Snare Drum Addict

Selling Off Some Snare Drums

2011-10-12T13:38:00.008-04:00

Among the snare drums documented here are a shameful number that have not been played in over two years. Therefore I am selling a few now, and will be listing even more for sale in the near future. First to be sold off are:

Pearl 50th Anniversary 5.5x14. ~~Asking $650 shipped to US locations and $690 to any other location.~~ SOLD Contact me if interested
5.5x14 Leedy Shelly Manne COB . ~~Asking $400 shipped to US locations and $440 to any other location.~~ SOLD Contact me if interested
Ludwig Exotic (Sapele Pommele) 5x14 . Asking $450 shipped to US locations and $490 to any other location. Contact me if interested
Ludwig Maple with Waterfall Bubinga Finish Asking $575 shipped to US locations and $615 to any other location. Contact me if interested
6x14 Bubinga Stave with Stanbridge Hoops NOTE: Nickleworks throw has been upgraded to a goldplated Dunnett R-Class throwoff. Asking $550 shipped to US locations and $590 to any other location. Contact me if interested

Addendum to For Brush Players: A New Site

2010-08-31T12:20:00.002-04:00

In my last post I discussed the relationship between tap dancing and brush playing, and also commented on additional relationships that Gerry Paton uncovered in his research. Subsequent to my posting Gerry told me about a book of essays, The Jazz Cadence of American Culture, that connects some of the dots between and among the influences. I just placed an order for the book and will write about it at a later time.

Also, I just posted a discussion of Gerry's site and additional information about some of the better brush players in an article titled Appreciating Brushwork and Some History.

For Brush Players: A New Site

2010-08-31T00:11:00.001-04:00

Brush playing is one of my personal joys. I have written a few articles and reviews on the subject, including On Playing Brushes Part 1: The Vocabulary, On Playing Brushes Part 2: Creative Writing, and On Playing Brushes Part 3: The Thesaurus. I recently came across a new site, Brush Beat, that contains some remarkable content written by Gerry Paton.

Although the site is new, he has two sections that are well worth reading:

Articles containing one of the best researched pieces on early brushes and how they were played, and one on the history and evolution of the original brushes
Tips and Tricks that contain two (for now) articles on making brush-friendly instruments and playing techniques

The most engrossing document is from the Articles page titled, Never Swat a Fly! (the origins of brush playing in jazz).

What makes this article particularly valuable is Mr. Paton's view of the roots of brush playing departs from conventional thought, which is tap dancing. In the book that accompanies The Art of Playing Brushes, Mark Griffith wrote a chapter titled A History of the Brushes in which he delves into the relationship between tap dancing and brushes. Also, on his instructional DVD, Brushworks - The DVD, Clayton Cameron devotes a segment to the same relationship. The arguments are compelling and valid. However, Mr. Paton cites a deeper source: shoe shine boys who employed their individual rhythms in brushing down their customers with whisk brooms after they shined the shoes. He backs this up with copious citations within the article. He also traces the development and evolution of suitcase drumming in which brushes were used, as well as the importance of barbershops as musical centers of gravity and where some of the whisk broom rhythms were born and evolved. In the latter it appears that Louisiana was particularly important. The irony is the pioneering New Orleans drummers, such as Louis Cottrell, Sr and Baby Dodds eschewed brushes.

In addition to the roots of brush playing, this article also traces back the development of the brush itself. The design of the original brushes - indeed, the brush itself - was a fly swatter circa 1895. That device's history is contained in the second article in the articles page titled, What Swat: a guide to early wire brushes. If you are interested in the history of brushes and brush playing, Mr. Paton's impeccable research and excellent writing add significantly to the history and body of knowledge.

The Tips and Tricks page is devoted to more practical aspects of brushes: playing them and novel devices to break through the limitations of percussion instruments. For example, Mr. Paton has designed a Canbell that has the sensivity for brush playing that is difficult to achieve with a cow bell. The device looks like this:

Full instructions for making your own are provided in Making a Canbell. The other article on this page shows how to cross stick with brushes.

Based on the content already on this new site I anticipate more well researched and/or thought out articles and tips from Mr. Paton. If you play brushes or are interested in mastering them I highly recommend visiting and bookmarking the site.

A Cross Post: The Savoy King movie

2010-08-24T12:07:00.000-04:00

I am cross posting this from my Music for Drummers blog because I think that the audience for Snare Drum Addict will appreciate the information as much as the audience for that blog.

A few months ago I received an email from a producer named Jeff Kaufman, who informed me about a movie about the great Chick Webb and the Savoy Ballroom. The movie also features Ella Fitzgerald and other notables from that era who were connected with the Savoy and Chick. Because of a personal tragedy I am only now starting to write again.

The best way to present the project is to use Mr. Kaufman's description:

Chick's brief, inspiring life illuminates the society-changing power of music, the life-lifting effect of mentoring, a hard-fought breakthrough in racial understanding that reverberates today in many ways, and the ability of everyone (with or without disabilities) to reach beyond their apparent limits. Produced with The New Heritage Theatre Group (New York's oldest non-profit Black theater), The Savoy King: Chick Webb And The Music That Changed America weaves together newly filmed stories from remarkable people who knew Chick Webb at every phase of his life, with quotes from some of the greatest figures in Jazz history. Bill Cosby has voiced the words of Chick Webb, and we also have Tyne Daly voicing Jazz publicist Helen Oakley Dance, Ron Perlman as Gene Krupa, Andy Garcia as Mario Bauzá, and Danny Glover as Count Basie. We just had a screening of the rough cut, which we will now polish. Unfortunately, I've hit a financing wall at this crucial time, and I am urgently seeking tax deducible finishing funds to complete our work. Donations are tax deductible, and any level of support can make a big difference.

As you know, the Savoy Ballroom was the home of the amazing Lindy Hop dancers, and the first venue in America where Blacks and Whites could dance and socialize together. It had a huge, but largely unheralded social impact. Born fatherless and poor, Chick Webb developed spinal tuberculosis and was a hunchbacked dwarf in constant pain, yet he virtually invented modern drumming and built the hottest band of the 1930s (it was the Savoy Ballroom's "house band"). Chick was mentored by Duke Ellington, toured with Louis Armstrong, argued with Jelly Roll Morton, jammed with Artie Shaw, married a beautiful dancer, discovered and practically adopted Ella Fitzgerald (in many ways, their relationship is the heart of the film), beat Benny Goodman and Count Basie in legendary battle of the bands, befriended Mario Bauzá ("The Father of Afro-Cuban Jazz"), encouraged a struggling Dizzy Gillespie, and helmed the first Black band to host a national radio show . . . all before drumming himself to death at age 30.
We've been privileged to film with some terrific people, each who could warrant their own documentary. They include: drummers Louie Bellson (with, I believe, his last filmed drum performance) and Roy Haynes (among other things, he does a charming scat version of A-Tisket, A-Tasket), trumpeter Joe Wilder, playwright-actress Gertrude Jeannette, Swing dance masters Frankie Manning and Norma Miller, basketball star John Issacs, composer-arranger Van Alexander, longtime Harlem physician Dr. Muriel Petioni, childhood friend Rev. Edward Wilson (minister emeritus at Waters AME Church), Ella Fitzgerald's son Ray Brown Jr., the son of the Savoy Ballroom's owner, and Chick's jazz-loving nephew.

Since I am a big fan of that era, and revere Chick, I found the news of this project to be exciting. Chick's name is becoming a dim memory among drummers, and too many younger drummers never heard of him. To keep his name and accomplishments alive is, to me, important. Mr. Kaufman's project could be not only a loving tribute, but may spark interest in the newer generations, which could revive swing in much the same way Squirrel Nut Zippers and similar groups did in the 1990s.

A better overview of the project is on Floating World Pictures page titled The Savoy King: Chick Webb and the Music that Changed America.

If you are not familiar with Chick or the Savoy Ballroom, this clip from Jazz: A Film by Ken Burns is a quick introduction:

For more information about Chick, recommended recordings and links to more information, see my March 11, 2010 post.

Additional information that came after I posted the above on Music for Drummers:

The producer, Jeff Kaufman, just sent me two additional links to share:

Enjoy.

Ludwig Has a Near Miss: 1930s Reissue Standard

2010-08-22T22:30:00.001-04:00

Ludwig recently announced the reissue of the 1930s Standard model, which is based on the coveted two piece brass shell. Here is Ludwig's marketing blurb:

Ludwig Drum Company is proud to announce the limited availability of the 1930 “Standard” Model Reissue, Nickel-Over-Brass Snare Drum. A collaboration between Ludwig and Italian goldsmith Adrian Kirchler, The “Standard” Reissue is the first snare in the modern era to use Ludwig’s original 2-pc. Shell. “The original Standard and Deluxe models used two thin, brass sheets that were hand-rolled and joined together at the bead,” states Kirchler. “A very strong shell was then formed using the traditional double-crimped bearing edge on the top and bottom. This new Standard model is absolutely true to the original 2-pc shell design.”
The original Standard and Deluxe models are –of course- more commonly known today by their modern names: Chrome-Over-Brass and Black Beauty. After Conn purchased Ludwig and Ludwig in the early 30’s, the single-piece shell construction used today was implemented, and the original 2-pc. Standard shell became a thing of the past.

Before I begin citing why I am disappointed with this reissue, let me say some positive things about Ludwig. First, they have been listening to drummers. There were three Ludwig employees participating on Drumforum.org when I was active on that forum. And it remains one of the best forums on the web in my opinion. I marveled at how responsive Ludwig was to discussions. Not necessarily with respect to the Ludwig folks jumping into debates. Instead they showed they were listening by releasing new products that had an uncanny resemblance to recommendations and ideas that surfaced during discussions. So don't take this post as sour grapes or showing disrespect to Ludwig the company. On the contrary, I believe they are the most responsive drum company when it comes to actively listening to rank and file customers and proactively introducing products that match what they hear. Think of any other company - drum or otherwise - that is that responsive these days. You probably can't.

Here is the drum, and I will dissect the problems I see with it:

A few good things jump out: the shell itself, the classy oval Monroe badge that evokes memories of the Ludwig & Ludwig badge from the period, and even the P86 throw-off, which has a vintage vibe and modern reliability. As a side note I do wish Ludwig would use screws for tightening the pressure bar that can be tightened and loosened with a drum key instead of requiring a screw driver. But that is for another post.

What I personally don't care for (and this is totally subjective): the brass hardware. It clashes visually (to me) with the nickel finish over the brass shell. Worse, it detracts from the floral engraving in the two panels, drawing attention away from some of the artistry that Mr. Kirchler added to the shell. I am also not crazy about the P33 butt because it is anything but low mass and will probably interfere with the shell's resonance. On the plus side, the P33 can be tightened and loosened with a drum key. I could probably live with it, but I would rather see the venerable and very low mass P32 as a butt. Again, that is a personal preference.

What I believe makes this snare drum a miss is Ludwig's choice of die cast hoops. Why take a thin, two-piece shell, then choke the life out of it with die cast hoops? This isn't the 80s when Tama and other companies touted die cast hoops and drummers bought into the hype. Die cast hoops have a place in the studio to be sure, but for live playing they will negate all of the advantages (and mojo) of that beautifully crafted two piece shell. Worse, those heavy hoops kill any visual link back to the original of which this model is a reissue. Before someone chimes in using Gretsch's tried and true die cast hoops as a counter argument, those hoops that made their round badge drums special were much lighter than modern die cast hoops. In fact, the Gretsch die cast hoops are probably on par with modern 2.3MM triple-flanged hoops.

A few thoughts: if the drum is aimed at collectors who are going to put it in a glass case and gloat over bragging rights, use single-flange hoops like on the Ludwig 95th Anniversary snare drum. That would also please some orchestral drummers, and it would be a truer reissue. Sourcing them is not a challenge these days. Since Ludwig's Black Magic snare drums appear to be sourced from the same suppliers as those Worldmax uses - down to the S9X throw-off and shells - single-flanged, COB hoops and clips are readily obtainable. If the drum is going to be played instead of sitting in a case, then the owner can quickly and inexpensively swap in triple-flange hoops like so many owners of the original two-piece shell drums are already doing.

Despite my dislike of what appears to be a pastiche instead of a reissue, I have to commend Ludwig for listening and attempting to reissue the 1930s Standard. I believe they missed the mark with this particular snare drum, but they have been hitting bullseyes with so many other products that they are allowed a few stumbles.

Good Reason for Another Build - Part 2

2010-08-18T00:11:00.001-04:00

Although my last post was ostensibly about the DW Mag throwoff and 3P butt, it quickly turned into a snare drum design to mount them on.

This post will tie up a few loose ends regarding the rest of the specifications. First, I finally settled on the lugs. I thought long and hard about using turret style lugs to keep the spirit of DW in the design elements, but just could not bring myself to do it. To me they are ugly.

One supplier I often use is Best Drum Deals. Their prices are reasonable, they ship fast and provide excellent service, so I checked their catalog and found the AG-1 Chrome Double Ended Snare Drum Lug shown below:

That lug has a vintage look that will compliment the throwoff design, and will also let more of the beautiful veneer I discussed in my last post to show through.

The snare bed I am opting for is going to be wide and shallow like modern Ludwig snare beds. That design will accommodate a wide range of snares. For more about snare beds see this post. For snare wires I usually go with 12- or 16-strand. When I use 12-strand I use Puresound Concert wires. However, for this drum I am going to use 16-strand Worldmax German Steel Wires. I have found these wires to be equal in all respects to the Puresound 16-strand Custom series, and at a fraction of the price.

Head selection is fairly straightforward: a Remo Diplomat for the snare side will give me maximum sensitivity to take advantage of the 3P butt, and a Remo Coated Ambassador on top makes for a perfect combination.

While I often have snare drums built with single-flanged, chrome over brass hoops with clips, a set runs close to $140. To keep costs down I am going to go with 1.6MM triple flange hoops. They provide nearly the same open, resonant response as the single flange hoops, and will allow a lot more sensitivity than 2.3MM hoops. For the same reason - achieving an open, resonant sound - I am going with eight lugs. In fact, all of the drums I have custom made have eight lugs because I personally think that ten lugs are not required on a snare drum. And certainly not on a snare drum that you want to be resonant and open-sounding.

Although it sounds trite, I have a strong preference for Pearl tension rods. Unlike other tension rods with a thin chrome plate on the threads, these rods are more substantial in weight and look to be better machined. Since they cost the same or less than generic rods I always use them for new snare drums, and when I have to replace bent rods on drums that I restore.

As the project progresses I'll provide updates.

DW Mag Throwoff and 3P Butt: A Good Reason for Another Build

2010-08-17T12:36:00.000-04:00

I recently stumbled across the DW MAG throwoff and 3P butt combination. Aside from the price, which is considerably lower than many boutique throwoffs, this model has features that I find appealing.

First, I have always preferred the Gladstone style strainers where the engagement and disengagement of snares are via a sideways lever. I also like the easy-to-reach fine adjustment knob that is horizontal, and the fact that it employs a magnet to hold the throwoff bail in the engaged position. That feature alone eliminates friction mechanisms that stick or bind. Here are photos of the throwoff on a snare drum, and with the bail in the disengaged position. There is no doubt that when disengaged the snares are completely off the snare side head:

What truly got my attention, though, is the 3P butt. You can preset snare tension in three steps with the flick of a lever. This feature is similar to the tension adjustment system built into the Trick GS007 throwoff. It allows you to quickly change from a higher tension setting that gives a fairly dry sound that works well in rock or louder music, to a medium tension that is better suited for press rolls and a more defined snare response, to a wet sound that works well with second line drumming. Here is a photo of the 3P butt, showing the adjustment lever:

As mentioned in the title, this throwoff is a good reason for another build. Let's start with the shell. I want to base the drum on a versatile size, and you can never go wrong with a 5"x14" form factor. Second, I want the shell to be a Keller VSS 6-ply with reinforcement rings. I selected the 6-ply because the thinner shell will more freely vibrate relative to the more common 10-ply shells, which will result in a fuller sound, higher resonance and far greater sensitivity. The tradeoff is loss of projection and volume compared to a 10-ply shell, but I prefer quieter drums. For more information on how shell thickness affects a drum, Mike Radcliffe's discussion in his excellent Tuning Drums article titled Drum Shells is essential reading.

Beauty enters into the equation too. I intend to procure the shell from Drum Foundry's pre-veneered shell selection. I have long lusted after a shell finished in Carpathian Elm, so I now have an excuse. Here is what that wood looks like:

A final, and important, technical decision is selecting the best bearing edge. I normally prefer 30 degree edges with a fat roundover. That reflects my preference for vintage sounding drums. However, since this drum will incorporate the 3P butt and the ability to quickly set tension, I am going to go with a double-45 degree edge that is slightly rounded over. This will give the drum maximum sensitivity that will leverage the features of the 3P butt. For more information about bearing edges see my post titled Properities of Drum Shells and Bearing Edges and the bearing edge video in my post titled My Approach to Tuning.

I have not decided upon the lugs I intend to use. In the spirit of a theme I should select the "turret" style of lug DW uses since I am using a DW throwoff, but I dislike that style immensely. Indeed, I have disliked it since the 1960s when it was called the Aristocrat lug by Camco

The easiest decision is contracting with a builder. My first choice is Kevin Smee of Bowie Custom Drum. Kevin has built a few snare drums for me in the past and his workmanship is first rate, his turnaround time is faster than any other custom builder I have used, and his prices are below market.

As this saga unfolds I will post updates.

New arrival: 4x14 vintage wood snare with no markings

2010-08-15T12:36:00.003-04:00

It sometimes takes a simple event to overcome overwhelming grief and start writing in this blog again.

The event is my acquisition of a snare drum type that I had long wanted, but somehow had eluded my best efforts to get one at a reasonable price. Thanks to AuctionSniper I managed to grab this baby for $81.00:

There are no markings, and it could very well be made by Walberg & Auge, Lyon & Healy, or any number of early 1900s drum companies. I am guessing the shell was made by Leedy because it appears to be walnut and U.G. Leedy had a marked preference for walnut and maple as drum shell tone woods. Leedy also provided shells to other manufacturers.

Regardless of who made it or the brand under which it was sold, the drum is the early single-tension, free floating design that was the norm in the early 20th century. The reinforcement rings inside the four inch deep shell are the same species of wood as the shell itself, and the hoops are maple.

I particularly like the throw-off design, which foreshadows Billy Gladstone's design:

The drum itself arrived in dire need of a cleaning. There were 90 plus years of dust, dirt and gunk covering all of the parts. I followed my process for cleaning and restoring, and in two days got the drum to a clean (but not pristine) and playable state. The throwoff works perfectly, the tension rods now move freely, and the snares provide a sound that only wound, cable snares from that era can provide. Here is a shot that shows the snares more clearly:

One risk of obtaining these old wood snare drums is too often modern heads will not fit them. I was fortunate that I was able to achieve a perfect fit to the shell and the hoops with modern Remo heads. I had a pair of heads laying around that I threw on it, but my long term goal is to have a set of calfskin heads made for it. In the interim, I am going to order a Remo Renaissance Ambassador snare side head, and a Remo Fiberskyn FA for the batter. This is a departure from my normal head selection, where I always use a thinner Diplomat weight on the snare side, and, when I am using Fiberskyn heads for batter sides I use a Diplomat weight also (when I am using normal coated heads, I usually go with Ambassador weight.) The reason I am planning to use heavier heads on this snare drum is it is extremely lively. That is partly due to the shallow depth, but I am pretty sure the old growth woods used back when it was made is a factor as well. The wood on both the shell and hoops are extremely heavy and dense compared to the same shells from the same species today. All of the old growth wood is gone.

The drum is surprisingly snappy sounding considering the cable snares and the single tension system. One thing is certain: this drum will get played. It sounds too good to spend its remaining days in a display case.

Reason for the three week silence

2010-05-03T17:27:00.000-04:00

I experienced a personal tragedy, so my posting was put on hold for the past three weeks.

In a day or so I will be back with some [hopefully] interesting information. The next post will trace the development of the bass drum pedal.

Some of my favorite cymbals: Zildjian Armand Series

2010-04-11T15:35:00.002-04:00

At one time the focus of my gear acquisition was the quest for the cymbal sound. I somehow managed to acquire 85 (mostly Zildjian) cymbals, new and vintage, before the obsessive-compulsive side of my nature turned to snare drums. That triggered the great cymbal sell-off to fund my snare drum addiction.

The first step was to satisfy myself that I had the cymbal sound I was seeking. Cymbal sounds actually, because I wanted cymbals that would work with jazz, blues and classic (1950s/1960s) rock. As I culled the cymbals I wanted to sell from the pile I discovered some gems that were keepers.

The first ones to go into the keeper pile were my Armand series. Specifically, the 19" Beautiful Baby ride, a pair of 14" Armand hi-hats, and a 21" Armand ride. I almost always use only a single ride and a pair of hi-hats when I am playing, so the 18" Medium Thin Crach and its 16" Medium Thin sibling went into the sell pile. I managed to acquire the entire set in a trade I had done.

What I love about the Armand series is they sound very similar to the cymbals that Joe Morello used on the 1959 Time Out album. Although Zildjian advertises the Armand series as a cymbal that captures the classic 60s rock sound, they also represent the sound of the 1950s Avedis cymbals.

In particular, the 19" Beautiful Baby ride has a shimmering sound (thanks in part to the three-rivet cluster) that works beautifully in jazz, R&B and classic rock ballads. As I write this, that is the cymbal that is currently mounted on my 1961 Slingerland kit - and it is all the ride cymbal I need at the moment.

The 21" Armand ride still shimmers, although without rivets, and has the right balance of brightness and wash, which makes it one of the most versatile ride cymbals in my arsenal.

In the 21" Armand ride you can hear Mitch Mitchell backing Hendrix, John Densmore backing the Doors, and even some of the classic jazz drummers.

The 14" Armand hi-hats, like the rides, have a vintage sound and feel. I like the action of these hats, and when you have your clutch loose you can get a great sizzle sound for playing big band and jazz, as well as getting a nice "chick" sound. You can use these hats in just about any musical situation and be pleased. They have a lighter feel than modern Zildjian New Beat hats, which have grown heavier over the years, but are close to the original New Beats designed by Louis Bellson, and are nearly identical to the Zildjian hi-hats that preceded the New Beat line.

The key to these cymbals is the umbrella like profile that characterized the Zildjians made in the 1950s and early 1960s. If you study vintage cymbals - and a good place to start is The Vintage Cymbal Guide - you will see how closely the Armand rides resemble the vintage Zildlian rides, especially the profiles and bells. Zildjians cymbal anatomy briefly describes the parts of a cymbal and how it affects the sound:

In addition, I recommend this page, which includes a more detailed description of the anatomy of a cymbal.

If you are looking for a versatile set of cymbals that will work with just about any genre (metal, perhaps, being an exception), check out the Armand series. I am pleased with mine because they have worked in every scenario in which I've used them with the exception of low volume acoustic work.

Some Quick Tips on Second Line Drumming

2010-04-09T15:45:00.004-04:00

One of the more elusive styles is the New Orleans second line drumming that has been around since jazz was born. The grandfather of this style may well have been Louis Cottrell Sr., however, the style was propagated to a much wider audience by Baby Dodds and others.

My favorite video that demonstrates the old style, as well as the evolution of second line, is New Orleans Drumming. One clip, in particular, from the video is performed by Herlin Riley who does a beautiful job of demonstrating the traditional form:

There is a segment by Johnny Vidacovich who diiscusses (and demonstrates) not only the second line style, but other New Orleans music which was derived from the roots. This clip of Vidacovich is not from the video, but does contain some of the techniques he discusses in it, with an emphasis on the all important clave rhythm:

The late, great Earl Palmer is also in the video. He discusses the influence of New Orleans drumming on popular music of the 1950s and 1960s. Palmer is one of the most recorded drummers in history, along with Hal Blaine, so it is illustrating to discover how pervasive the New Orleans and second line influences are to contemporary (for that period) music.

The final segment is performed and discussed by Herman Ernest, who shows the influence of early New Orleans drumming on funk.

If you want to dig deeper into the art of second line drumming I recommend Stanton Moore's A Modern Approach to New Orleans Drumming, which may be more in line with a more modernized approach to learning the style. Moreover, Moore's DVD is more focused on instruction, making it a great learning tool.

Moeller Technique (and other tips by Derrick Pope)

2010-04-09T13:11:00.000-04:00

As a follow-up to two previous posts (My Favorite Instructional Videos: Grooves and Woodshedding!), these instructional videos by Derrick Pope are pure gold:
Moeller Technique

One-Handed Rolls

Double Stroke Technique

Watch and learn!

More on brush playing

2010-04-08T16:26:00.001-04:00

Scattered throughout this blog are posts about playing brushes:

I wanted to add another resource from my other blog that should inspire brush players (or those who want to learn brushwork): Sound of Swing - A Great Basie Video. What makes this video special is it's just Basie and his rhythm section (Sonny Payne, Freddie Green and Norman Keenan). Payne's brushwork is exquisite on every performance, two of which are embedded in the post, and the interplay between and among the musicians illustrates how to make excellent music as a cohesive group. Watch Basie closely for the cues he gives the other musicians.

Update: See Jon McCaslin's excellent blog post, The Art of Brushes: Roundtable Discussion for more about Steve Smith's instructional video.

Pearls from Pearl

2010-04-07T12:10:00.001-04:00

In my opinion Pearl, like Ludwig, knows how to make a snare drum with mojo. I have yet to play a snare drum from either company - even their low end models - that was a dog.

My introduction to Pearl snare drums came about when I purchased a bare Pearl Sensitone steel shell off eBay. The story behind the purchase is somewhat humorous and a lesson to not drink and browse eBay. However, the finished product after I outfitted the shell with lugs, throw/butt, hoops, etc. turned out to be a great sounding (and looking) snare drum.

The only reason I sold it was it was too loud for my tastes. The rock drummer who now owns it is pleased.

My next Pearl was the Chad Smith signature model. I was pleasantly surprised by the wide tuning range and sensitivity of this instrument, which is among the low end snare drums offered by Pearl. Even with stock heads and snares it was more than adequate for jazz, blues and classic rock. One feature I especially like is the Pearl SR-015 strainer, which is a Gladstone style throwoff shown below:

Overall it is a versatile snare drum that is often overlooked because of its low price and the fact that it has a steel shell. The only reason I sold mine is because I was on a vintage snare drum quest and I had other metal shell snare drums that rendered the Chad Smith model redundant.

I next acquired a Pearl 6.5x14 brass Sensitone Special NAMM edition:

This snare drum started my love affair with Pearl Sensitone snare drums. My favorite feature is the single flange hoops with heavy duty hoop clips that give this snare drum an open sound. It works extremely well with brushes, and has a wide dynamic range from soft to loud. It also is one of the more sensitive snare drums I've owned.

I feel that you cannot go wrong with any of the many Sensitone models, but I especially like the 6.5x14 Sensitone Elite Beaded Phosphor Bronze Snare (easily the equal of my Special NAMM edition Sensitone), and the 5x14 Pearl Sensitone Elite Beaded Aluminum Snare, which sounds like a vintage Ludwig Acrolite. The 5x14 size of the aluminum model is more versatile than a deeper snare drum, and the shell gives it a wood-like sound, making it a good compromise between a metal and a wood snare drum.

My Special NAMM edition snare drum will always have a place in my snare drum arsenal, as will my Pearl 5.5x14 50th Anniversary snare drum.

I love everything about the 50th Anniversary - single flange hoops, steambent maple shell, and even the special edition Fiberskyn head. This particular snare drum proved to me that Pearl could make a wood snare drum that has the same mojo as their metal models. This led me to the 6.5x14 Pearl MHX Masters Mahogany Snare Drum, which is - in my opinion - the equal of any wood snare drum Ludwig makes (and Ludwig will always be the benchmark.) This snare drum has a 4-ply mahogany shell and 4-ply maple reinforcement rings, and is perfect for any musical style. I did not like the die cast hoops that it came with, but after throwing a set of triple flange hoops on the snare drum sang.

Bottom line: Pearl knows how to make snare drums. In my opinion you cannot go wrong with even their low end models, and their high end models are simply amazing. More importantly, every Pearl snare drum I have owned or played worked beautifully out of the box, which is refreshing considering that the first thing I do with a new snare drum is change the heads and snare wires.

Five Star Tips

2010-04-06T19:56:00.000-04:00

Need some quick advice on tuning, head selection and a plethora of other topics? This collection of short tips is worth checking out.

Properties of Drum Shells and Bearing Edges

2010-04-02T11:52:00.003-04:00

In My Approach to Tuning I briefly discussed the importance of bearing edges and shell material. Eric J. Macaulay's paper, Properties of Drum Shells and Bearing Edges adds a significant amount of information to what I touched upon. In addition, the following articles will add more information to aspects of drum construction that affect the sound of a drum:

It all comes down to knowing your instrument. I hope the foregoing helps you to understand aspects of drums that too many drummers ignore.

Wood or Metal Shells? Here's a Compromise

2010-04-01T15:44:00.000-04:00

Many drummers have marked preferences for either metal or wood snare drums, and usually stick to their preferences. Not all drummers, of course, because some drummers will select the right instrument for a specific venue or recording session.

I have a personal theory that preferences are often based on the first snare drum a drummer owns. I prefer wood snare drums, and it's probably because my first drum kit in 1964 came with a wood snare drum. The sonic characteristics of our first snare drums tend to imprint us. Wood snare drums are typically warmer than metal, and have tonal qualities that a metal snare drum cannot deliver. Metal, and especially brass, tends to project more, sound brighter, and - when tuned a certain way - has a "honk" that appeals to many drummers.

Certain snare drums, however, have sonic characteristics of both shell types. The Slingerland copper snare drum I discussed in my last post has wood-like sound qualities. Part of the reason is the copper shell, which gives the drum a softer, almost diffused tone.

There is another class of metal shell that possesses the same qualities: hammered metal. I own two, both made from different types of metal, that would fool many in a blindfold test.

The first is my Ludwig 6.5x14 hammered bronze snare drum:

That is the snare drum that induced me to try metal sell snare drums. The hammering dried out the sound sufficiently to give it a distinct wood tone, and the bronze shell contributed to the tone and sensitivity, making it ideal for brushwork. In fact, it is an extraordinarily sensitive drum considering the shell depth. At first I wasn't sure if it was the bronze shell or the hammering that imparted the sonic qualities I found so desirable. I became convinced after I acquired another hammered shell snare drum - a 5x14 hammered Supraphonic:

Not only is the depth more shallow, but the shell is made from Ludalloy (Ludwig's term for chrome plated aluminum.)

Like the bronze shell model, the hammered Ludalloy model is drier than a standard Ludalloy Supraphonic, and has wood-line tone.

To truly ensure that it's the hammering and not the shell material I tested out a Ludwig 5x14 hammered brass Black Beauty. The test was apples-to-apples against the Ludalloy hammered Supraphonic in that the depths were identical. Result: same dry, woody quality as the other hammered shell snare drums. It was actually a surprise because brass is a much brighter sounding metal when used for drum shells.

The conclusion is if you want a snare drum that shares some of the most important characteristics of both wood and metal, then a hammered shell snare drum (or one with a copper shell) may be the best solution. I've used Ludwig snare drums as examples because I own and have first hand experience with them. Most major drum companies offer hammered shell snare drums, mainly made from brass, including Gretsch, Pacific, Peace and Worldmax. They are worth a look if you are seeking a versatile snare drum that has tone with a bit more projection.

Slingerland 6.5x14 Copper Snare Drum

2010-03-31T14:32:00.001-04:00

This drum is from the Music-Yo era that is usually associated with the nadir of the Slingerland brand. However, some of the snare drums from this era, and particularly this copper model, are excellent and represent a great value if you come across one.

The Zoomatic strainer has always been the weak link on any Slingerland snare drum from any era in my opinion. However, the one on this particular snare drum works well. I did disassemble it to clean and lubricate it, which accounts for the problem-free operation it gives me.

The drum itself sounds wood-like. This quality comes from the relatively thin, copper shell. It also has a fairly wide tuning range - a surprise - and is one of the better snare drums I have for brushwork.

Because it has a deep shell and because of the thin, copper construction, it is well suited for low volume venues. Controlling the dynamic range, particularly in the PPP to F range, poses no problem with 7A sticks.

I've gotten the best results with the resonant head tuned high and the batter medium. If you tension the snare wires low this snare drum makes buzz rolls and shuffles sound amazing. The wires will go to medium tension before they choke, so it is probably not the best choice for heavy backbeat music.

I have had this snare drum for a few years, but rediscovered it today when I was looking for another snare drum. It is now set up on my kit as the snare drum in rotation for this week. Sometimes owning 60 snare drums can be a curse as well as a blessing because you can often overlook a gem. I can assure you it will get a workout this week.

How to Properly Thread Snare Cord

2010-03-30T17:36:00.001-04:00

When attaching snare wires to the strainer and butt my preferred method is to use gorsgrain ribbon (see Other Tweaks in this post). However, I have a lot of vintage drums equipped with strainers that require snare cord. Often I get these drums with the snare cord incorrectly installed.

This post applies to the majority of snare wires one encounters with the end plate designed with a lateral channel under the end plate. An example of this type of end plate is shown here:

There are exceptions, such as these two examples where there is a pair of front channels designed into the end plate or tabs on top of the end plate that require an approach opposite of what I describe below.

For the majority of snare wire models, including Puresound and other common models that have the lateral channel under the end plate, here is an example of how not to thread the cord (and is the focus of this post):

Notice that the cord is threaded over the top of the end plate, which means that the two ends of the cord are threaded under the end plate. This causes the end plate to lift slightly off the head, which, in turn, does not allow the wires to have full head contact.

The second problem shown in the photo is the end plate is slightly cocked to the side, which also hampers wire to head contact because the wires are slightly offset from the center line that extends from the strainer to the butt. A close-up of the problem is shown in this photo:

You can actually see the lifting of both the end plate and the wires.

The correct way to thread snare cord is to pull each end through the eye holes in the butt plate from the bottom as shown in this photo:

Under the end plates are slight channels that prevent the long side of the cord from lifting the end plates off the head. There is a caveat here: not all snare cord is created equal. For example, the stiff blue cord that comes with Puresound snare wire sets is too stiff to be pulled flush into the end plate channel, which prevents the plate from laying flush against the head. Another problem with the Puresound cord is it is really wire, and if you over tighten your snares they can actually dig into your snare beds!

Yet another potential problem is using any kind of cord that is handy, which may be too thick to properly fit into the channel. I have received snare drums with everything from packing twine to fishing line in lieu of proper snare cord. They do not work!

I use and recommend Ludwig's orange snare cord, which can be purchased from any Ludwig dealer in ten yard lengths. I order mine from Dana Bentley who runs Bentley's Drum Shop. I've also used Gibraltar snare cord with good success.

Threading the end plates correctly is only half the battle. You also need to make sure that the snare wires are centered and straight when installed. Correctly done, your wires should look like this:

Getting the wires correctly centered and straight takes attention to detail and a little time, but the effort is worth it.

First, lay the properly threaded wires across the head and visually center them with relation to the shell's bearing edges.

Second, thread the cord into the strainer holes. I usually use the two outermost holes on the strainer as shown here:

This gives me sufficient spread to aid in lining up the snare wires from the center of the strainer to the butt.

Before tying off the strainer end, adjust the throw between fully engaged and disengaged, and make sure the end plates are each the same distance from the bearing edges, indicating they the wires are completely centered on the head. There are two basic ways I adjust the strainer's tension to be between fully engaged and disengaged, with the method chosen depending on the travel of the strainer when it is cycled from fully engaged to fully disengaged:

For strainers with relatively short travel distances, such as the strainer on the 1920s Ludwig snare drums, I usually loosen the tension know a few full turns, then position the throwoff lever halfway between fully engaged and disengaged.
Strainers with a lot of distance, such as the Leedy three-point and the Ludwig P83, I leave the throwoff lever up (engaged position) and loosen the tension knob adjustment by two thirds.

The goal is to make sure that your initial layout of the wires across the head does not change when threading the cord into the strainer and butt.

After you have threaded the strainer, thread the cord into the butt and tighten the pressure bar on the butt sufficiently to hold the cord in place, but loose enough to make minor adjustments in tension.

Double check thhe wires across the head to ensure they are centered relative to the shell's bearing edges, and are straight with respect to the center-to-center of the strainer and butt. After making any necessary adjustments, fully tighten the butt.

Turn the drum over to normal playing position, place it in a snare drum stand, and adjust your wires with the strainer adjustment knob to suit your preferences. Play the drum with the snares on and off to make sure those adjustments are correct, and that the snares engage and disengage normally.

Finally, town the snare drum back over, snare side up, and make sure that the wires are centered and aligned. If you need to make small adjustments, do so by loosening the butt pressure plate slightly, while also using the snare adjustment knob to ensure that the end plates remain centered relative to the bearing edges.

These instructions make the procedure appear to be more difficult than it is. In practice, the procedure is straightforward, reasonably easy to perform, and the end result is worth the time and effort to get it right.

Inexpensive Video Recording Solutions

2010-03-29T13:27:00.002-04:00

One of the most powerful practicing aids is to record your practice sessions. I do this to not only catch those serendipitous moments when a mistake leads to a new lick or variation on a groove, but to also check my posture and state of relaxation. I have caught recurring tenseness more than once, as well as less optimum movements, which leads to overall improvement.

If you teach there is a lot of value in recording your students' lessons for playback and critique.

Finally, having an inexpensive video recorder is great for sharing tips and techniques - or even gigs - with fellow drummers. YouTube is full of such videos, and many are great learning experiences (not the mention the self confidence you gain from posting your drumming.)

The current darling of the music world is the Zoom Q3 Video Recorder. The key strength of this particular recorder is the outstanding audio capture, which has no rival in low-end video recording devices. Moreover, it does not need an external microphone. What it lacks is truly good video capture. In order to obtain decent video you need very good lighting. Also, despite the Zoom name, it's zoom features are abysmal at best. For recording practice sessions and lessons it is, in my opinion, weak. For capturing performances, however, it is my first choice because of the audio features.

Here is the manufacturer's product review that steps through the main features:

Another review, done by the great Peter Erskine, is not as slick, but he used the Q3 to make the video, so you will get a more realistic view.

If, like me, your main use is as a practice or lesson aid, then you may find the Kodak Zi8 Pocket Video Camera to be better suited to your needs. One key advantage is, unlike the Q3, you can purchase an inexpensive remote control for the Zi8 . This is an essential feature for any recording device that is used to capture practice sessions (unless you can convince someone to operate the recorder for you.) A quick summary of features is provided in this manufacturer's video:

As mentioned, the remote control feature alone sets this recorder apart from the Q3 for capturing practice sessions. The video is better than the Q3, although the audio is not going to come close to what you can achieve with the Q3.

While both the Q3 and the Zi8 function well as hand held recorders, for recording practice sessions you are going to need a tripod. My favorite is the Vista Explorer 60" tripod because it is easy to adjust to any angle, sturdy and relatively inexpensive.

There are other video recording solutions besides the two I mentioned. I feel that the Q3 and the Zi8 are two of the best values for low-end solutions, and each has key strengths for different purposes: the Q3 for recording live gigs or making demos, and the Zi8, with the add-on remote control, for recording practice sessions and lessons.

Treasures from the Web

2010-03-27T13:03:00.002-04:00

In my recent post, My Approach to Tuning, I cited some tuning tips by Mike James. Among the other treasures on his site are a series of articles on recording, the art and science of arranging, transcribing and composing, and some excellent tips on tuning and technique.

The real treasure, however, is a free book that you can download titled, Drumming for Life, that is a compendium of tips on dynamics, playing and more on Mr. James' philosophy on tuning. This is, in my opinion, essential reading for any drummer at any playing level.

One other resource that I recommend is Hal Howland's The Human Drummer: Thoughts on the Life Percussive, which at one time was available for free download from Hal's web page. The book is almost a modern day admixture of Homer's Odyssey and the collected works of Plato - applied to drumming and drummers. The list of accolades from famous drummers for this book is impressive.

Hey Jude ... Take a Bad Drum and Make it Better

2010-03-25T12:46:00.010-04:00

A recurring lament expressed by new owners of the Gretsch Catalina Club Jazz kits, as well as other low end, competing kits such as the Tama Stagestar, is the bass drum and toms sound fantastic, but the snare drum doesn't.

There is a reason why the snare drum in particular is the weak link: the shell is made of Philippine mahogany, also known as Luan. That is the one characteristic that the Gretsch Catalina Club Jazz kit shares with its cousins, including the Japanese stencil kits of yesteryear.

Philippine mahogany is a fairly soft wood compared to higher-end shell material, and it absorbs more of the energy when you strike the batter head than maple or other premium shell woods. This diffuses the sound and affects the shell's resonance. One of the reasons that this has less effect on bass drums and toms is the snare drum is shallow relative to the other drums and is more sensitive to the wood characteristics.

Another reason, again related to shell depth, is these drums are mass produced and there are tolerance variations, especially in critical areas such as bearing edges. Where the shallow depth comes in is that the drum will be more sensitive to small variations and imperfections in the edges than a deeper drum.

To be fair to Gretsch and other companies making these drums, when you are cranking out thousands of kits for the low end market, doing a final polish on the bearing edges is an extra step that adds cost. A good enough bearing edge is sufficient from a manufacturing perspective. And to be fair, the edges are good enough for a low end kit. Unless, of course, if you happen to want to wring out better tone and response from the snare drum.

Here are a few tips to transform that weak link in the kit into a snare drum that is more than adequate. I'll provide the tips from least to most expensive. Also note that I am focusing on the snare drum, but the tips can apply to all of the drums in the kit. In addition, these tips will work with vintage Japanese kits, such as Whitehall, Star and a plethora of other stencil drum kits that flooded the market in the 1960s.

Dressing Bearing Edges
The single most effective thing you can do [in my experience] is to dress the bearing edges. Tools and materials are 320 grit sandpaper and a dressing compound.

320 grit sandpaper is sufficiently fine to polish the edges while removing any tiny rough spots. The dressing compound I prefer is a Carnauba wax bar. They are inexpensive and one bar will last a long time. However, there are other valid dressing compounds. Two master drum builders, both of whom I hold in the highest regard, have differing approaches that you may want to consider. J.R. Frondelli simply wipes on a coat of varnish, while Kevin Smee of Bowie Custom Drum uses a paste wax such as Briwax or Johnson's fine finishing wax. Another product that will work well if you want to go this route is Minwax Paste Finishing wax. Regardless or your choice - and you do have choices - the dressings will seal any air gaps in the bearing edge and provide a smooth surface for seating your drum heads.

Step 1 is to lightly go over the bearing edges with the 320 grit sandpaper. The operative word here is lightly. You want to remove any minute high spots and polish the edges, not do any major surgery. I fold the paper over the edge, taking care to not touch the outside finish or wrap, and lightly follow the circumference of the shell. Be sure to follow the contour of the snare beds too. You should feel a very slight resistance when you begin. In fact, you can hear a slight scratchy noise. As you proceed and make an entire pass the resistance will diminish, as will the scratchy sound. Once the resistance and scratchy sound are gone, you are ready for the next step - wiping the dust off the edges. A clean cloth with a touch of denatured alcohol works well.

The final step is to dress the edges. If you opt for a varnish dressing per J.R. Frondelli's approach, use a clean cloth and wipe on a very small amount on the edges and let dry. If you opt for the wax (be it the Carnauba wax bar or paste wax), lightly apply the wax and buff it out. For this step I use Meguiar's X2020 Supreme Shine Microfiber. Reassemble the drum, tune it up and I believe you will be treated to a discernible difference in sound.

Coating the Shell Interior
This approach, along with dressing the bearing edges, will give you the most bang for your buck, but is more time consuming than dressing the bearing edges. I have found that coating the shell interior is the key to dramatic improvement in the sound of the snare drum that ships with the Catalina Club Jazz kit (as well as the other drums I mentioned above.) It does give the snare drum a more focused sound, and makes it a bit more sensitive as well. Note: If you elect to perform this step, do it before dressing the bearing edges.

What you will need:

3M 2090 Scotch-Blue Painter's Masking Tape
Shellac (I use Bulls Eye Shellac)
WD-40
Clean piece of cotton muslin or other lint free cloth

Here are the steps:

Remove all hardware from the snare drum (lugs, throwofd and butt)
Using the 3M 2090 Scotch-Blue Painter's Masking Tape, mask off of the holes on the exterior side of the shell, and the bearing edges.
Apply the shellac to the interior of the shell. Do not flood the wood with shellac. I lightly dip the muslin into the shellac that has been shaken per manufacturer instructions, then apply it in a circular motion until I have the interior completely coated. One coat will work, but I usually let the shellac dry for a day, and repeat the process until I have three coats.
While you are waiting for the shellac to dry take the time to lightly spray WD-40 on the moving parts in the strainer, as well as the tension rod threads. Don't over do it - a little WD-40 goes a long way, and you do not want to reassemble the snare drum with dripping parts.
After the shellac has dried, remove the tape, reattach the lugs, throwoff and butt, and perform the bearing edge dressing step.

Other Tweaks
One of the modifications I make to any snare drum that comes equipped with plastic snare wire straps is to replace them with grosgrain ribbon. In most cases the simple (and inexpensive) replacement of the plastic snare wire straps with grosgrain ribbon will result in an immediately noticeable improvement in snare response.

Most plastic snare straps are 3/8" wide, but I typically buy 5/8" wide grosgrain ribbon because it perfectly fits the Catalina Club (and every other) snare drum throwoff and butt. The thinner, 3/8" ribbon can cock when threading it through the strainer and butt clamps, skewing your wires. You can purchase this item, in a variety of colors, from Walmart and any fabric store. Here is a photo of one of my snare drums outfitted with it:

I also replace stock snare wires with premium wires such as the German steel wires. These wires are, in my opinion, the equal of Puresound custom wires, but at a fraction of the price.

Obviously, swapping out the stock heads on the Catalina Club Jazz snare drum is an option that may improve the sound. That said, the heads that come stock with it are relatively decent. I personally prefer different heads, and you probably have your own preferences. However, before rushing out and spending even more money, give the stock heads a try after you have tweaked the snare drum per my tips.

If you do want to explore different heads, you may want to examine some of the recommendations that I made in this post, as well as this follow-on post. You may also find some of the information in my approach to tuning useful.

Now turn that dog into a snare drum you would be pleased to gig with - and good luck.

Brief History Lesson

2010-03-22T14:41:00.001-04:00

Here are two interesting (if somewhat trivial) resources dealing with drum history:

Somewhat related is Disc #2 of Steve Smith's Drumset Technique/History of the U.S. Beat DVD set. Steve uses period-correct drums and cymbals (and associated hardware) to step you through the evolution of US drum kit playing, starting with ragtime and ending with fusion. The playing and the gear are wonderful glimpses into history.

My Approach to Tuning

2010-03-22T14:05:00.005-04:00

There are a number of factors that go into getting the sound you want from your drums, some of which you can control and some which you cannot.

Let's start with what you cannot control:

Diameter and depth
Material from which the drum is made: various wood types, metals, plastics and fiber; i.e., acrylic, carbon fiber, etc.
Bearing edges
Number of lugs
Snare beds (for snare drums)

What you can control:

Head type
Snare wires
Hoops
The Room

In my experience the shell material is not nearly as important to the sound as the diameter and depth, bearing edges, head type and the room.

This excellent video produced by Drum Supply House is bearing edges 101 and will show why I believe the bearing edge is an important factor in achieving your sound:

About heads: I play low volume music, mainly acoustic and electric jazz and blues, so my head selection may be vastly different from yours. However, you may find these two posts about head selection for brush playing to be a starting point for understanding head selection. First is about selecting good heads for brushwork, and the second covers a few heads I neglected to mention in the first post. I also have a brief post about snare wires that discusses this important element of sound. To understand snare beds I have found Ronn Dunnett's excellent article to be a good starting point for understanding this often overlooked aspect of a snare drum. Another excellent article on snare beds is Snare Bed Theory. If you actually want to understand how to cut one, Drum Foundry's companion article, The Down and Dirty of Snare Beds, is a great tutorial.

The room where the drum(s) will be played is the one variable that bedevils most drummers. A kit or snare drum (and cymbals) that sound great in one room may sound horrible in a different room.

A good starting point to learn about tuning is the Drum Tuning Bible. While it contains excellent information, remember that your personal sound will come from your intimate knowledge of your instrument and where that instrument will be played. While the Drum Tubing Bible will give you the foundational knowledge of your instrument and some excellent tips, it's up to you to personalize your sound.

My starting point with tuning begins with some idea about the room. The placement chapter in the Drum Tuning Bible gives some excellent advice and guidelines that you should follow. I also like the approach Mike James takes in Drum Tuning. Another approach is to think like a sound engineer. Alex Case's Recording the Snare is highly recommended reading.

I don't use muffling aids, such as bass drum pillows, Moon Gel, or gaffer's tape. The only thing I do is lightly attenuate my bass drum with felt strips (I use Gibraltar SC-BF Bass Drum Felt Strips), but otherwise, my drums are tuned open.

My personal approach is to have a basic tuning, and tweak for the room once the kit is set up. I always start with tuning the reso heads first to get the pitch I want, then the batter side for tone.

A trick I use is the two key method where I simultaneously tune opposite tension rods, then move clockwise to the next pair. I also start by backing off the tension slightly before tuning, and use feel to ensure that the tension rods are tensioned about the same. Of course, this is somewhat unscientific and highly subjective (and can be thwarted if you don't occasionally use a light lubricant on the rods.) However it works for me.

I listen for changes in pitch as I tap around the head near the tuning rods - I usually tap about 3 inches away from the rods so I can hear some resonance - and do fine adjustments according to what I hear.

When I am tackling the bass drum I do the initial tuning and have someone hit a few notes while I stand back about ten feet. Often the bass drum will still be too lively and resonant for a room, so I use a full turn at a time on the resonant side tension rods to correct it. Usually I only need one full turn to tame it down, and often need to back off a quarter of a turn.

The drums that give me the most trouble are square ones where square means the diameter and height are the same. Since I play traditional sizes, this means floor toms. Depending on the bearing edge you can either dial one in after some trial and error, or remain frustrated. Like my other drums, I start with the reso head to get the pitch, then work with the batter. If I cannot get a floor tom dialed in to my satisfaction, I will compromise by retuning the rack tom so that I can get an octave between the two and suffer through the tone. Life isn't always fair.

If you are new to tuning (or even drumming) I recommend grabbing a copy of Drum Tuning: The Ultimate Guide. Although this book/CD combination isn't nearly as comprehensive as the Drum Tuning Bible, it is simpler and more straightforward, and the biggest advantage is the CD that comes with it. One can read about tuning, but there is nothing like hearing examples, which the 29-tracks on the accompanying CD provide.

In ending, my approach may or may not work for you, but I hope it serves as a catalyst to get you thinking about the many, interrelated aspects of drum tuning that you can factor in when pursuing your own sound.

Wood Hoops

2010-03-21T15:00:00.003-04:00

More than a few of my snare drums and two of my drum kits are outfitted with wood hoops. There are pros and cons to going this route: on the pro side is the warmth these hoops add to any drum, and, especially for snare drums, the sound you get from cross sticking and rim shots. On the con side is cost and the loss of sensitivity when playing close to the edge of the drum head.

Not all hoops are created equal. There are four basic types:

Yamaha style, which are thick. PDP also makes this type of hoop, as do a few custom wood hoop makers.
Shaped style, which is basically the Yamaha style that has been shaped to resemble - as best as can be done - a regular drum hoop.
Straight, which is similar to the metal band and wood hoops used on early drums.
Hide-A-Hoop, which is similar to the straight style, but has a counter groove cut to fit over the flesh hoop on drum heads in the same manner as a double-flanged hoop on 1930s-1940s snare drums (see this post for more information.)

An example of a Yamaha style hoop is shown in this photo:

Notice how heavy the hoop is and the flat top. There is a lot of wood surface in this hoop, so if your music calls for cross-stick playing or rimshots this hoop would be ideal. This is also the style that causes the greatest loss of sensitivity as you play closer to the edge of the head. If you play heavy backbeat music, this loss probably won't be noticed, but if you are playing any kind of music that requires nuance such as second line drumming, or sensitivity down at the PPP level, this hoop probably won't fit your style.

The shaped head shown in this photo is a compromise - you still have lots of wood and tone, but you gain back a modicum of sensitivity:

I like this style so much that I outfitted this drum kit with them:

I no longer have any snare drums with the straight hoop on them, but the one I had and sold had the characteristic warmth of wood hoops and was extremely sensitive to the edge of the head. The straight hoops are usually thinner than the Hide-A-Hoop style, and are not as durable in my opinion. On the plus side, though, is some models can be used with regular lugs, whereas the Hide-A-Head style typically requires spacers under the lugs to move them far enough from the shell to accommodate the increased outside diameter of the hoops. This increase is due to the way the Hide-A-Hoop hoop is designed to mate with the head's flesh hoop.

The Hide-A-Head hoop, like the straight hoop, gives drums a warmth while not significantly hampering sensitivity or shell resonance. Here is a snare drum and a kit configured with this hoop style:

Personally, I love the tone, durability (this hoop is slightly thicker than the straight hoop), and sensitivity of this particular hoop.

There are a few things you need to consider when purchasing Hide-A-Head hoops:

Thickness - will the mini-claws fit it? I had to sand down parts of these hoops from some sources to get the mini-claws that are shown in the above photo to fit over the hoop. If you are using a bass drum claw this isn't a problem.
Before rushing out and grabbing a set make sure you have a strategy for adding spacers to your lugs so that they protrude far enough off the shell to accept the tension rods into the lug receivers. If you are using tube lugs, be aware that they are not forgiving of tolerance errors.
Be prepared to spend money. You need more than just hoops - you will need claws, longer tension rods and lug spacers. These add up quickly, so carefully cost it out before purchasing the hoops. Also, if you decide to use the mini-claws that are shown in the above photos, you may find that they are nearly impossible to get. There are times when they are readily available from multiple sources, and other times when you cannot get them amywhere.

One of my favorite sources for all of the hoops mentioned is Stellar. Their hoops are among the best you can find, and the customer service is excellent. I also like Champagne Drum's hoops, as well as their customer service. Their Hide-A-Hoop hoops are a bit lighter than those made by Stellar, but are of the highest quality. Like Stellar, Champagne Drums offers multiple styles of hoops. Another source is Precision Drum Company. They offer a full range of hoop styles, although their Hide-A-Hoop is just a tad too thick for the mini-claws I prefer to use. Like the other companies I recommended Precision Drum Company has excellent customer service.

The choices are many, but the nice thing about hoops is they can be swapped out to quickly change the characteristics of a snare drum. While I have enough snare drums to just grab the right one for a particular room, just having an extra set of hoops to throw on for specific playing situations makes a lot more sense than having an extra snare drum. Any of the hoop styles, and especially the Yamaha and shaped ones, will tame down a snare drum that is a bit too lively for a room when it has normal hoops. Plus, playing a wood hoop snare drum (or kit) is fun!

Adjusting Ludwig Supersensitive Snare Drums

2010-03-20T16:11:00.001-04:00

The question, How do I adjust my Super Sensitive snare drum? comes up from time to time. Here is how I approach adjusting mine.

Note that I am using a pre-1969 model as an example, but the same principle applies to the 1969 and later models because, although the mechanism has changed, the basic parts are still present in an updated form. Remember, this mechanism has been used in some form since the 1920s, so it has withstood the test of time. The first mechanism was basically unchanged from 1920 until 1968 (the example I am using).

Before proceeding, and to eliminate confusion, here is what a modern (1969 and later) mechanism looks like:

The following series of photos will show the nomenclature of my 1966 Super Sensitive, and the parts of which you need to be aware to change wires and/or adjustment the snare tension for optimum performance.

Note the differences between the older models and the modern ones. The adjustment knob on the pre-1969 models are smaller and placed unobtrusively, and the snare guards are quite different. Also note that the basic adjustment and wire end plate slots are similar enough that changing wires and adjusting either model will work per my advice. Here is a photo of the butt side of the drum:

You have a clear view of the wire end plate and how it fits into the slot. The 1969-present models are similar, with the differences noted above. These two photos show how the wire end plates fit into the slots:

Changing wires is relatively simple. You back off the tension adjustment knobs equally (turn them simultaneously for best results) until there is enough slack to remove the end plates from the slots. Don't attempt to remove both end plates at the same time - remove one without stretching the wire, then the other. If you are removing the wires to change heads, mark which end plate goes into the strainer side to make sure it goes back the same way. While either way will fit, I like to be extra cautious and make sure that parts that are under tension are always reassembled exactly the way they were disassembled.

If you are replacing the wires, make sure you purchase the correct wire for the model year you own. Puresound makes wire sets for the 1920-1968 Super Sensitives, and a slightly different set for the 1969-present models. Aside from the end plate tabs that fit into the slots, there are other differences between the two models, both of which are designed for optimal performance for the Super Sensitive snare drums for which they are made: the pre-1969 wires are 15" long with 12 strands, and the 1969-present wires are 16 7/8" long with 16 strand wires.

When installing the wires, use the tension adjustment knob to make sure the inward part of the snare wire end plates are equally spaced relative to the bearing edge of the snare drum shell. This photo shows properly installed wires:

Notice that in the example above the end plates extend exactly 0.25 inches beyond the bearing edges on each end. Also note that the wire tension is only tight enough to prevent sagging (you will need to check this with the snare drum in the normal playing position on a stand.)

Tune your heads to your personal taste before fine tuning the wire tension. After you have your heads tuned, adjust the snare wire tension by turning the tension adjustment knobs simultaneously. I have found that the lightest tension - just beyond the wires sagging in the center - will provide the most sensitivity. The tighter you tension after that point, the drier the sound becomes (which may be desirable for concert and symphony work.) Do not over tension the wires! If you over tension you run the risk of stretching the wires, which will shorten their life at best, and ruin them at worst.

If you don't have a hard shell, foam lined case for your Supersensitive see Storing and protecting Supersensitive Snare Drums for a case I recommend.

If you have further questions don't hesitate to contact me.

Clayton Cameron on Tap Dancing and Brushes

2010-03-17T15:43:00.000-04:00

In On Playing Brushes Part 3: The Thesaurus I discussed a clip on Clayton's DVD that dealt with the relationship between tap dancing and brush playing. I don't have that clip, but in this Ludwig promotional clip he reiterates much of what he discussed in the DVD (sans the duet with the tap dancer):

A few heads I left out and words about the best snare drum for brushes

2010-03-16T14:07:00.004-04:00

In my haste to complete my last post I left out one head model that I use on many of my vintage snare drums: Aquarian's American Vintage series. The coating on this head is similar to the Aquarian Texture Coated drumhead that I mentioned in my last post. Unlike the Texture Coated model, the American Vintage does not have the plastic-like sound quality, although I still prefer the tried and true Remo coated Ambassador. Call me a creature of habit.

A bit more about the American Vintage - many older snare drums require this head because modern heads are designed to fit modern shells. Today's 14" diameter snare drums are actually based on a 13.85" shell, whereas many of the vintage snare drums have a 14" shell, which makes for a frustrating experience getting a modern head onto the older shell (as well as properly fitting the older hoops onto the collar of the heads, which tend to go past the collar.) Keep this in mind when purchasing vintage drums.

One head I didn't cover is the Evans J1 Etched model. The reason I overlooked it is because I have no direct experience with it, but a fellow forum member on DFO uses them and offered to give his opinion and experiences. His name is Chris Worrick (cworrick on DFO) and here is what he had to say about the Evans J1:

As for the J1 - I think it was someone on the forum that turned me on to this head, but I don't remember who. I don't know the exact specs, but it feels and responds more like a Remo Ambassador to me rather than the usual Evans heads but without the Remo break in period. It is just a touch more lively which is great for the brushes. I don't know how they are doing it, but the etching surface on the head seems to be in the plastic rather than a coating on the head so it doesn't wear near as quick (I usually only have to change once a year after the tone has been wore out).
Con - the surface may be a little smoother than a coated head so there is not as much bite, but it last longer with it's surface than a coated head.
I've played Remo coated ambassadors and Evans coated G1s and I like the durability and sound I get with the J1. I have not had the chance to try the Aquarian head you mentioned in your article (I have also heard some other drummers mention it as well).

A big thanks to Chris for taking the time to add his experience and thoughts!

The big questions is which snare drum works best with brushes? The answer is any snare drum that has appropriate heads and is properly tuned will work well. Either of my two favorite snare drums will work well; however, if you are seeking a specific snare drum for brushwork I recommend 6-lug models, preferably an old Ludwig or WFL Pioneer, Leedy or Slingerland student model. Why six lugs? To my ear they are open sounding, which supports brush playing, and these old snare drums work well with sticks. When possible I acquire the old 3-ply, mahogany models, ideally with single flanged hoops.

Here are a few examples of snare drums I use frequently for brushwork (and shuffles when playing with sticks):

The above transition badge Ludwig Pioneer at 5x14 inches is near perfect for brush and stuck playing and I find myself reaching for it often. If you are interested in how I restored her, see this post.

This 6.5x14 inch Ludwig Pioneer, concert model, is another of my favorite snare drums for brush playing.

In fact, many of the vintage student model snare drums, including some 8-lug models, work exceptionally well with brushes. One great thing about the 6-lug and other student models is that they are going for bargain prices on eBay and other outlets.

As you have probably noticed from the examples I gave, I use snare drums of different depths. There is no perfect depth for snare drums used in brush playing, although many drummers prefer deeper ones, while others swear by the versatile 5x14 or 5.5x14 size. Even 4x14 works well, and especially so if you are playing Latin-style music because the shallow snare drums have a nice timbale sound when the snare are dropped, which greatly complements that music style. Moreover, a 4x14 snare drum tends to be crisper for certain music, such as bebop. The bottom line, though, is any snare drum (properly tuned with appropriate heads) will work with brushes in any music style.

If you have any questions or think you have spotted that perfect snare drum on eBay or craigslist and want advice don't hesitate to contact me.

Selecting Heads and Brushes for Brush Playing

2010-03-15T15:02:00.001-04:00

After wrapping up my three part series on brush DVDs in my last post I will take care of dangling wires in this one by discussing the heads and brush models that I prefer.

The best head I have ever used for brush playing is the Aquarian Texture Coated drumhead. The trademarked Satin Finish on this head makes it a joy to use with brushes; however, when playing this head with sticks it has a plastic sound to my ears. So, while I would use it on a brush-only gig, I have yet to have such a playing opportunity. One advantage to the Aquarian Texture Coated head is the fact that it needs very little break-in time when you mount a new head.

My go to head is the Remo coated Ambassador. I have used this head for as long as I can remember, and it sounds just fine to my ears for both brush and stick playing. However, unlike the Aquarian Texture Coated head, the coated Ambassador needs some break-in time after you mount a new one. I usually spend about an hour with a new head to break it in before using it in a live playing situation. Some drummers will lightly sand a new Ambassador to hasten the break-in period, but I prefer to not go that route because it shortens the life of the head. Moreover, I have gotten Ambassadors that lose the coating prematurely (apparently from a batch that slipped by their quality assurance department), making the sanding technique iffy.

Other heads that I like with brushes are calf skin (see my post titled, More on Calfskin Heads), Remo's Fiberskyn Diplomat, Skyntone, and Renaissance heads in both Diplomat and Ambassador weights.

Among the choices cited above, the Skyntone head has sufficient texture to use with most brushes, while the other choices have less texture with which to produce the soup stirring, legato sweeps we commonly associate with ballads. Personally, I manage to get the sound I want from any of them, but if you want a bit more projection there are two brush models that will allow you to attain it with some of the smoother heads: the Vic Firth Steve Gadd Wire Brush and the Zildjian SDWB3 Bent Bristle Brushes. I personally dislike the feel of either brush - they are too thick for my tastes, and I am not overly fond of the balance. However, we are all different, so give them a try if you want to play brushes on a few of the heads I mentioned, but hesitate because you prefer more coating.

I like the Fiberskyn Diplomat very much. It is a warm sounding head for stick playing and also sounds nice with brushes. I use the thinner Diplomat weight because I can achieve a vintage calf skin-line sound and still get resonance that the heavier Fiberskyn Ambassador does not provide. Note: Avoid at all costs any Fiberskyn head that is a Powerstroke model. These heads have a plastic ring that kills resonance and does not work well with brushes.

The Skyntone works beautifully with both sticks and brushes. It is thin to the point where you need to be concerned if you play mainly with sticks and are a heavy hitter. While the tone I get from these heads is superb to my ears, it's possible that they will need frequent replacement. Thus far I have had no problems with them, but I am an extremely light hitter and I play mostly between PP and F. The texture is similar to genuine calfskin, including simulated pore holes.

The Renaissance Diplomat is another personal favorite (and, as with the Fiberskyn heads, avoid the Powerstroke version for brushwork). While the surface does not have the texture many brush players demand, I have used this model with regular brushes for everything from ballads to train beats. I particularly love the resonance I get from the Renaissance heads with both brushes and sticks. One caveat is these heads do not have the playing life that a coated Ambassador or even a Fiberskyn head will provide, especially if you play heavy with sticks.

Before discussing my favorite brush models, let me put a frequent question to rest. I am often asked, aren't rods better than brushes? referring to specialty sticks like the Pro-Mark Cool Rod. The answer is they are designed to do two different things. One of the essences of brush playing is to anchor the time with sweep patterns that have a legato sound. The Cool Rods are strictly staccato, and are not a replacement for brushes. Indeed, bear in mind that the approach to brush playing is totally different from stick playing, and using brushes just to achieve low volume playing isn't really brush playing at all. The best way to achieve low volume playing, if that is your goal, is to either develop your technique for achieving the dynamics for a given song, or use something like the Cool Rods.

Another question I'll attempt to answer is, Should you play brushes with the snares off or on? Quick answer: both ways work. A more drawn out answer is when I started playing in 1964 I was taught to always drop the snares when playing with brushes. When I began to take brush playing seriously I learned that you can do either. My preference is to drop the snares on ballads and for some Latin-style music, otherwise I generally keep the snares engaged. There is no right way in my opinion. Experiment and do what sounds best to you. And always let the music dictate what and how you play. So much for the Zen of Brush Playing according to Tarrani. On to my favorite brushes.

I love the feel of the Regal Tip Clayton Cameron model. In fact, at one time I used them exclusively. As my brush playing skills progressed I found that fixed brushes were too limiting because I wanted to reduce the fan of the wires on my right hand brush. This allowed me to do standard 8th note triplet patterns with my right hand while keeping time with sweeps handling the 1-2-3-4 with my left hand. That led me to retractable brushes, and the two models I have come to prefer are the Regal Tip Jeff Hamilton Signature Brushes and the Regal Tip Ed Thigpen Wire Brushes. Both feel good in my hands, and although the Ed Thigpen model is a bit heavier and thicker than I normally like, the balance is why I use it. I also like the Vic Firth Heritage Brush, which has a nice, vintage feel to it. I tried and don't care for the Vic Firth Jazz Brush because of weight and balance - you may have a different opinion since brushes - like sticks - are highly personal choices. One other brush model that I like for certain situations is the relatively new Regal Tip Yellow Jacket Retractable Brush. This model is About .5 inches shorter than the Vic Firth Heritage Brush and about the same weight. The feel is different due to the minor difference in length and the wires, which are a much lighter gauge. The wires definitely flex more and are similar to the feel of nylon, while still producing the distinctive sound that only a wire brush can provide. The wire is such a thin gauge that you may encounter problems with them falling out under heavy playing (I have heard a few such stories on various forums), so you may want to consider a pair for ballad playing on heads such as the Remo coated Ambassador because, unlike other brushes, these do not catch on new heads and require less break-in time. This model also comes in a shake out version. I don't care for any type of shake out or throw out style of brush because I never seem to get them fully extended for one thing, and I prefer my right brush to have less wire fan for the other. Also, as that style of brush wears, they tend to retract back into the handle while you are playing - definitely not a good thing!

A few tips on maintaining and using brushes: First, use the plastic tube that they came in to store them. While this is especially important for fixed brushes to extend the life of the wires and maintain them in their original shape, it applies to retractable brushes as well. I have bent more than one handle on retractable brushes because of careless storage. Second, mark your brushes so you always use the same one for your right hand, and the other for your left. This also maintains the shape of the wire fan, and extends the life because they will wear in properly. Taking this a bit further, I always make sure that I play them with the labels facing up for the same reason.

A few parting notes. First, if you travel and tend to bring a practice pad to keep your chops up, you know that brushes and standard practice pads don't work well together. Consider the Rhythm Tech Lap Top Practice Snare Drum, which is a mere 13"x1". As an alternative, you may want to consider the Sabian Quiet Tone Snare Drum Practice Pad, although it is a bit larger and heavier than the Rhythm Tech pad. Finally, since I have discussed the relationship between brush playing and tap dancing in a number of previous posts, you may find Tap with Ginger Series to be a way to tap into [pun intended] your creative side by playing along to some of the lessons. Of better, adding tap dancing to your skill set. It worked for drummers from Papa Jo Jones to Steve Gadd! Seriously, this video is an interesting play along with brushes, and since it covers beginners to expert, you can start slow and try different brush patterns against the same lessons as you work through the DVD.

On Playing Brushes Part 3: The Thesaurus

2010-03-14T17:18:00.005-04:00

In my preceding two posts about brushes I covered the vocabulary in Part I, based on Ed Thigpen's The Essence of Brushes, and creative writing in Part 2, based on The Art of Playing with Brushes presented by Steve Smith and Adam Nussbaum.

This post will focus on Claytom Cameron's Brushworks - the DVD.

Like Ed Thigpen's DVD, this one is instructional. Steve Smith's and Adam Nussbaum's DVD is more of an example by performance with many examples of how to play the same music in different ways, but no specific "how to's". Like Ed Thigpen, Clayton steps you through the basics, starting with various grips and when they are appropriate. Here he covers German, French, cradle, eastern and matched, mixing and matching them in the left and right hands. Then he goes into lessons on sweeps, taps, and other parts of the brush vocabulary to show how to achieve the best sound for the music you support. What I liked is how, after each lesson, he demonstrated it with just a bass player, then with a band. The bass only demonstrations reinforce just how important the bassist and drummer are to each other, and you will get some solid ideas about how to lock in.

You need to be aware that Clayton's teaching style is different from Ed Thigpen's style. Where Ed patiently demonstrates a technique and reinforces it with additional instruction, Clayton goes through each technique, using the performances as a reinforcement tool. You'll find yourself frequently stopping the DVD in order to fully grasp what Clayton is teaching.

One aspect of Clayton's approach that I like is the way he varies his accents in each lesson (and then reinforcing the lesson with the mini performances). This approach draws much from George Lawrence Stone's seminal Stick Control, and is an approach that I have not come across anywhere else. This is where the thesaurus analogy comes in. You not only receive a solid vocabulary, but you learn the synonyms that allow you to create with brushes what authors do with words - nuance, communication, pace. In fact, when I was going through the lessons I kept remembering Mel Lewis' approach to using up beats to propel music (when appropriate, of course), and Johnny Vidacovich's long discussion of the same thing in New Orleans Drumming. However, Clayton goes beyond just demonstrating up- and downbeat accents, by varying them to show the effect on the music of where the accent is placed.

Another aspect of this DVD is the brush-specific rudiments that Clayton has developed. While others have also created rudiments for brushes, Clayton's make the most sense to me. Here are a few examples:

In addition to the lessons, on DVD #1 there are three performance related clips that are must watch. The first is how Clayton was inspired by tap dancers. This is a recurring theme in any serious discussion about brushplaying - Papa Jo Jones talks at length about tap dancing in The Drums and in his oral biography, and in the booklet that comes with The Art of Playing with Brushes Mark Griffith wrote an excellent piece on the same topic. However, Clayton, teamed with the renowned tap dancer Chester Williams, does a duet of sorts with Williams, with Williams doing the hoofing, while Clayton plays the same rhythms, showing how tap dancing can inspire brush playing. The second performance is a jaw-dropping clip with Clayton's brush solo on a wood djembe. The final performance on DVD #1 is a snare drum solo, in which he does amazing brushwork using three snare drums. DVD #2 in the set is a set of full performances with a band to further demonstrate and reinforce the lessons.

I'll end with a video clip of Clayton performing at NAMM 2009, which showcases his amazing skill with brushes.

Storing and Protecting Supersensitive Snare Drums

2010-03-12T15:19:00.004-05:00

A frequent question is, which cases are available for Ludwig Super Sensitive snare drums?. Sadly, Ludwig does not sell one (or one that I know of anyway.) I've tried the Ludwig "UFO" case, and it does not work. One that does work well for the 5x14" model is the SKB 5 X 15 Square Snare Case with Padded Interior.

A few things to note: the 15" sides are needed because the snare guards on the Super Sensitive protrude, and the drum needs to be placed in the case with the guards facing the corners. Also, it is imperative that the case have padding. Super Sensitives are, well, super sensitive and the slightest jarring will knock them out of adjustment. Ideally the case should be 5.5" tall for Super Sensitives made from 1969 on because the snare guards on those models extend downward, increasing the height of the snare drum. However, the SKB 5 X 15 Square Snare Case has sufficient depth in the top half of the case where it will still secure the snare drum without needing to be fully seated.

Also note that on the product page I linked the photo of the case is incorrect. A round case is depicted - the actual case looks like this:

The case will fit both the pre-1969 Super Sensitives and the ones made from 1969 on. It is a bit pricey, but well worth it in my opinion because it will protect your investment.

If you have a Super Sensitive and are having problems adjusting it check out my entry about Adjusting Ludwig Supersensitive Snare Drums.

Gut snares & calf heads in modern music?

2010-03-09T19:23:00.002-05:00

I was reading Recording the Snare: Getting a killer snare sound by Alex Case, and pondered the difficulties recording engineers face with the snare drum. My thoughts immediately went to a recent practice session I had with a friend who is a virtual Johnny Cash clone and some of the snare drums I pulled out that particular day.

One, which both impressed my friend in sound quality and age, is my Ludwig & Ludwig Nickel Over Brass circa 1920s model. This snare drum is configured with calf heads and original gut snares. Since the practice session was low volume and I used brushes as often as sticks, the sound I was able to get from that old snare drum was spot on for what we were doing. I don't record, but my friend is something of a recording and studio wizard and he thought the sound was perfect.

I have to admit, I had full control over the dynamic range needed for what we were playing, and often that is difficult with a 4x14 inch snare drum because the shallow ones tend towards the loud side. Of course, the calf heads provided a little attenuation, but it was the shell construction - thin wall with the two pieces fitting together at the bead - that was a contributing factor too. For more about that see Anatomy of a Two Piece Shell. And the gut snares added the right amount of dryness that made things perfect. Here are a few pictures of the snare drum I used:

Note the gut snares and the moleskin patches on the old heads

While it is expensive tracking down 90-100 year old snare drums, many modern ones come with cable snares; a good example is the Pearl Symphonic Snare Drum with, say, a Remo Skyntone batter head. That could get you in the ball park of the sound I am describing. Granted, this configuration may not sound that great on stage in a large venue, but in a small recording studio it would give the engineer a more controlled sound, and in a small, intimate venue where low volume playing is required I can assure you that it works.

Gut and cable configurations are two that I will be experimenting with in the near future, and I will definitely be outfitting a few of my snare drums with newer calf heads. As I progress and verify what works I'll post the results here.

Flat base snare drum stands and other hardware

2010-03-08T12:48:00.001-05:00

Flat base stands have made something of a comeback, especially for those of us who prefer lightweight, compact hardware. A frequent question that is asked on various drum forums is which is better - the DW or the Gibraltar flat base stands?. I have a complete set of both, and with regard to the cymbal stands I would say they are about equal. Where the DW cymbal stands have extra memory locks and the quick lock adjustment handle, the Gibraltar cymbal stands have a slightly smaller footprint, and the feet are designed in such a way that you can place one stand's flat legs over the top of another stand, making for easily positioning them exactly where you want them.

Note that I typically use a single ride cymbal and hi-hats, so cymbal stands are the least of my worries: I have most of by bass drums equipped with shell-mounted cymbal hoolders, rendering cymbal stand selection moot (for me).

The high-hat stands are a wash, in my opinion, since I like the feel of each. Of course, the DW 6500 stand has more features in the way of memory locks, a nicer clutch and the DW name - at a higher price - than the Gibraltar 8607 stand.

Where I am less ambivalent is when the comparison is between the snare drum stands from each company: the Drum Workshop 6300 and the Gibraltar 8606. They both weigh about the same: approximately 2.5 kilograms, and folded the DW is 18" long and the Gibraltar is 16". Hands down I prefer the Gibraltar and here are the reasons:

Will adjust lower
Folds more compactly
Smaller footprint and has the raised feet that I mentioned above on the cymbal stands

On height, here is a side-by-side shot of the two stands, each of which are holding a 6.5x14 snare drum:

The top rim of the snare drum in the DW stand on the left, at its lowest possible position, is 26.5 inches high, whereas the top rim of the snare drum on the right sitting in the Gibraltar stand is 23.5 inches high. While three inches may not seem to be much, the photo tells the story.

A few close-up shots of the construction of the snare drum stands show that Drum Workshop's engineering is impeccable, albeit over engineered in my opinion.

Drum Workshop 6300

Gibraltar 8606

Regardless of which you choose - DW or Gibraltar flat stands - and even if you use three of four cymbals in addition to hi-hats, either family of flat base stands will nicely fit into a 36" Beato hardware bag. I have managed to cram everything, including a bass drum pedal and throne into one of these compact bags, and recommend them for the lighter weight, flat base stands discussed above.

If you use one-up/one down kits, and are considering having a custom kit built, you may want to consider using the tried and true rail mount for your rack tom. In the past you had limited choices: the Drum Workshop or Gibraltar rail (both are atrocious in my opinion for a number of reasons, not the least of which neither hold the tom in position without slipping), the RCI rail, which is no longer being made, or salvaging a vintage rail and using it. There are too many compromises among those choices - and I should know because I suffered through each of them. My rail mount of choice these days is the Steve Maxwell Reproduction Rail Consolette. One thing I love about this rail is it can be retrofitted to vintage drums that used the two-hole Walburg & Auge rail that was used on Gretsch, Slingerland and other models (but not Ludwig, which used a 4-hole pattern), and it can also replace the modern DW and Gibraltar rails with no additional drilling. Most people balk at the $140.00 price, but few know that you are paying for items you may not need, such as the diamond plate and two types of spades that fit those plates. If you want only the rail assembly and 9.5 mm L-arm, Steve sells them for $85.00 (see the link above and go exploring.)

Another option, and one I took advantage of when I had my bubinga kit by Raven built is the Dunnett rail kit. I think the design is ingenuous, and like the fact that it can also be used to transform a floor tom into a bass drum.

I have aggregated all of the stands I discussed in this page for reference. If you have specific questions, please contact me and I will do my best to answer them.

Anatomy of a two-piece shell

2010-03-01T13:51:00.004-05:00

One of the most prized snare drums is a circa 1920s Ludwig with the heavy two piece shell. While the term heavy is subjective (and inconsistent considering the wild variation in manufacturing back then), the two piece shell is most confusing to many people who have not handled one of these drums.

Let's put the weight issue to rest first. Here are two of my Ludwigs, the first is the heavy 2 piece shell model:

The second one is the thinner, one piece shell:

Both drums are configured nearly identically, with six lugs, calf heads, and either gut or cable wires (which will account for a few grams difference in weight). Here are the weights: Heavy = 3039 grams, Light = 2722 grams, which is about a half pound difference. Other weights of deeper drums with different lug counts were relatively consistent with my own drums according to this informal (and very unscientific) survey.

This brings us to the matter of the two-piece shell. Specifically, what does that mean? Fortunately, Adrian Kirchler is now reproducing these shells and he has the anatomy of a two piece shell on his web site. As an aside, one of my fantasies is to own one of Adrian's snare drums. He is also the craftsman with whom Ludwig contracted to produce the 100th Anniversary Gold Triumphal snare drum.

I have annotated Adrian's shell photos to show how the shell is constructed and how it goes together during the manufacturing process:

Notice how the shell is made from a top half and a bottom half, both with a formed center bead in which the bottom half nestles inside the top half. This design allowed Ludwig to use a thin brass shell and use the double thickness of the two beads to strengthen the shell. The top and bottom halves of the shell were soldered together. Another design feature that strengthened the shell was the how the bearing edges were formed and soldered to the shell. Not shown are the snare beds, which were crimped into the shell, however they are clearly shown in the photos of my two snare drums in the above photos. They are deep, but narrow, and were perfect for the gut and cable snares that were standard back then. If you have the good fortune to own one of these snare drums I strongly recommend using Puresound 12-strand snare wires with them, which I have found to be a perfect fit to the crimped beds.

One more annotated photo shows the way the shell pieces fit together in more detail:

One quick way to tell whether of not one of the old Ludwigs has the two piece shell is to run your finger along the bottom of the bead on the outside of the shell. If it's a two piece you will feel the seam where it was soldered. I hope this clears up some of the mystery about what is meant by a 2 piece shell.

Best Snare Drum

2010-02-28T14:31:00.003-05:00

Every few days I review my logs to see how many visitors this blog gets, and how they found it. A significant number of visitors arrive via one of the search engines seeking the best snare drum. To be completely frank, snare drums are such personal expressions of the drummer that there is no best one out there.

I will, however, discuss my favorite two snare drums and why they are best for me, but I will also give some caveats. The first caveat is my playing style and the types of music I play may be vastly different from yours. Also, even my favorites can sound like dogs in certain rooms, and, finally, I do not record or mic my drums - all of which allows me to proclaim what I consider to be my best snare drums.

First up is my 6.5x14 Leedy & Ludwig

I play brushes a lot, and I also play music that requires shuffle beats. The Leedy & Ludwig seems to have the mojo to make both brush playing and shuffles sound magical. Since I typically play with musicians who use small amps and tend to not play overwhelmingly loud, the snare drum is a perfect fit. Because it has single flanged hoops (see Band, Single and Double Flange Hoops Explained for an explanation) I get an open sound that would drive any sound engineer nuts in a studio. It would probably not work well in venues like churches with complex acoustics either - or at least not without different heads and other tricks. The bottom line here is I have a best snare drum, for me, that may or may not be best for you. In fact, it may not even be best for me if I were in a room where the drum's resonance would overpower other parts of my kit or, worse, other musicians.

Although I prefer wood snare drums, I am fond of my 1966 5x14 Ludwig Supersensitive.

It is crisp, sensitive to the edges, and is articulate at any level from PPP to FFF. If I had to play in a room with wild acoustics that is the drum I'd bring.

Many drummers are frightened off by the seemingly complex snare mechanism on the Supersensitive models, but they are relatively easy to dial in a snare sound for any room or playing situation, and are versatile enough to fit any music style with minor adjustments. If I were to ever go into a studio to record this is the snare drum I would use.

The bottom line is just about any snare drum will work well with

Heads that match the playing situation - double ply heads, for example are going to have a lower fundamental than single ply; pinstripe type heads are going to attenuate ring and resonance, etc.
Snare wires matched to your snare bed - if you have narrow and/or deep snare beds on your snare drum snare wires with 16 or less strands are going to work a lot better than 20+ strand snare wires
Tuning - I strongly recommend reading Prof.Sound's Drum Tuning Bible to find your sound

On the room itself, which can have a dramatic effect on sound, I recommend reading Joe Shambro's Setting Up Your Home Studio Space even if you are not interested in setting one up because his discussion about acoustics can be used to survey a room or venue in advance, which will allow you to pick your best snare drum for the venue or at least tune for the room. If you are interested in a home studio, on the other hand, I recommend Home Recording Studio: Build it Like the Pros. While I don't mic, if you do, Micing the Drum Kit is a well written resource that is rich in hints and techniques.

On Playing Brushes Part 2: Creative Writing

2010-02-25T11:33:00.003-05:00

Continuing from On Playing Brushes Part 1: The Vocabulary, this post discusses The Art of Playing with Brushes DVD/Play Along CD that was presented by Steve Smith and Adam Nussbaum.

Where Ed Thigpen's The Essence of Brushes (DVD) provided the basic foundation in the form of a vocabulary, this DVD set liberates you in ways that allow you to creatively employ Mr. Thigpen's approach, and shows how you can imprint your style on music when playing brushes.

The many hours I spent with Ed's DVD gave me the confidence to play brushes in a musical setting, but I was worrying more about remaining faithful to Ed's lessons and approach than I was about letting the music move me to take chances and play more about how I felt. In many ways I was too rigid (in mindset), believing that Ed Thigpen represented the canonical. Of course, this was more a self-imposed limitation because Ed stressed finding your sound repeatedly. I didn't take that part of the lesson to heart until Misters Smith and Nussbaum pulled together some of the best living brush players and made The Art of Playing with Brushes a reality.

Here I watched some of the greats tackle the same songs is vastly different ways. It was an eye opener because none of them sounded a thing like Ed, but each of them brought the songs alive. Before I had gotten half way through the first disc I had an epiphany about what it means to put your personal touch on playing of any kind, even if it means breaking with some self-imposed set of conventions.

The artists who performed and demonstrated on this DVD are Joe Morello, Charli Persip, Eddie Locke, Billy Hart and Ben Riley. Same songs, including slow and faster tempos, and a Latin piece for each of them. Results: so totally different that I was inspired to play along to the accompanying CD before I was anywhere near through with the DVD set. It was liberating and I felt as though the vocabulary that Ed gave me was now ready to be used in other ways to creatively write (in a figurative sense, of course.) And creatively write I did. One set by Billy Hart was especially inspiring because he was actually doing quarter notes on his bass drum when conventional wisdom would have dictated otherwise. And it worked!

While two DVDs filled with demonstrations by some of the greatest drummers alive today, and a play-along CD earn this set a significant value point, the booklet that comes with it adds even more value. All too often we never take the time to read booklets that come with DVDs (unless in a fit of boredom), but the accompanying booklet is not only fascinating, but also essential reading by any drummer who wants to extend the contents of the discs and CD into deeper thinking and a deeper understanding of brush playing.

Most of the booklet was written by Mark Griffith. Aside from owning a Liberty snare drum that I wish I could afford, Mark is an extraordinary writer and historian, among other talents. Highlights of the booklet [for me] were A History of the Brushes that fills in gaps in other resources and includes some provocative material about the relationship between tap dancing and brushes, and the early brush masters. He extended the relationship discussion with a brief history of tap dancing, which spawned a fairly lengthy discussion among Mark, myself and other members on cymbalholics. Also important is Mark's brush resource guide that covers selected artists and songs to which you should pay attention.

One omission from the set is a collection of PDF files that were supposed to be on the DVD set. However, you can obtain them by going to Hudson Music's product page, which contains a link that will allow you to download the missing files.

In my final post to be titled On Playing Brushes Part 3: The Thesaurus I'll cover Clayton Cameron: Brushworks - The DVD, as well as some brush models I use.

UPDATE: Jon McCaslin has posted some video clips from the DVD in his excellent blog, Four On The Floor.

Wood Shell Game

2010-02-24T14:40:00.005-05:00

The question of the day when making (or having made) a custom snare drum is, which shell?

Until recently my personal answer would always be Vaughncraft. I love the resonance of steambent wood, and especially love Vaughncraft's selection of woods and quality.

There are other choices however. Global Drum Company makes excellent segment shells as does Rhythm King Percussion, which along with JTP Percussion and Unix Conception, make excellent stave shells. I own or have owned drums made of shells by each of the preceding companies, and have been pleased with each of them.

That is not to say that ply shells - typically by Keller - are not worth a look. In fact, I have both individual snare drums and kits based on Keller shells and love them. That said, until recently I was more likely to go with a Vaughncraft shell or one of the aforementioned segment or stave shells for new builds. Eric Sooy of The Drum Foundry changed that, however, when he introduced product lines that are Keller shells that are shipped pre-veneered or pre-wrapped.

His pre-veneered shells are spectacular, and his prices are more than reasonable. The veneer that has me drooling is this one (click the image to enlarge it):

Wood finish not your look? Eric also offers pre-wrapped shells in most popular wraps. The bottom line is you have choices, as well as alternatives because the pre-veneered and pre-wrapped shells are available in various ply configurations.

Not listed, but favorites of mine are the Keller Vintage Mahogany and Vintage Maple shells, which are available from various dealers. The drawback to the Vintage Mahogany models is the tall reinforcement rings. Apparently the Vintage Maple shells only have 1 inch tall reinforcement rings, but the ones on the Vintage Mahogany shells are entirely (in my opinion) too tall and require some woodworking tricks that I feel are unnecessarily imposed on the builder. The following photo shows what I am talking about (note the notches that needed to be put in the rings to fit lugs):

The rings, however, do not affect the sound. The drum depicted above is one of my best sounding snare drums despite being a ply shell with those reinforcement rings.

My preferred builder, Kevin Smee of Bowie Custom Drum, will be the guy who does my next snare drum, which will be the Carpathian elm burl shell shown above. Kevin has built other snare drums for me in the past (see this post), and will continue to be my builder of choice going forward.

Another Collector Blog

2010-02-24T11:55:00.000-05:00

I just checked out a new and growing blog, Ben's Drum Collection that, although relatively new, is turning out to be an excellent resource. Besides, who can resist a blog that has a transition badge Ludwig snare drum? I love the repair job he did on it.

While not a blog, another site I enjoy is W. Lee Vinson's page. Mr. Vinson is a percussionist for the Boston Symphony Orchestra, and his snare drum collection is simply amazing (and enviable.)

On Playing Brushes Part 1: The Vocabulary

2010-02-24T10:49:00.001-05:00

Back in the day circa 1964 when I started playing in a garage band in Bowie, Maryland and local teen clubs and parties the art of brush playing was deemed unimportant. For better or worse I muddled through the very few songs that required them, as did my peers, and even considered them to be a silly invention designed to make drummers look and sound like second class citizens on stage.

Fast forward to 2004, which is when I picked up sticks again after a 37 year hiatus (I quit playing in 1967 when I joined the navy.) During the ensuing years not only did my musical tastes change, but I was determined to master playing the songs to which I was listening. So, gone were the Ventures, Rolling Stones, Beatles and James Brown - for the most part - from my listening selections, to be replaced by [ironically] what my parents listened to when I was growing up: Benny Goodman, Louis Prima, some bebop and other jazz that characterized listening habits of the 1950s/60s among squares called depression-era parents.

Listening with a critical ear made it obvious that I needed to master brushes. After I regained my chops with sticks I tackled brush playing by getting Ed Thigpen's The Essence of Brushes (DVD), which opened a whole new world of ideas and techniques to me. To be sure, learning to play brushes takes an entirely different mindset than stick playing, and learning from Ed via the DVD takes considerable dedication and perseverance because playing brushes is not easy. In fact, no matter how good you think your chops and sense of timing are with sticks, you will be humbled when you pick up brushes and tackle gaining proficiency.

Ed Thigpen, though, is considered to be one of the all time great brush masters (for a tribute see this entry). The DVD itself contains an in-depth treatment of Ed's approach to brush playing, which is reinforced by performances that employ the techniques. His abilities as an instructor rank right up there with Tommy Igoe or Steve Smith, and his approach to brush playing is disciplined with a strong emphasis on time keeping through movements and patterns, and tasteful support of the music. If ever you wondered how he got the nickname "Mr. Taste" a few hours with this DVD will make it clear.

There is a book, also by Ed, titled The Sound of Brushes, that some will find useful. Frankly, I didn't use it much because the instructions on the DVD were clear and rendered it moot. However, there were a few occasions when I have referred to the book to clarify a particular movement.

I would sum up this particular DVD using the analogy that it is like learning to speak your native language using a fundamental and necessary vocabulary that allows you to come across as educated. Be prepared to spend many hours with this DVD (and your brushes, of course) if you are new to brush playing. In fact, even if you are proficient you will probably spend countless hours refining your technique with Mr. Thigpen as your on screen instructor.

In my next post, Part 2: Creative Writing, I will cover The Art of Playing with Brushes DVD/Play Along CD.

Portable Practice for Hotel Rooms

2010-02-24T09:07:00.003-05:00

In my Woodshedding post I listed a number of instructional books that I recommend. While researching a way to load up my favorite technical reference books for my day job - IT consultant - I was strongly considering Amazon's Kindle DX ebook reader. For my purposes it is the ideal solution.

On a lark I decided to see if there were any ebooks that would also support hotel drum practicing that a road warrior could use. Much to my delight there are:

Add in Rhythm Tech Lap Top Practice Snare Drum and you are set to get in a few hours of woodshedding regardless of where you happen to be.

It gets better - you can carry Guide to Vintage Drums with you to garage sales and music stores to aid in identifying bargains that show up on craigslist, or, if you want to take a break from technical research (as in my case), an ebook like The Great Jazz Drummers could be a welcome diversion.

UPDATE: You can actually have Snare Drum Addict delivered to a Kindle reader.

Old Drums For Sale Blog Refactored

2010-02-19T12:03:00.002-05:00

I had a drums for sale blog that has been defunct for months, and since I have sold off most of the gear I wasn't using, I decided to refactor the blog and use it for music recommendations. It is now at Music For Drummers, and has a few posts of recommendations.

One interesting thing is Amazon now sells on-demand video rentals, some of which are music-related, so I have included a few in the new blog. Do check it out.

Upgrading your Ludwig Snare Drum to a P86

2010-02-18T23:13:00.003-05:00

One of the snare drum strainers (a.k.a. throw offs) I intensely dislike is the P85, which came standard on snare drums from the late 60s/early 70s on. The cursed device looks like this:

My reasons for disliking it stem from the fact that it sticks when trying to reengage snares, often requiring that you not only use the lever, but also simultaneoously pull up on the adjustment knob. The P85, like the P83 before it, and the modern P86 all have the same hole pattern. Therefore, the P86 will fit WFL and Ludwig Pioneer snare drums, Acrolites, Classic Maple, and Supraphonics. It will not fit the new Black Magics, the Epic-series, and possibly Rockers and Accent snare drums (I haven't tried the latter, but have heard they will not fit the hole pattern.) I do know for a fact that the P86 will not retrofit to a Black Magic, much to my chagrin.

Here is what the P86 looks like:

If you want to see how one looks, check these links to my snare drums that either came with the P86, or which I upgraded:

There are more on this site, but you get the picture.

One mistake many people make when doing the upgrade is to try using the screws that originally came with the P85, often installing them from the outside of the shell in and using nuts, or leaving out the black washers that come with the new P86. The following photos of my Ludwig Special Edition Satinwood snare drum show the correct way to install it and where the components in the bag go.

What comes in the bag

Inside shot of a wood shell showing the P86 screws

Outside shot of same shell showing where the screws go through the tapped holes in the backplate and a little of the black gasket peeking out (this is a stock Ludwig snare drum)

A close-up of the P86 (note the threads of the screws and a little better shot of the gasket at the right end.)

I hope this clarifies the correct way to install a P-86 for you. Life is too short to struggle with a P-85!

Woodshedding!

2010-02-18T21:30:00.006-05:00

In my previous post I waxed enthusiastic about Tommy Igoe's instructional DVDs. One can exponentially raise their level of drum kit mastery by watching and following his DVDs. Indeed, with a diligent effort to work through each groove a drummer will attain a level of versatility that would make him or her a much sought after addition to any band, regardless of genre. However, even with such a rich array of material contained in the lessons at some point - even if you experiment in the spirit of Tommy's lessons - you will start to stagnate as a musician. True, you'd still be a exceptionally competent and versatile drummer, but the true foundation will be missing. To continue to grow and develop the chops necessary to take Tommy's lessons to the next level requires a disciplined practice regimen. That regimen and the ensuing foundation can be found in one of the seminal works of drumming: Stick Control: For the Snare Drummer. A true master and pervasive influence, George Lawrence Stone literally wrote the book on stick control. To be sure, this is a book and not an instant gratification device like a DVD. On the other hand, there is a long line of drummers, famous and not-so-famous, who not only developed their mastery of the instrument with this book, but continued to use it well into their careers. Note that Joe Morello, one of my idols, was Stone's student and actually contributed to later editions of this book. More about Joe further on. Suffice to say that this is the learning resource to start with.

Stones's Accents and Rebounds: For the Snare Drummer is the logical next resource to use after you have mastered (or at least are comfortable with) the lessons in Stick Control.

Joe Morello, teamed with one of his star students, created a series of DVDs that will instill a relaxed, natural technique that is founded upon connecting the dots between how your body works and how you communicate with the drums via sticks. In some ways I feel that this series (or at least lessons 1 & 2) should precede Mr. Stone's workbooks. What holds me back from recommending that particular lesson is the videos are somewhat unfocused (too much banter and anecdotes between Joe and Danny Gottlieb), and I feel that anyone who has not tackled Stick Control should proceed post haste into the lessons. Don't take this as my diminishing the lessons embodied in the "Natural Approach to Technique" because they are important. Perhaps interspersing Stone's workbooks with Morello's videos is a good compromise. Here are the videos:

An alternative set of lessons on natural technique that Joe Morello did are these two videos:

Of the two, I recommend the first set, and you can easily make do with just the first one (Mel Bay's Natural Drumming: Lessons 1 & 2).

Regardless of which of the above you opt for, I strongly recommend Master Studies (Percussion) as the next step in your evolution as a drummer after Stone's two books. And, of course, the next step after that is Master Studies II: More Exercises for the Development of Control and Technique

If you manage to work through the preceding books (and videos) - a daunting task to be sure - you can tap into the late, great Jim Chapin's lessons in Jim Chapin -- Speed, Power, Control, Endurance (DVD). Mr. Chapin is one of the true greats who influenced generations of drummers, and his body of work will continue to do so. Needless to say, Advanced Techniques For The Modern Drummer: Coordinating Independence As Applied To Jazz and Be-bop With Cd logically follows. Also valuable: Music Minus One Drums: Modern Jazz Drumming

One final recommended lesson DVD for the dedicated, woodshedding drummer is John Riley: The Master Drummer - How to Practice, Play and Think Like a Pro (DVD). Again, read the Amazon reviews which are effusive in their praise for this DVD.

... Don't forget: you will need a metronome! I like the Korg MA-30 Ultra Compact Digital Metronome. Also, for anytime, anywhere practicing check out the Vic Firth Double sided, 12" Practice Pad, or, even better, Rhythm Tech Lap Top Practice Snare Drum 1
.

Finally, enjoy some of Joe Morello's wizardry:

My Favorite Instructional Videos: Grooves

2010-02-18T18:22:00.004-05:00

Among the most treasured drum drum instructional videos I own, Tommy Igoe Groove Essentials and his follow-on DVD titled, Tommy Igoe Groove Essentials 2.0 DVD, will expand any drummer's horizons. 2.0 contains 53 additional grooves and concentrates on odd time signatures. A good rundown on the first version, which contains 47 essential grooves can be read in the glowing reviews on Amazon. The reviewers express better than I the greatness of the original Groove Essentials.

On Groove Essentials 2.0 the instruction is much faster paced than 1.0, and assumes you have mastered 1.0.

The theme of 2.0, aside from odd time signatures, differs from 1.0 in that in the first DVD you were taught the "connective tissue" of keeping a groove - anchoring on a cymbal pattern or, perhaps, a bass drum to form the foundation of the groove. In 2.0 the theme is constructing a groove and the focus is on groove types covering rock, funk, jazz and world.

The highpoint for me was the lesson on brushes. These were all so briefly touched upon in the original DVD, but were expanded in two lessons on the second. You won't become a brushmaster, but if you are new to brushes the two lessons will propel you. Here are a few clips from 2.0 that showcase Tommy Igoe's talents as both an exceptional drummer and instructor:

I strongly suggest that you augment the DVDs with the following books/DVDs that are companions to the DVDs:

Tommy will be filming Groove Essentials 3.0 in the Fall of 2010, but is mum about the subject matter. I can assure you I will be ordering it as soon as it's published.

One final Tommy Igoe resource is his Tommy Igoe Great Hands for a Lifetime, which was recently published. Here is the trailer:

More on Calfskin Heads

2010-02-18T17:08:00.003-05:00

Rob Cook has a new book, Rebeats Calfskin Head Book/DVD, which is a 24-page booklet that is jammed with historical information from Rogers, Leedy, Ludwig, Amrawco and others. The DVD (included) shows how to lay up a flesh hoop for custom-sized drums as well as head-tucking demonstrations by Rob Cook and the late Scotty Doucette of Jacks Drum Shop in Boston. This book is a welcome addition for folks like myself who have a growing interest in using calf drum heads (see some of my previous posts). Rob also sells Calfskin heads of various levels of quality on his web site

The best source of calf heads, though, is Stern Tanning, which is the gold standard in calf heads. Rob also authored Absolute Authenticity: When Only Cowhide Counts for Drum! Magazine that I recommend reading if you have any interest in natural heads.

A less expensive choice for natural heads (albeit goat skin) is Earthtone. Yes, they are goatskin heads instead of calf, but they are a compromise between cost and tone. I have little experience with Earthtone heads, so proceed at your own risk. There are many happy customers, but the diehard calfskin folks claim that there is a world of difference between the two.

In the close, but no cigar category, there is always Remo's Fiberskyn. I prefer the Fiberskyn 3 Diplomat Thin Weight Drum Heads, but there are others who prefer the Remo FiberSkyn 3 Medium Batter Head weight. I pair mine with Remo Renaissance Ambassador Tom Batter heads for resonant side heads (yes, I know the product description calls them batter heads, but they do go very well with the Fiberskyns. Another head that I like is the Remo Skyntone Drumhead, 14 inch, which comes in only 13" and 14" (although I have heard a rumor that Remo will shortly be releasing this model in all popular sizes.) Do be aware that these heads are thin and may not lead long lives if you are a heavy hitter. For brushes, shuffles and press rolls, however, they are excellent.

The Zildjian Trademark

2010-02-17T14:56:00.002-05:00

Did you ever wonder that the Arabic writing on your Zildjian cymbal meant? Here it is:

More about the Zildjian company and family history: World's Leading Cymbal Maker: Avedis Zildjian Company, which is an 11 page history of the company, and Manufacturering Secrecy: The Dueling Cymbalmakers of North America, which has another aspect of the history, including Robert Zildjian's split from the company to found Sabian.

Mounting Calf Heads

2010-02-01T10:43:00.003-05:00

I am a recent [re]convert to calf heads (my first kit in 1964 had them), and have scoured the web to find information on how to do my own. Here are two videos I encountered that I would like to share. While the videos are for calf heads on banjos (and there are differences when tucking drum heads), some of the principles are the same. In particular, measuring, preparation and care.

Part of my research revealed that "tucking" was called "lapping" back in the day.

Evaluating, Cleaning and Restoring Vintage Drums

2010-01-31T14:25:00.017-05:00

Collecting snare drums (or any drums for that matter) requires:

Some knowledge of drum history to identify when and where the drum was made
An approach to evaluating the drum's condition
Knowledge of materials and how to restore a drum or at least clean it up - safely (it is easy to wreck a vintage drum using the wrong techniques and products)

Resources for History and Identification

In my Wednesday, January 13, 2010 post I covered a list of books that are essential resources for drum collectors, and in my Tuesday, January 26, 2010 post I provided a list of essential web sites that provide identification and history of drums. Both lists will provide you with the tools for research.

Evaluating Drums

Ned Ingberman has an excellent article titled, How to Inspect Vintage Drums, which includes an inspection checklist that can be printed out. The article and checklist are 'must reads' for anyone who collects vintage drums.

Another resource I recommend - only because the issue frequently comes up on various drum forums - is how to tell a chrome over brass Ludwig Supraphonic from one made from Ludalloy. Go to this article for a quick overview.

Cleaning and Restoring

My personal approach to restoring is to be as unobtrusive as possible. Cleaning, to me, is better than a complete restore to a pristine, like new condition. This philosophy comes from my days of restoring vintage fountain pens, where the wrong technique or material could forever ruin a piece of history. Some excellent tips are given by Ned Ingberman in his article, Restoration Tips, and I am also going to provide some of my personal experiences below.

General Cleaning. For metal parts, especially rusty ones, it is hard to beat an overnight soaking in Dawn dishwashing detergent. I use a combination of 1 part Dawn to 3 parts warm water. Let it sit overnight, then carefully dry each part. In almost every case the rust just falls away, as does grime. Update 02 February 2010: A member of drumforum who goes by the screen name Torydrum recommends The Must For Rust, which is water-based, biodegradable and non-flammable, and according to Torydrum, effective. For difficult to reach places a small, soft bristle toothbrush works wonders. For cleaning most wraps I use Pledge furniture polish. I also use it on wood drums.

Polishing. Before I begin - I strongly recommend against mechanical polishing. Period. As far as I am concerned, using a buffer or any other mechanical device to polish is a recipe for disaster.

I am a fan of Maas Metal Polish, which is easy to apply, gentle enough to use on thinly plated nickel over brass shells and parts, and is in keeping with my approach to clean rather than restore. Some folks swear by Simichrome, and it is an excellent polish for modern chrome plated parts. I would not hesitate to use it in that context. I personally believe it may do more harm than good on vintage, thinly plated parts, especially nickel.

When polishing fails, such as pitted shells, lost plating, etc., I recommend some of the solutions offered by Caswell Plating Products. If Caswell's solutions seem to exceed your skills, then there is always a professional plating service. The best way to find one is to go to a forum, such as Drumforum and ask members if they know of any in your area that they would recommend.

For heavily scratched wraps and acrylic shells, consider using Novus 1, 2, 3 Kit Plastic Polish and Scratch Remover. This system works on wraps as well. One of the Drumforum admins, troyh, recommends Scrubbing Bubbles for satin flame wraps. Those wraps are a bear to clean, and are easily scratched. According to troyh this product is non-abrasive and will not destroy the wrap. Also, for regular wraps, such as pearls, that have lost their luster Gibson's Guitar Polish works well.

For wood restoration, I am a firm beliver in not refinishing a shell. Again, this is from my days of restoring vintage fountain pens where the goal was to avoid altering the original finish. I prefer to use protective coating that is as close as possible to the original formulas used when the shell was first finished. I had been using various wood cleaning products, but recently came across Tried & True Original Wood Finish that looks promising. See my Saturday, January 30, 2010 post for more information about the Original Wood Finish as well as another product from the same company called Tried & True Varnish Oil. For touching up scratches on wood shells you may want to consider Beeman Tibet Almond Stick. This product will not repair deep scratches, but will mask them. The scratch repair products I have researched and tried all use epoxy as a component, and I am unwilling to go that far.

Other Materials to Have on Hand. Here is a list of other essential materials to have on hand for restoration work:

Meguiar's X2020 Supreme Shine Microfiber
WD-40 and 3-In-One oil for lubricating moving parts and tension rods. I usually shoot WD-40 on moving parts like strainers, then wipe and lightly lube with 3-In-One oil.
Clean, lint free wiping rags
Snare cord (I use Ludwig Snare Cord, which can be purchased inexpensively in 10 yard rolls.) Most old strainers will only accept cord, but when possible I use gosgrain ribbon

A quick note about calf heads. Often a vintage drum will come with calf heads. Here is some excellent advice about restoring and maintaining those heads if you intend to keep them (author: Karl Dzioba):
The single best thing from them would be plain old water. If the heads are on wooded flesh hoops the hoops can warp from being subjected to the water after a time from being so dry. The key is regaining the "collar" on the head.

My advice would be to use an old plastic head, several sizes larger than the calf heads. Put some warm water into the old head (head is upside down) and place the calf head in it to soak up the water. Let the head slowly dry in a dark place and repeat as necessary. If you wet it enough, you can remove the head from the flesh hoop and re-tuck it. If you don't want to do that, make sure if you want to use the heads, to make sure that the tucked part of the head gets some hydration. I would start with just enough water to cover the plastic head, and gradually add water per a cycle or wetting the head and letting it dry. I'd leave the calf head in the water for like an hour or so before removing it to dry. Doing this a couple of times slowly should hopefully restore the pliability in the head.

As for the pinhole, you can probably ignore it, or I would use a small circle of moleskin (no larger than a dime) on the underside of the head. I'd perhaps use a concert tom or something to bring the head to just above finger tight before adding the moleskin, this way, the moleskin can move with the head as it is tensioned and released.

I know of some orchestral musicians, who will take a freshly tucked head, and install it on the drum they intend on using it on (still wet) and tension the head a little bit so the collar of the head forms to the bearing edge of the drum. Not sure if you need to do that, but it has worked for others.

2010 Collecting Goals and Other Info

2010-01-30T13:46:00.004-05:00

My collection goals for 2010 are narrow, which reflects the process of collection where one starts out collecting any specimen, then starts focusing on specifics.

My focus this year will be on early 1900s snare drums - nothing later than the mid 1930s. Here is what I will be looking for:

Ludwig & Ludwig wood "Tango" drum from the 19-teens through 20s. These drums have single tension lugs and wood hoops. The lugs are not attached to the shells.
1920s Ludwig heavy, two-piece shell in 5x14 with either 6 or 8 lugs.
Leedy Elite engraved model. I have always wanted one and my timing has been off everytime one becomes available.
An early Leedy wood snare drum with the wood hoops, single tension, floating lugs and overall design similar to the Ludwig & Ludwig that tops this list.

On the custom side I am in the process of collaborating with Kevin Smee of Bowie Custom Drum on a project that will remain under wraps for now. I will hint that it will be based on an 8-ply Keller VSS maple shell, will have a gloss finish, mostly modern parts and modern bearing edges. Those who know me will probably be puzzled by those specifications since I tend to have custom built snare drums made from Vaughncraft single-ply shells, eschew gloss finishes, and almost always specify 30 degree, rounded bearing edges. Ah, the mystery!

One final tidbit of information: Bill Kay, who is a moderator at Cymbalholic, as well as a regular and valued contributor on Drumforum and Ghostnote (the three top drum forums in my opinion), invited my attention to a wood finish called Tried & True Varnish Oil. A little research revealed that this is possibly the one product that would entice me into refinishing some of my vintage wood snare drums. I have been loathe to do so in the past because I did not want to alter the original finish in any dramatic manner. The company also makes another product that intrigues me too: Original Wood Finish. All of the products are "green" in that they are environmentally safe and use natural ingredients. I'll report back after I've tried it. My first candidate will probably be the Ludwig Transition Badge Pioneer.

Rogers Powertone Chrome Over Brass (COB)

2010-01-30T12:18:00.003-05:00

This heavy, amazing sounding snare drum will keep my Dynasonic company. In fact, I like the sound a lot more than my Dynasonic's sound, and she weighs about the same if not more. If you like metal snare drums this is one I recommend. They are still not grossly overpriced on eBay, and I can assure you that they can hold their own against a Ludwig Brass Edition Supraphonic (although who doesn't love Supras?)

On the subject of Dynasonics, if you have one and are not getting the sound you want from it, check out these instructions. Follow the recommendations and I guarantee you will have your Dyna singing.

White Oyster Pearl Ludwig Pioneer NOB

2010-01-30T12:15:00.000-05:00

This Nickel Over Brass (NOB) snare drum was obtained in a trade for a cymbal. It needed work, which was easy enough to do, and I am waiting for a chrome over brass hoop I just purchased to swap out the bent batter hoop. There is a little cracking near the muffler too, but that is an easy fix I'll get to when I put the new batter hoop on.

She sounds great as is. A little make up and she'll win beauty contests.

UPDATE: Using MAAS Metal Polish (mentioned in my Friday, January 29, 2010 post) I was able to quickly transform a beautiful sounding snare drum into a beautiful looking one as well.

Ludwig Transition Badge Pioneer

2010-01-29T16:09:00.004-05:00

This baby was born - according to the stamp inside the shell - on June 7, 1960. She came to me in perfect condition, but in need of a little cleaning and polishing. Here is a before:

The first thing that pops out at you is the strainer. A three-point Pioneer had me scratching my head, but a quick visit to A Guide to Vintage Drums and some research on that excellent site's Ludwig Strainer Page reveals this:

More interesting is it is called a P-85 Large Pioneer strainer, which bears no resemblance to the P-85 we know and hate (or I hate the later ones anyway - different story.)

Another interesting thing about this snare drum is it does not have a muffler, nor are there any holes or evidence of plugged holes to indicate it ever had one.

After a little polishing with an amazing polish called MAAS Creme Metal Polish this is what she looks like:

A few more shots complete the picture showing the WFL butt and the plastic end snare wires. She sounds beautiful, by the way!

Researching Vintage Drums - a resource

2010-01-26T00:54:00.005-05:00

My friend Roberto from Padua, Italy sent me a link to a treasure trove of old drum catalogs online at Drum Archive. Clicking on any manufacturer will bring you to a page of downloadable catalogs that are a collection of scanned pages (JPG format) in a ZIP archive. Excellent material for research. Sadly missing are Leedy catalogs, but there are a few Zildjian catalogs including one showing cymbal setups of their major endorsers. This is definitely worth a visit.

Other worthwhile sites are the Classic Drummer archives page and Vintage Drum Guide.

UPDATE 28 January 2010 - a new resource, A Guide to Vintage Drums has just been completed and it looks great. Check it out and bookmark it.

Band, Single and Double Flange Hoops Explained

2010-01-24T09:43:00.004-05:00

Too often the terms "single flange" and "stickchopper" are erroneously used when describing vintage style hoops. Hopefully I can set the record straight.

Early snare drums used "band" type hoops; in fact as late as the 1950s that style was used on student model snare drums. This hoop has no bends or lip - just a straight band as shown in the following photo. Note the top and bottom edges are flat.

Single flange hoops have a lip (flange) on the bottom edge as shown in the next photo. This allowed the hoop to better seat on the flesh hoop on the drum head:

Double flange hoops - commonly referred to as "stickchoppers" had an additional bend or flange that allowed for tabs or ears to be included on the hoop for tension rods, eliminating the clips. The following photo illustrates this:

Modern hoops, typically triple flanged, have an additional flange or bend at the top to prevent the "stick chopper" effect. Most flange outward, although Slingerland's hoops flanged inward. At any rate, aside from specialty products, such as the Worldmax single flange hoops (and hoops offered by Pearl on some of their model snare drums) modern metal hoops are typically triple flanged and made of either stamped metal or are die cast.

I hope this clears up the confusing nomenclature.

Bun E. Carlos collection

2010-01-24T09:38:00.002-05:00

Bun E. Carlos' collection is simply amazing, and emphasizes Ludwig drums. He is both a collector and historian (as well as a renowned rock drummer for Cheap Trick). This interview and article show not only the extent of Bun's collection, but also provides some insights into his musical influences and a summary of how Cheap Trick came to be. It's definitely an interesting read for any collector, as well as fans.

Transition Badge Ludwig Jazz Combo

2010-01-22T16:46:00.000-05:00

I have just worked a deal with a friend to swap my black Ludwig Barrett Deems model transition badge snare drum for this beauty - a Ludwig transition badge Jazz Combo in blue and silver Duco.

This is a win-win since my friend has a matching kit that needs the snare drum and I do not have a Downbeat in my collection.

My friend, by the way, is one of the best damn drummers I have had the pleasure of meeting. He can switch from a very credible Buddy Rich playing and solo style to Gene Krupa, Ray Bauduc and a number of other drummers. Simply amazing stuff.

World's ugliest cymbal

2010-01-19T00:33:00.002-05:00

This circa 1920s no-name came with my Barry Snare Drum. It's bent, looks like it's made of brass and is just the ugliest thing I've ever seen. However, it has a chime-like sound that is simply beautiful and has found a place in my keeper cymbal stash. She is a 12" piece of aged cymbalsmithing with an interesting hammering pattern.

RIP Ed Thigpen December 28, 1930 - January 13, 2010

2010-01-13T17:53:00.003-05:00

It's with sadness that I write that one of the most inspirational drummers of an era has passed away at a young 79. Ed's web site has a brief bio and discography of "Mr. Taste" who was renown as a brush master and a key to the Oscar Peterson Trio. He was the son of Ben Thigpen, a highly respected drummer in his own right.

Insights into Ed can be easily discerned by his demeanor and skill on The Essence of Brushes, an instructional (and performance) DVD that showcased Ed's teaching style as well as him in performance demonstrating techniques.

Here is Ed in action (with sticks):

With Oscar Peterson

Vintage Drum Resources

2010-01-13T14:21:00.004-05:00

The best (in my opinion) vintage drum resource in the web is Vintage Drum Guide. Also Vintage Drum Forum, which is a forum dedicated to vintage drum collectors. It's axiomatic that one bookmarks Not So Modern Drummer. Another good source is the Vintage topic area on DFO, which has some real experts, among them Mike Curotto, Bun E. Carlos and others.

Of course, these two books are essential for anyone interested in vintage drums:

Mike Curotto's Vintage Snare Drums - The Curotto Collection: Volume 1: Rare American-Made 1900s to 1940s
John Aldridge's Guide to Vintage Drums. Also check out John's engraving services (he does Ludwig's special edition engraving)

For folks who are collecting a specific brand or brands, these books are excellent resources:

Ludwig: The Ludwig Book - A Business History and Dating Guide Book and The Making of a Drum Company: The Autobiography of William E. Ludwig II. Also check out History of The Ludwig Drum Company for purely historical information about the company.
Rogers: The Rogers Book
Slingerland: The Slingerland Book
Leedy: The Complete History Of The Leedy Drum Company
Gretsch: Gretsch Drums: The Legacy of That Great Gretsch Sound

First Things First: In Memory of Someone Special

2010-01-13T12:46:00.001-05:00

I want to take a moment to remember someone very special. The memory is of Bruce Felter, Feb. 23, 1947 - Dec. 20, 2007.

Bruce was many things: a Rogers collector of some renown (Rob Cook devoted a few pages to his collection in The Rogers Book, and an incredible drummer who can be heard on Cathy Sings (his wife is the vocalist on this album.) Bruce's brush playing on the album, in particular, is inspiring to me.

However, Bruce was much more than a drum collector or even a drummer: he was one of those rare spirits who went out of his way to provide advice and guidance to anyone, and who was, well, nice. His [too short] life touched a lot of people, especially those who got to know him on Drum Forum Dot Org, a.k.a. DFO, where Bruce went under the username of Longroll. Do a search of DFO and you will see more than one thread that was a tribute to Bruce's memory, but more importantly, the posts by Bruce himself where his eagerness to impart knowledge and help is manifestly evident.

Here are a few pictures of Bruce and a link to a site in his memory. I, for one, was deeply touched by his approach to life and want to do my part in keeping his memory alive.

In Memoriam: Bruce Wayne Felter.

1930s Leedy Broadway Parallel 6.5x14

2010-01-13T12:28:00.002-05:00

I traded my recently acquired Barry Snare Drum for what is probably my best metal snare drum: a 6.5x14 1930s Leedy Broadway Parallel model.

This is one heavy, great sounding snare drum that is made from the same heavy, two-piece shell as the coveted Ludwig Black Beauty (Leedy apparently sourced these shells from Ludwig.)

The person with whom I traded is a collector, but interestingly, his percussionist daughter has quite a collection of Barry snare drums, so the one I traded is going to a good home. I believe we are both happy with the deal. I was never going to play the Barry because it had original heads that I did not want to mar, but this Leedy is definitely a snare drum I will play (and have more than a few hours on her already.)

It came with the original cable snare assembly, but I also received a set of specially made Puresound wires that I can swap in for a more modern sound. I like it as is, though, so will set the Puresounds aside. It also came with a weathered and beaten original bag, but as ratty as it looks, that is the drum's home. I will be getting a hard case to store the drum inside the original bag.

Showing the Puresound Snare Wires next to the cable snares

Original Bag

Cable End Piece Detail

Ludwig & Ludwig Nickel Over Brass 1920s

2010-01-13T12:21:00.002-05:00

This is the heavy shell version in 4x14. It has what looks like the original gut snares over a Remo Emperor snare side, and a calf batter that was tucked inside out with a few moleskin patches. It sounds great out of the box! I'll probably leave the heads as are, and perhaps the snares too (someone did a great job stringing them!)

Vintage Kent Snare Drum

2010-01-13T12:16:00.002-05:00

I traded a cymbal for this excellent example of a second tier American snare drum - a Kent from the E. W. Kent Manufacturing Company of Kenmore, New York. This one has the single tension lugs and crappy throw, but also has original heads and snares. The finish is stunning and called Bombay Mahogany. I need to swap out the plastic-sounding heads for something else because I consider seriously playing it, but for a collector I think it was a nice catch getting one in such pristine and original condition:

Ludwig 100th Anniversary Black Magic

2010-01-13T12:04:00.003-05:00

This is the 5.5x14 model that I swore I would never get. However, they will not be making them forever, so I succumbed to the collector compulsion and grabbed it.

First, there is virtually no difference between this snare drum and a Worldmax Dawg except the Ludwig engraving. The S9 strainer is identical to the Dawg, the bearing edges and the seam look to be near identical, and even the vent behind the strainer is the same.

What is different, besides the laser engraving and the 100th Anniversary batter head, is the snares that ship with this appear to be the high-end Worldmax German steel variety instead of the very low end wires that shipped with my Dawg.

Oh, and the die cast hoops that came with the 100th Anniversary model are interesting. They are thinner and lighter than Ludwig's regular die cast hoops and - amazingly - are stick chopper style. I swapped the Ludwig hoops to my Worldmax Pup (the 4x14 model) and put the Pup's single flanged hoops with clips on the Black Magic. I also swapped out the 100th Anniversary head for a Remo Skyntone I had laying around so I can preserve the special anniversary head in case I ever want to sell the Black Magic.

She tunes up beautifully, and the brass shell on this baby makes her sing.

Rogers Luxor: 6 Lug Student Model

2010-01-13T12:00:00.002-05:00

If you've read through most of my entries you will know that I love 6-lug snare drums, and I am a big fan of black diamond pearl (BDP) finishes. So this new addition to my menagerie is perfect (and, yes, I am a big Rogers fan too!):

Very nice sounding snare drum, with that open sound characteristic of 6-lug snare drums that make them so ideal for brushwork and shuffles.

More about the Barry Snare Drum

2009-12-18T10:59:00.003-05:00

A member who goes by the screen name of 1967flyer on Drum Forum informed me that the snare drum model I have is called the Companion Drum. Here is the message, which is interesting in that his daughter - a percussionist - has the same model plus an impressive collection of Barry drums she uses.

Thoughts about snare wires

2009-12-16T20:23:00.003-05:00

Many of my snare drums have Puresound Custom 16-strand wires, while some have Puresound 12-strand wires. I rarely go over 16 strands because I prefer the sound. These days when I need 16-strand wires I have started using the Worldmax German Steel model, which I think is the equal of Puresounds at a fraction of the price. My source is Best Drum Deals.

I have also used Grover wires (and like them for some applications), but keep coming back to Puresounds when I need a special wire like their 12- and 8-strand models. Both are excellent for snare drums with narrow and shallow snare beds, such as many Ludwig drums both vintage and modern. You may think that 8 strands is not enough, so maybe this review of Puresound's model 221 wires will be informative.

When it comes to vintage snare drums, such as Radio Kings, older Ludwig Supersensitives (and even modern ones), Dynasonics, etc., I first look to Puresound - here is their vintage snare wire page with the older 1920-1968 Supersensitive selected. Use the pulldown to see other models.

Since I am fairly set in my ways, and there are a lot of quality wires out there, I suggest that you pay a visit to James Walker's snare wire comparison page and check out his research.

If you have questions regarding selecting the right wires don't hesitate to contact me. If I don't have the answer I can point you in the right direction.

Update: 1920's Barry Drum Manufacturing Co. Arrived

2009-12-16T11:38:00.003-05:00

The Barry snare drum I cited in my 8 December post arrived today. This is a fairly rare snare drum that is historical for a number of reasons. First is in In The great American drums and the companies that made them, 1920-1969 By Harry Cangany Harry states that he had only seen three Barry snare drums. Second, this snare drum is all original and in pristine condition. It also came with a canvas bag that doesn't look a day over one year old like the snare drum itself.

The dimensions are an interesting 2.5" deep (shell) x 13" diameter. I tried a brand new 13" Remo Coated Ambassador head on the batter side and it was a perfect fit. A drum key will not fit the tension rods - this is a function of how close the rod caps are to the hoop (see last photo). Modern drum keys are too thick to fit between the gap.

I prefer playing snare drums I collect, but given the rarity of this one and the pristine condition I am going to relegate it to display only. It is far too nice a specimen to expose to the wear and tear of even casual drum playing.

The rest of the story in pictures:

Shot showing badge

Original head!

Unique Throw-off

Butt Assembly

Bottom View - those gut snares look brand new

Tension rod detail

Update: Ludwig Pioneer snare drum has arrived!

2009-12-15T12:52:00.004-05:00

In my 7 December post I was elated about getting two vintage Ludwigs. The Pioneer arrived yesterday.

It is a 4x14 vs. the 5x14 that the seller claimed, and it is the lighter shell, not the heavy two-piece. I very carefully tensioned it up last night to try her out without putting a stick through 80+ year old calf heads and was surprised by how soft she sounded. Most of my modern 4x14s are LOUD. Not so this one.

I tried a modern head and it was a perfect fit, but I am going to follow nittanyperc's excellent advice to condition the heads and keep them intact. (I will also quote it below in case you cannot get to the site.) I am also going to keep the gut snares, but need to do some better tensioning and straightening the strands out. The throw was a surprise - it actually functions perfectly (a rare thing!)

The drum has black over brass with brass showing through, which means that it could be one of the enamel 1930s models. I am pretty pleased and will use it when I need to play at PP or PPP or do killer press rolls (which it does well.) Not something one would drag to any gig requiring a modern sound or projection, but it will get played.

nittanyperc's excellent advice The single best thing from them would be plain old water. If the heads are on wooded flesh hoops the hoops can warp from being subjected to the water after a time from being so dry. The key is regaining the "collar" on the head.

My advice would be to use an old plastic head, several sizes larger than the calf heads. Put some warm water into the old head (head is upside down) and place the calf head in it to soak up the water. Let the head slowly dry in a dark place and repeat as necessary. If you wet it enough, you can remove the head from the flesh hoop and re-tuck it. If you don't want to do that, make sure if you want to use the heads, to make sure that the tucked part of the head gets some hydration. I would start with just enough water to cover the plastic head, and gradually add water per a cycle or wetting the head and letting it dry. I'd leave the calf head in the water for like an hour or so before removing it to dry. Doing this a couple of times slowly should hopefully restore the pliability in the head.

As for the pinhole, you can probably ignore it, or I would use a small circle of moleskin (no larger than a dime) on the underside of the head. I'd perhaps use a concert tom or something to bring the head to just above finger tight before adding the moleskin, this way, the moleskin can move with the head as it is tensioned and released.

I know of some orchestral musicians, who will take a freshly tucked head, and install it on the drum they intend on using it on (still wet) and tension the head a little bit so the collar of the head forms to the bearing edge of the drum. Not sure if you need to do that, but it has worked for others.

1920's Barry Drum Manufacturing Co.

2009-12-08T16:30:00.001-05:00

This Barry snare drum popped up with a $99.00 Buy It Now and I reacted quickly. No real specifics yet, but when it arrives I'll update this post.

Two new vintage Ludwigs

2009-12-07T23:11:00.002-05:00

I managed to snag these two off eBay at a reasonable price, so links to the auctions will have to suffice until they arrive and I can take proper photos and give my thoughts about each:

Ludwig & Ludwig 4x14 circa 1920 snare drum. This one appears to have the highly desired two-piece shell.
Ludwig Pioneer 5x14 circa late 1920s-early 1930s.

Ludwig & Ludwig 4x14

Ludwig Pioneer 5x14

A Wood Supersensitive?

2009-11-28T01:33:00.002-05:00

One thought that has resurfaced is to find a trashed Ludwig Supersensitive with an intact strainer mechanism and transfer the parts to a wood shell.

I have been casually browsing eBay for an SS with an ugly, flaking Ludalloy shell (usually not hard to find) that I can cannibalize. I am pretty sure a 5- or 6-ply Keller maple shell would be a good host for the parts.

This goes on the back burner for now, but it's an idea that keeps coming up.

Are you really an addict?

2009-11-26T16:38:00.002-05:00

... if so, join in at the Snare Drum Addict forum. Oh, and Happy Thanksgiving. Seriously, I alluded to creating the forum in my last post, and since I had some time on my hands I threw it together this morning.

Are there any other snare drum addicts out there?

2009-11-25T17:31:00.002-05:00

If so, I would gladly put up a forum to discuss our "disease", trade info, etc.

Snare drum of my dreams

2009-11-25T17:13:00.003-05:00

In my last post I mentioned one of the remaining snare drums I wanted was a 1920s Ludwig Black Beauty (or 1920s Ludwig snare drum that used the same shell.) There is one modern snare drum that would satisfy that itch: Ludwig's 100th Anniversary Gold Triumphal.

Here is the story: Ludwig's Description, and how it was made. See also the main site.

It's the stuff of which dreams are made. I have a feeling all I can do about it is dream.

Gaps & Loose Ends

2009-11-25T15:40:00.002-05:00

I left out a builder in my last post, which is Epiarch Drums. Jesse Lizer did a fantastic job on the snare drum, and was very patient with the backorder of the P86 I wanted to use. Great service and first class craftsmanship.

Having 48 snare drums begs to round up the number to 50. So, I have been pondering which two would complete me. There was a time when my dream snare drum was the Ludwig 95th Anniversary model, shown below:

However, I have since had snare drums built that eclipse that one in my opinion.

My current dream is a 1920s Ludwig Black Beauty or a 1920s Ludwig made with the heavy, two-piece shell that was used on the Black Beauty. Of course, when I manage to acquire one, a calf skin batter head is going to be mounted on it. I believe using a mylar head, even a Fiberskyn or Skyntone, would just not do it justice.

So, number 49 has been identified. How about number 50? I am waiting for the next Vaughncraft overstock sale to see if there is anything on the list that I would want. Candidates include purpleheart (an amazing tonewood), a deeper rosewood shell (I have 4.5 and 5.5 rosewood snare drums and love the sound of rosewood), or, perhaps walnut. At this point I am not sure. I will definitely have Kevin Smee of Bowie Custom Drum build it. Kevin has built two snare drums for me already and impressed me with the quality of his work, speed, and pricing - the adage, "Quality, Price, Speed: Pick Two" does not apply to Kevin. You get all three. Picking hardware will be another matter. I have time for that.

On hardware, I will be focusing on lugs, throw offs and the like in my next post.

Suppliers, Services and More Builders

2009-11-24T14:19:00.005-05:00

Continuing from my last post, here is a list of other suppliers, service providers and builders I have used and with whom I am extremely happy based on the excellent services and products I have received.

Dana Bentley, from whom I have purchased countless Leedy three point strainers and Leedy extended butts (among other products.) Dana's prices are more than reasonable, and he ships quickly.

Joseph at Best Drum Deals. Over the years I have purchased lugs, single-flange hoops and clips, and assorted parts from him and they quickly arrive. He epitomizes the meaning of customer service.

The Precision Drum Company Team. I have had shells wrapped, edges and snare beds done, and other services from the team at Precision Drum Company and marvel at the speedy turnaround and amazing workmanship each time. These folks are fast and do it right!

Eric Sooy and Team at Drum Foundry do more than merely sell parts. Eric is a sponsor of the Ghostnote Drum Lab,as well as a percussionist in his own right. Whenever possible I buy from Drum Foundry to repay all he has done for the community.

John Rose and Team at Vaughncraft Percussion have made possible many of my snare drums through the numerous overstock sales they post on Ghostnote and via email. It would be an understatement to say I love Vaughncraft steambent shells!

François Filiatrault of Unix Drums. Frankie is a master craftsman whose stave shells are a work of art (to say the least). I had one of his shells in solid bubinga that was a marvel of both construction and sound.

Builders I Recommend

2009-11-24T13:12:00.005-05:00

The following list of builders is based on firsthand experience - each of them have built snare drums or kits for me, and I higly recommend their work:

Dan von Gartzen of Raven Drums, Oviedo, FL. Dan built my first custom snare drum, the 6x14 maple shell with curly maple and walnut veneer, and went on to build my bubinga jazz and bop kit. His work is excellent, especially his artistry in veneers. He has apparently scaled back on building, but is gauging interest in a Bonham style/sized kit.

Tim McKenzie of McKenzie Drums out of Charlotte. Tim built the following drums and kits for me: Vaughncraft 4.5x14 Maple, Vaughncraft 5.5x14 Mahogany (with hoops by Stellar), Vaughncraft 4.5x14 Rosewood, Vaughncraft 6x14 Myrtle (originally built for Rob Richards, but I managed to acquire it), Vaughncraft 6x14 Magnesium Radio King Clone, and a Vaughncraft 6.5x14 Leedy clone in Vaughncraft Mahogany. Tim also built my Keller Vintage Mahogany Slingerland Clone Kit.

Kevin Smee of Bowie Custom Drum built my Rosewood and Olive Ash snare drums using Vaughncraft shells. Kevin gets the fastest turnaround award. He is quick (amazingly so), and his prices are, perhaps, too low. His workmanship is top notch.

In my next post I'll cover a few more builders from whom I've gotten single snare drums, my sources for parts like the new Leedy three-point throws, and where I occasionally have wraps, bearing edges and snare beds done when my primary builders are busy.

1961 Slingerland Jet kit (Slingerland catalog #20N)

2009-11-23T14:19:00.003-05:00

12x20 bass drum, 8x12 rack tom (someone added a 12x15 stage model floor tom at some point). Shown with a Ludwig & Ludwig "tribute" in BDP made from a 5.5x14 Keller Vintage Maple shell.

Shown withh the following cymbals: 14" A. Zildjian & Cie "Vintage" hats and a circa late 50s/early 60s 22" Avedis ride.

Bird's Eye View:

Three Other Views:

With My Early 70s Set-O-Matic Kit

Some Quick Q&A

2009-11-22T22:27:00.003-05:00

I've posted the fact that I've updated this blog on a few forums, and have gotten a few questions that I'll answer here:

Q. What? No Acrolites?
A. Shhhh! Acrolites are the best kept secret among drummers who know great sounding snare drums. The truth is I have had four in the past two years and wound up selling them. Why? First, I have a gaggle of Ludwig Supraphonics that render them redundant. Second, I have way too many metal snare drums as it is, and wood snare drums are my favorite.

Q. Do you actually play them?
A. With the exception of the Pearl 50th Anniversary model, all of them get played. They go into a rotation. Some stay in rotation longer than others, but all get played. The Pearl I mentioned has special heads that I want to keep as pristine as possible. I could change the head to something like a coated Ambassador, but there is also the issue of the 24K gold plated hardware that would probably wear quickly if handled.

Q. Why don't you have [fill in your favorite brand] snare drums.
A. My two favorite modern brands are Ludwig and Pearl. I've tried most other modern brands (but not every model) and they just don't seem to have the same mojo. Also, I prefer either vintage or custom made snare drums - amply represented in my collection - and see no real reason to acquire everything. These days I am more focused on custom made snare drums from steam bent shells.

Q. Most of your custom made snare drums have only 8 lugs. Why?
A. As far as I am concerned all a snare drum needs is 8 lugs. Also, I like the ease of tuning and the more open sound I get from an 8 lug snare drum compared to 10 lugs.

Q. What is with all of the old fashioned hoops?
A. I like open sounding snare drums and those hoops give me the sound I want.

Q. Are any for sale?
A. The only sacred snare snare drum is the Leedy & Ludwig I named "La Fica".

Slingerland Early 70s BDP kit

2009-11-22T13:24:00.001-05:00

Slingerland early 70s SoM kit. 14x20, 8x12, 14x14 with a 6.5x14 "tribute" snare. Currently mounted: 20" K Custom Session Ride and 14" K Custom Session hats.

Bubinga Veneer kit by Raven Drums

2009-11-22T11:58:00.002-05:00

Dan von Gartzen of Raven Drums in Oviedo, Florida built this kit for me from Keller maple VSS 8-ply shells. He did an amazing job with the bubinga veneer (one of his specialties is veneering).

Specs: 8-ply Keller maple shells with bubinga veneer
Bass drums (I have the option of bop or jazz sizes) 14x18 and 12x20 (the shallower 12x20 is very boomy!)
Toms: standard 8x12 and 14x14
Snare drum [not shown] I had a solid, stave shell bubinga snare drum made in by Unix Canada for this kit: 6.5x14. I have since sold the snare drum, using whatever strikes my fancy when I set up the kit these days (it's not like I don't have a few from which to choose!)

I opted for Champagne lugs and wanted wood hoops, and also used the Dunnett Rail Mount as the tom mounting system. That mount is pretty versatile, and can also be used to transform a floor tom into a small bass drum.

With the 12x120 bass drum:

Another view:

Close up of the grain on the bubinga:

Gretsch Catalina Club Jazz Kit

2009-11-22T11:54:00.003-05:00

I traded some cymbals for this kit with the intent of selling it. The wrap is called Rustic Pearl, which has a nice merlot color. For the time being I am using it on occasion, and have grown to like it a lot. The weak link in these kits is supposed to be the snare drum. The one that came with it is not as horrible as I thought it would be. Not great by any stretch of the imagination, but usable.

Vaughncraft 4.5x14 maple

2009-11-21T15:36:00.001-05:00

Ludwig & Ludwig "tribute" snare drum by Tim McKenzie - the brass single-flange hoops were the only hoops I had laying around at the time.

Vaughncraft 5.5x14 mahogany

2009-11-21T15:35:00.001-05:00

Built by by Tim McKenzie with shaped maple hoops by Stellar.

Craviotto 5.5x14 Unlimited

2009-11-21T15:33:00.000-05:00

Steambent maple. Amazing snare drum that has Johnny Craviotto's personal touch:

Pearl 50th Anniversary 5.5x14

2009-11-21T15:32:00.002-05:00

Steambent shell, gold plated fittings, etc. a beautiful snare drum. It came with a velvet bag, gold plated drum key and letter of authenticity.

Slingerland "Frankendrum""

2009-11-21T15:30:00.000-05:00

Slingerland SBP Top Hat & Cane wrap 7x14 This is a frankendrum. I am not sure who made the shell, but the throw and butt are later Slingerland, and it has a Radio King muffler. It sounds damn nice, which is why I've hung on to it.

A few pearls

2009-11-21T15:22:00.002-05:00

DW Classic 5.5x14 solid shell (I am guessing Johnny Craviotto supplied it), with COB stickchoppers that came standard - it's from the Buddy Rich kit.

Nashville Snare Drum Company 5x14 10-ply Keller Maple shell with Legend lugs, generic throw, etc.

Tama Stagestar 5x13(came with my Stagestar FX kit.)

Gretsch Catalina 5x14 in Rustic Pearl that came with my Gretsch Catalina Club Jazz kit

No Name Japanese Slingerland Clone 5x14in BDP - the seller threw this in with my 1961 Slingerland Jet Kit. Free, so cannot complain. OK sounding at best.

6.5x14 Slingerland Copper

2009-11-21T15:20:00.002-05:00

6.5x14 Pearl Brass Sensitone, Special 2004 NAMM Edition

2009-11-21T15:20:00.001-05:00

5.5x14 Leedy Shelly Manne COB

2009-11-21T15:19:00.001-05:00

Rogers Dynasonic

2009-11-21T15:18:00.001-05:00

5.5x14 Rogers Dynasonic

More Metal Snare Drums

2009-11-21T15:15:00.003-05:00

While I prefer wood snare drums, I have somehow managed to acquire a lot of metal ones too:

4x14 Worldmax Pup

5x14 Worldmax Dawg

6.5x14 Pork Pie BoB

Some Ludwig Metal

2009-11-21T15:12:00.002-05:00

6.5x14 Hammered Bronze Supra

5x14 1966 Supersensitive

5x14 Brass Edition

5x14 Hammered Ludalloy Supra

Rhythm King 6x14 Walnut & Zebrawood segment shell

2009-11-21T15:09:00.001-05:00

Slingerland clone lugs and a Gladstone-style throw. Nice snare drum, but gets little use these days.

Vaughncraft Rosewood 4.5x14

2009-11-21T15:04:00.000-05:00

Steambent shell with Ludwig & Ludwig badge (another tribute drum). Modern piccolo throw and adjustable butt. Built by Tim McKenzie. Triple flange hoops have been since replaced with COB stickchoppers.

Vaughncraft Myrtle steambent

2009-11-21T15:03:00.001-05:00

Champagne lugs and stealth (Gladstone-style) throwoff. Originally built by Tim McKenzie for Rob Richard (who runs Handi Drummed - a site for disabled drummers).

Cherry Segment 5x14

2009-11-21T15:01:00.001-05:00

Global Percussion Shell with Dunnett R-Class throw and Worldmax COB single flange hoops. This snare drum sings!

Ludwig Exotic (Sapele Pommele) 5x14

2009-11-21T14:59:00.001-05:00

From the Exotic series with the oval Monroe badge. I upgraded her with COB single-flanged hoops and a P86 Throw.