learn the vital “what-to-dos” (and the painful “what-not-to-dos”) of securing your frame.

Clamping hardwood is a bit like attending your grandmother’s third wedding and being asked to dance by a gentleman who took lessons from Chubby Checker. Just like a dancer from the ’60s, the wood keeps trying to “Twist.” By following my innovative 6-Clamp Method, you’ll have no problem taking the lead in this clamping dance.


The Anatomy of the Dance: Twist and Circularity

When making drum frames, there are two primary style considerations you must face:

  1. The Twist: How much natural “sport” or torsion your finished frame will carry.
  2. The Shape: How perfectly circular or organic you want your finished drum to be.

Both of these decisions are finalized during the clamping stage. This is exactly why I developed the 6-Clamp Method—to give the maker total control over the wood’s final expression.

Avoiding the Tangled Clamp: The Staggering Method

In Day 11, I explained how the shape changes depending on which end overlaps on the outside. Today, we focus on the direction of the clamps.

Because you are using six heavy-duty C-clamps in very close proximity, the handles can easily get stuck against each other. It can be a deeply frustrating process! Below is a video of my own experience trying to turn clamp handles that weren’t staggered. If you find it painful to watch, just imagine being the one trying to turn them under pressure!

To solve this, we stagger the clamps—top and bottom—in a disciplined sequence. This allows us to intricately pull the seam together while “reading” the bend and twist of the frame.

The 6-Clamp Sequence: A Step-by-Step Guide

I have created this incremental schematic to show you the exact order of operations. Note how each clamp is placed to manage the tension of the 3″ to 5″ glued seam:

  1. Clamp #1: Placed on the top, dead-center of the seam.
  2. Clamp #2: Placed directly beneath the first, but facing the opposite direction.
  3. Clamps #3 & #4: Placed on the side of the center clamps closest to the inner board end.
  4. Clamps #5 & #6: Placed on the remaining opposite side.

Shaping with Baffles: Controlling the Curve

In the schematic video above, I omitted the cutoff baffles (the hardwood blocks that protect your frame) for clarity. However, you must use them!

The size of the baffle on the inside of the frame actually alters the drum’s final shape.

  • The Standard: I typically use a 1″ x 3″ piece of oak.
  • The Adjustment: If you want to flatten a side or create an egg-shaped drum, you do this by widening the inner baffle. The wider the baffle, the flatter that section of the frame becomes.
  • The Rule of Thumb: I generally use a 1″ wide piece on the inside and a 2″ wide piece on the outside, adjusting the spacing as I feel the wood react.

The Goldilocks Grip: Just Enough Pressure

By alternating your clamps, you aren’t just preventing a handle jam—you are managing the twist. When the first clamp goes on, you can adjust the shift and slide of the frame. The second clamp adds stability, and clamps three through six do the heavy lifting.

Tighten them as firmly as your hand can turn—no need for tools. You are looking for the glue to “squeeze out” evenly along the seam. Be careful not to over-tighten! If you squeeze out too much glue, you’ll create a “starved” joint. This results in a fragile frame that may snap when the powerful tension of the rawhide eventually pulls it into its final form.

Looking Ahead

If you think a tree has a long memory, just wait until you see the nature of rawhide. Keep following the Drum December series to see how we work with animal skins in the coming days.

Even if you never pick up a clamp yourself, I hope you’ve learned how to straighten out “The Twist.” Just start in the middle of the floor and lead your partner—side-stepping and swaying until the song is done and you both become one with the true drumbeat of life.

See you tomorrow for Day 13!

Read more about my art at Love Art By Po and the many drums I make.

📧 Portia@loveartbypo.ca

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Find Love Art by Po’s Portia “Po” Chapman Kingston Art studio on Google Maps at this link.

Behind the Art, Behind the scenes, Drum December, Drum Works, How Po Makes Hand Drums, Kingston Artist, Po's Drum Making Process, Portia Chapman, Studio Process, Sustainable Craft, Uncategorized, woodworking

Drum December Day 11 – How to Clamp a Drum Frame

Portia "Po" Chapman
Portia Po Chapman and an assistant carefully applying a blue metal clamp to a glued drum frame in a sunlit Kingston art studio.
Day 11: Applying high-pressure clamps to the glued frame is the final step to ensuring a rattle-free, resonant instrument.

Drum December Day 11: Mastering the Compression and Clamping of Your Drum Frame

Welcome back to Drum December! Today, we are diving into one of the most transformative stages of the process: using my innovative dry-bending technique to compress and clamp the drum frame. This method is born from my preference for non-polyurethane glues, which we explored in our Day 10 tutorial.

By utilizing sun-steamed wood that has been “trained” during the pre-bending phase, we gain incredible creative flexibility when it comes time for the final clamp. If you missed the early stages of this journey, you can catch up on Day 5 and Drum December Begins to see how we prepare the wood to be shaped.

The “impossible” C-Shape

After trimming the frame on Day 9, you are left with a piece of wood that has a massive 16-inch gap between the ends. It looks like a giant letter “C,” and honestly, it looks impossible to close. But this is where the magic happens.

Choosing Your Bending Method

There are two primary ways to bring those ends together:

  1. Mechanical Bending: Using a dedicated jig or form to force the wood into a circle.
  2. Freehand Bending: Bending the wood by hand and clamping the ends using only hardwood cutoffs as buffers.

I personally prefer the freehand dry-bending method. My clients love it because it results in a more organic, natural shape and a superior sound.

The Critical Decision: Inside or Outside?

Before you apply a single clamp, you must decide which end of the wood will overlap on the outside. This might seem minor, but it is vital:

  • The choice of which end goes on the outside literally alters the final shape and resonance of the drum.
  • The inner end experiences a much tighter curve than the outer end.
  • Even with identical ends, swapping the overlap order can create a completely different hoop shape.

The Miracle of Elasticity

The most remarkable part of this technique is the elastic response of the hardwood. Because of the sun-steaming and pre-bending, the wood becomes incredibly flexible. In my demonstrations, you can see a cherry wood frame compressed over 16 inches with ease.

I view myself as a facilitator for the tree. When you encourage the wood to bend naturally, it “sings”. If you force it, the wood rebels, cracks, and the sound becomes muted. A drum maker’s job is to unlock that voice, not silence it.

Letting the Tree Sing: The Philosophy of the Bend

It is truly a remarkable thing to witness, and I often wonder why this method isn’t the gold standard. When we dry-bend, the results are simply superior to clamping freshly steamed wood—especially when crafting those challenging, small-radius frames.

Using this technique feels less like “construction” and more like an act of listening. In the forest, trees are designed to dance; their limbs are built to bend when the wind caresses them. In my workshop, I see myself as a facilitator of that natural expression.

When you allow the wood to bend on its own terms, it sings. When you force it, the wood rebels; it cracks, it groans, and its spirit becomes muted. As a drum maker, my calling is to encourage the drum to find its voice, not to silence it through force.

The “Vet Visit”: Understanding Wood’s Resistance

Once the wood has agreed to take its shape and the decisions of Day 10 are behind us, we move into the physical intensity of the clamping stage.

Even a willing tree has its limits. Wood has a memory and a will of its own, and it behaves much like a dog on the way to the veterinarian. The pup is perfectly calm in the car until you turn that final corner—the moment she realizes what’s happening, she “flips out.”

The drum frame does the same. It will rest quietly in your hands until the moment you bring the glue bottle near. It is the strangest, most miraculous sensation: you can feel the frame shift from a gentle yield to a spirited push-back against the compression. To navigate this, you need a sturdy vice and quick clamps within arm’s reach—or a very strong, steady assistant to help you hold the tension.

The Trick of the Trade: Precision and Protection

Because the wood is alive and moving, using C-clamps is a high-stakes, time-sensitive dance. The second the clamp touches the wood, everything wants to slide and shift. I used to panic during this stage, but I eventually learned the secret: The One-Inch Rule.

  • Keep it Tight: Ensure your C-clamp is open less than an inch. This allows you to turn the handle and lock it down before the wood has a chance to escape.
  • The Safety Net: If you can’t turn the handle fast enough, snap a couple of quick clamps on either side of the joint. They will hold the frame long enough for you to seat your heavy-duty C-clamps properly.
  • Honor the Surface: Never let metal touch the frame directly. A C-clamp is a powerful tool that can easily dent the wood. Always use hardwood cutoffs as a barrier between the clamp and the frame. Even with light-duty clamps, these barriers are essential for protecting the integrity of the wood.

In the video below, you can see this “C-clamp dance” in action as we bring the ends together for the final time.

Pro-Tips for Successful Clamping – A Summary for You to Remember

Keep these clamping tips in mind:

  • Speed is Key: If using C-clamps, keep them open less than an inch so you can tighten the handle quickly before the wood shifts.
  • Use Backups: If you can’t move fast enough, use quick clamps on either side of the joint to hold the position while you set your C-clamps.
  • Always Use Barriers: Never put a C-clamp directly on the frame; it will dent the wood. Always use hardwood cutoffs as a barrier between the clamp and the drum.
  • Clamping Numbers: Use at least six clamps to secure the joint while it dries.

Barrier Dimensions: Use wood cutoffs approximately 1″ x 3″ for the inside of the frame, and 2″ x 3″ for the outside.

What’s Next? Tomorrow, on Day 12, I’ll show you exactly how to arrange those six clamps so they don’t get tangled or interfere with the curve of the frame. It’s a bit like a puzzle, but I’ll walk you through it!

Love Art by Po creates 3 grades of frame drums: Drum Circle, Instrumental and Gallery. Also, Po makes 10″ drum, DIY drum kits. Go to the Drum page to read more about the grades and how to purchase them. Here is the link.

See you tomorrow!

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📧 Portia@loveartbypo.ca

One response to “Drum December Day 11 – How to Clamp a Drum Frame”

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    Drum December Day 12 – How to Make a Drum Frame Using 6 Clamps – Love Art by Po

    […] Day 11, I explained how the shape changes depending on which end overlaps on the outside. Today, we focus […]

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Behind the Art, Behind the scenes, Drum December, Drum Works, How Po Makes Hand Drums, Kingston Artist, Po's Drum Making Process, Portia Chapman, Uncategorized, woodworking

Drum December Day 6 — A Small Split, But a Successful First Bend

Portia "Po" Chapman
A close-up of Portia “Po” Chapman examining a freshly bent white oak drum frame outdoors, pointing to a small split formed during the tight first bend, with bright flowers and summer greenery behind her.
Day 6: A small white oak split appears after the first bend — an expected part of pushing hardwood to its limits.

Today marks the moment of truth for the first bend of the white oak drum frame. After spending the night under clamps, the wood finally revealed how it responded to yesterday’s bending session — and as always, the material had a story to tell.

If you’re new here and want to learn more about who I am and the work I do, you can visit my About & Contact page.

When I brought the frame into the studio this morning, the very first thing I did was check the inside curve. And there it was:
a small split along the tightest part of the bend.

For many people, that might feel alarming. But for me, this isn’t unusual at all — especially with a dense hardwood like white oak. Pushing any wood to the minimum bend radius it can tolerate means you’re working right at the threshold where the fibres must stretch, compress, and adapt. Sometimes, a small split appears as part of that process.

What a Split Really Means in Drum Making

A split doesn’t automatically mean failure.

It’s a diagnostic clue.

It tells me:

  • how far the wood was willing to travel,
  • how much internal tension remains in the frame,
  • and whether the second bend — the glued dry-bend — will seat properly.

In this case, the split is shallow and controlled. That tells me the clamps did exactly what they were supposed to do:
prevent the fibres from opening too far while still allowing the bend to hold.

This is why clamp placement is a true art form in drum making. You don’t just tighten clamps to tighten clamps. You tighten them in anticipation of how the wood is likely to react.

If you’d like to explore my handmade drums, see past builds, or learn about upcoming workshops, visit my Drum Page here.

White oak is expressive — and today, it expressed itself in a way that still sets us up for a strong final frame. As well, the location of the minor breakage will be cut off before gluing the final bend. I don’t sweat these things now, but when I first started bending drum frames, I was totally panicked when the first breakage happened. It was a learning experience – that is for sure!

Reading Tension, Relaxation, and “Feel”

Every wood species responds differently during the first bend.
White oak? Well…It hums with a very particular kind of density.

When I picked up the bent frame today, I could feel subtle tension still living inside the curve. That’s not unexpected — in fact, with white oak, it’s quite normal. White oak, unlike red oak, doesn’t particularly like being bent.

The key for Day 6 is simply evaluating:

  • Did the bend hold its overall shape?
  • Is the curve even?
  • Is the split stable and non-progressive?
  • Does the wood want to spring open dramatically or gently?

All signs today point to a solid first bend. It was a success. PHEW!!!

Come back tomorrow, Day 7, to watch and read about the what happened when I released the clamps.

The next step — which comes tomorrow — is the careful release of the clamps. That’s where I discover how much reflex the wood has stored and whether it settles into the intended diameter or pushes back aggressively.

For now, the job is simply to observe, interpret, and prepare.

White oak may be challenging, but today’s results show that this drum frame is very much on track.

See you tomorrow for Day 7 of Drum December!

— Po

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📧 Portia@loveartbypo.ca

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Behind the Art, Behind the scenes, Drum December, Drum Works, How Po Makes Hand Drums, Kingston Artist, Po's Drum Making Process, Portia Chapman, woodworking

Drum December Day 4 | Finding the Nerve to Bend

Portia "Po" Chapman
Po and her assistant sharing a moment of nervous laughter while preparing to bend sun-steamed white oak for a drum frame during Drum December Day 4 at Po’s Kingston Art Studio.
Po and her assistant share a moment of nervous laughter.

Today, Po takes the next brave step in her sun-steaming white oak experiment — the moment when softened hardwood meets human hands for its very first bend. And this time, the studio was full of laughter, nerves, and a little bit of chaos.

Preparing for the First Bend

After three days of solar steaming and fibre relaxation, the white oak was finally ready to move toward its circular drum shape. But white oak is known for being stubborn — unlike red oak or cherry, which tend to cooperate more easily. This was Po’s very first time attempting to bend white oak, and the air carried that charged mix of excitement and hesitation.

Because the frame pieces were long, Po called in an assistant during this stage. Today, she chose DAD.

Before the camera was rolling, Po looked at her assistant with a theatrical seriousness and joked:

“If it breaks, you can be the one to blame!
I don’t want to be the one who snaps it.”

That set the tone.
The wood was ready.
We… were getting there.

The Moment Before the Bend

As her assistant stood there, holding one end of the hot, hopefully flexible, board trying to work up the courage for the first bend, Po stepped beside her trusty assistant to offer support — and then they immediately broke into laughter. She tucked herself halfway behind his arm, peeking out like someone about to watch a suspenseful scene in a movie.

The cameraperson had already begun losing patience with how long it was taking and insisted that they stop laughing and get serious. She wanted to get the shot. Then she started laughing.

This is the real life of drum frame bending at Po’s Kingston Art Studio — part process, part comedy, all family, ALL ART. Drum making is a beautiful, love-filled-art, and this short video illustrates the joy that cheers out with exuberance of Love Art By Po.

Nervous Laughter, Real Art

In today’s short video, you can witness the exact moment when nervous laughter gives way to determination. Po, her assistant and cameraperson take their positions, breathe through the tension, and finally begin the first coaxing bend of the white oak.

It’s only a small curve — a gentle start — but it marks the beginning of the transformation, from plank to drum. And as simple as it looks, this step matters: the first bend dictates how the wood will behave when the full circular frame is shaped and clamped.

A Family Moment in the Making of a Drum

What the video doesn’t capture — but what filled the studio — is the feeling of teamwork.
Making drums in this space has always been infused with love, humour, and family togetherness. Today was no exception.

Drum-making is not simply about shaping wood at Love Art By Po;
it’s about beautiful, shaping moments — that make everyone stronger.

Making drums has taught Po an incredible life lesson – a circle of wood is like a circle of loved-ones, when you push on them – they get stronger as they find their harmonious tune.

Join us again for Day 5, where Po continues shaping the wood — and the shared moments — that make every drum a circle of strength and love.

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📧 Portia@loveartbypo.ca

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Behind the scenes, Drum December, Drum Works, Kingston Artist, Po's Drum Making Process, Portia Chapman, Sustainable Craft, woodworking

Drum December Day 2: Po’s Sun-Steaming Method Begins

Portia "Po" Chapman
Po Chapman lying in the sun wearing yellow sunglasses and a green shirt, beginning Day 2 of her sun-steaming drum-making process.
Day 2: Po begins her sun-steaming process for crafting hardwood drum frames.

Welcome to Day 2 of Drum December!

Today, Po begins the very first step in her innovative sun-steaming method — a sustainable process she personally developed to prepare kiln-dried hardwood for her premium drum frames and exposed stretchers.

Sun-steaming is a technique that Po pioneered to reduce the environmental impact of traditional wood steaming. Instead of soaking the kiln-dried wood for two days and then heating it with electricity, Po slides the carefully milled hardwood into a long black tube with ridges along its interior.

The ridges guide the wood as it slides in, producing a distinctive sound — the beginning of the transformation.

Once the hardwood is inside the tube, Po fills it with water and lets the sun do all the work. For three full days, the water naturally heats within the sealed tube, allowing the wood fibres to relax and prepare for bending.

An Energy-Conscious Method for Steaming the Wood:

  • Removes the two-day soaking stage
  • Uses no electricity
  • Reduces water consumption
  • Produces a more responsive bend
  • Creates the smooth, elite-quality curves Po’s drum frames are known for

This is where Po’s craftsmanship begins — with innovation, patience, and the sun itself.

Tomorrow, we’ll continue documenting this process as Drum December unfolds, one beautifully authentic step at a time.

Tomorrow, Po continues the transformation as she assesses the wood to see whether it has relaxed enough to become bendy and ready for shaping.

Stay tuned for Day 3!

📧 Portia@loveartbypo.ca

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