January 30, 2021

New Stone Custom Drum kit in Black Pearl wrap

Another Stone Custom Drum beauty built with Bernie Stone's American Classic 3-ply shell formula and a durable Black Pearl wrap.

Readers of this blog know that I am a big fan of Bernie Stone.  Bernie founded Stone Custom Drum to continue building drums using the classic American formula, essentially building "new Slingerland" drums using equipment from the old Slingerland factory that he salvaged and refurbished.  You can read more about Bernie in my previous post, New Stone Custom Drum kit with American Classic 3-ply shells.

Vintage drums in black pearl wrap
(images may be subject to copyright)
Early last year, I started gigging a bit more, and while I love my Stone Custom Drum walnut-to-deep brown burst kit, I hate the idea of damaging its beautiful finish while lugging it around.  Without question, this is a first-world problem :)  I gave Bernie a call, and the good news is that he had time in his production schedule to build a kit with wrapped shells for me.

I have always liked the vintage American drum sets wrapped in Black Pearl, also known as Black Diamond Pearl or Black Marine Pearl.  Slingerland, Rogers, Ludwig, Premier, Gretsch, and other drum makers built drums with a version of this wrap as early as the 1950s.  After watching this video of a Stone Custom Drum kit in this wrap, I decided to check the box for Black Pearl.

Shells at SCD prepped for hardware, then packed for shipment
I ordered my new kit in my usual two-up, two-down tom configuration with a single bass drum.  I prefer Stone Custom Drum's American Classic maple-poplar-maple 3-ply shells with re-rings.  With Bernie cooking these drums up in the original Slingerland molds, I get shells in the classic American formula with modern hardware and Bernie's attention to detail.  It's like placing a custom order with the old Niles factory, but better.  Bernie sent me a few pics as the kit came together, which always makes the wait for the carefully packed shipping boxes much more difficult.

Because Bernie is a custom drum builder, I had a number of decisions to make to configure my new kit the way I wanted it.  I already knew that I wanted to go with the classic Slingerland-style stick-saver hoops and lugs, both in chrome.  Bernie recommended beavertail-style floor tom brackets and black bass drum hoops with Black Pearl inlays, and I decided to go with these vintage touches as well.

Evans G2 coated over G2 clear heads on the 12x14 floor tom
Next decision:  Drum heads.  I decided to go with Evans all-around--G1 coated over G1 clear on the rack toms, and G2 coated over G2 clear to tame the floor toms a bit.  I had Bernie outfit the bass drum with EMAD2 clear over EQ3 black (with port hole), and he added a Stone Custom Drum logo to the EQ3 reso head for me as I'm happy to spread the word!

Once the build was complete, Bernie asked if he could use my new kit in a photo shoot he had scheduled with Bill Ray.  I thought it would be fun to have my kit in the shoot, so I agreed.  Bernie shared a quick video as they were setting up my kit for the shoot, and it was an honor to have Bill test drive my new kit!
SCD American Classic shell pack in Black Pearl

When the drums arrived, I was struck by the timeless appeal of the Black Pearl wrap, and thankful that they were already fitted with modern hardware (e.g., suspension mounts).  I had been watching several vintage kits on eBay and Reverb, and for my situation, these "new vintage" drums are a much better choice.

I already have plenty of snare drums, so this order was for a shell pack rather than a complete kit.  Drum sizes are 7x10 and 8x12 rack toms with TIMS isolation/ suspension mounts, 12x14 and 14x16 floor toms with standard legs, and a "virgin" (not drilled for rack tom mount) 18x22 bass drum.  I prefer shallower rack toms to minimize their height over the bass drum, and I always mount them on a rack or separate stand to keep their weight off of the bass drum shell.  I also add Pearl R-40/3 rubber tips to the floor tom legs, which function as inexpensive mini-isolation mounts for floor toms.

Precision-cut vintage roundover edges
I specified vintage roundover edges on all of the shells.  I prefer the warmer tone roundover edges provide due to the increased contact between the head and the shell.  The quality of the finished edges is excellent on all of the shells.

Each drum includes SCD's black and brass badge, and Bernie finishes the interior of each shell with a signed decal identifying the drum and an amber lacquer that gives it a classic, finished look.

The drums look and sound great, and the durable Black Pearl wrap is a great choice for a gigging kit.  I'm looking forward to getting these American Classics on the road!


January 16, 2021

Vintage Pearl 5x14 brass snare - Stewart Copeland's "The Snare"

Identifying and purchasing the exact snare drum model Stewart Copeland refers to as "The Snare"--the backbeat behind most of The Police's hit records.

By Darin Soll

For many reasons, The Police are one of my all-time favorite bands, not the least of which is Stewart Copeland's brilliant drumming throughout their catalog.  Non-drummer fans of the band may not realize how much Stewart's world beat influences, and general avoidance of backbeats on 2 and 4, contributed to the band's unique sound.

My wife and I saw The Police on the Phoenix stop of their Reunion Tour in 2007.  I had been looking forward to Stewart's drumming and I wasn't disappointed--except for the dead snare mic during the first few songs in their set.  The brief mic issue really highlighted how important his rimshots are to "Message in a Bottle."

Much has already been written about Stewart's snare drum of "mysterious provenance" that cut through "the dirge from the bass and the ear-piecing sounds of a guitar."  However, there is a lot of confusion about which specific snare drum is "The Snare" that he used on most of The Police's recordings as well as many live performances.

Some of this confusion arises from the fact that Stewart has a long-running endorsement deal with Tama Drums.  While Tama did finally introduce its Stewart Copeland Signature Snare in 2001, "The Snare" was a standard Pearl (gasp!) 5x14 chrome-over-brass snare drum.

The rest of the confusion is created by inconsistencies in Pearl Drums' catalogs.  The same 5x14 10-lug chrome-over-brass snare drum equipped with a "professional die cast" or Gladstone-style throw alternated between two model numbers in Pearl catalogs of the late 1970's and early 1980's:

  • 1977 Pearl Drums catalog: Model 4214, branded as a "Custom Snare Drum" and featuring more rounded center beads, a vent hole centered on the beads, and an adjustable butt plate.  Pearl continued offering snares equipped with parallel-action throws under the "Jupiter" brand.
  • 1978 Pearl Drums catalog: Model B4514, which featured more squared-off center beads, a vent hole positioned below the beads, and a non-adjustable butt plate.  The '78 catalog accidentally associates the "Jupiter" name with the Gladstone-style throw by reversing the throw pics for snare drums "A" and "B" on page 16.
  • 1980 Pearl Drums catalog: Model 4214.  No changes to the drum, once again branded as a "Custom Snare Drum."  The "Jupiter" brand remains reserved for drums with parallel-action throws but headlines page 9 in a way that leads many to incorrectly believe that all chrome-over-brass snares are "Jupiters."
  • 1982 Pearl Drums catalog: Model B-4514.  No changes to the drum.  The "professional die cast" throw is unchanged but is now referred to as the S-015 "Gladstone" type throw.  The "Jupiter" brand is no longer used, but the parallel-action throw lives on with a new S-017 version, which adds an "X" to the end of the model number of any drum so equipped.

The inconsistencies in the '78 and '80 catalogs confused nearly everyone, and as a result, "The Snare" is often misidentified as a Jupiter.  What we do know is that "The Snare" was equipped with Pearl's "professional die cast" or Gladstone-style throw with a non-adjustable butt plate, as shown in this pic of "The Snare" from Stewart's "Sacred Grove" studio:

Stewart Copeland's "The Snare"

The lack of a parallel-action throw means that this drum was NOT a Jupiter.  The more squared-off center beads and non-adjustable butt plate indicate that this was a post-1977 drum.

Jeff Seitz, Stewart's drum tech, confirmed in 2019 that two Pearl snares (chrome-over-brass and chrome-over-metal/steel) were acquired after the release of Reggatta de Blanc and first used on the recording of Zenyatta Mondatta.  He also surmised that the first two albums were likely recorded using Tama King Beat 5x14 snares.  Assuming "The Snare" was purchased new, that would make it a late-'79 or early-'80 issue drum--either a model B4514 or a 4214, depending on when the drum was built and when Pearl implemented the model number change between the '78 and '80 catalogs.

The rest of "The Snare's" story is that Jeff replaced the original triple-flange batter hoops on both Pearl snares with diecast hoops because Stewart had dented the original hoops and even cracked one.  Diecast batter hoops provided a sturdier platform for Stewart's trademark rimshots.  The snare side of "The Snare" appears to be fitted with the original Pearl triple-flange hoop.  It is unclear what if anything this mixed-hoop setup contributes to the voice of "The Snare," but it would allow more precise lug-to-lug tuning on the snare side.

If substance was lacking in their triple-flange hoops, Pearl more than made up for it by using very substantial brass shells!  Tama incorporated both the mixed-hoop design and a heavy 1.5mm thick brass shell into their SC145.

Okay, enough of the history lesson--why does any of this matter?

Because two legendary drummers, Neil Peart of Rush and Stewart Copeland of The Police, were loyal to very specific non-Tama snare drums while endorsing Tama Drums.  They were loyal to these drums for a reason.  I've already posted about Neil's "Ol' Faithful" Slingerland snare, which has an amazing crack.  Stewart's Pearl COB snare would also be a worthy addition to a drummer's arsenal.

There are two options for drummers wanting to closely replicate Stewart's sound:

  1. Purchase Tama's Stewart Copeland Signature Snare (SC145)--about $500US new, or $300-$400US used.
  2. Find and purchase a used Pearl B4514/4214 in good condition--typically $200-$300US--and upgrade the batter hoop.  Use the magnet test to determine whether the shell is brass or steel.

In early 2011, I picked up a Tama SC145 on eBay for $240.  It was my primary snare for a while, but the throw was not properly aligned with the snare bed and it was a beast to dial in.  I eventually parted with it.

After reading again about "The Snare," I checked to see if I could pick up a Pearl B4514/4214 at a reasonable price.  Udrum offered one on Reverb at the beginning of January, also for $240, and I decided to purchase it.

The drum arrived in good condition, exactly as advertised, with some light scratches on the shell, minor pitting on the tension lugs and throw, and some rust on the hoops and tension rods.  The seller noted that the internal tone control was missing--not an issue since I remove them from drums I play, anyway.  I had already decided I was going to upgrade the the batter hoop, but I opted for a 3.0mm triple-flange model from Drum Factory Direct instead of diecast.  I've found that 3.0mm triple-flange hoops provide ease-of-tuning and rimshot advantages similar to diecast hoops, and diecast hoops are crazy expensive at the moment.

Vintage Pearl B4514/4214 with batter hoop and gasket upgrades--note that butt plate matches "The Snare"

In addition to the batter hoop, I replaced the tension rods--Pearl uses 35mm rods on its 5x14 snares equipped with double-ended lugs.  Wrapping up my parts order were Evans Power Center reverse dot batter and Hazy 300 snare heads, tension rod and lug gaskets, and Puresound Blaster 20-wire snare wires.  These upgrades added $100 to the cost of the drum. 

Lug gaskets for WorldMax's DC-010 appeared to be the best fit, so I decided to give them a try.  They protrude a bit from the tops and bottoms of the lugs, but I liked the look so I decided not to trim them back.  I know, I know--I admit that it's all but impossible to prove that gaskets improve a drum's sound, but I like the idea that they help isolate the shell from other metal parts that can resonate, perhaps not so musically.

As always, I disassembled and cleaned all of the components of this drum.  WD-40 helped remove rust and corrosion from the brass lug receivers and tension rod springs.  I used Turtle Wax Chrome Polish and Rust Remover to improve the appearance of the shell, tension lugs, and snare side hoop.

B4512/4214 includes Pearl's S-015 "Professional" Gladstone-style throw--
note extra holes from missing internal tone control

Puresound Blaster snare wires are always a solid upgrade

As you can see from the pics, the cleaned, re-assembled, and upgraded drum looks great.  More importantly, it sounds great--the voice of the heavy brass shell is loud and musical.  While the drum has a decent tuning range, it really sings at a higher tuning.  And the rimshots on this drum have me looking forward to getting to The Police in my playlist the next time I'm behind my kit!


P.S. - Not to add to the Jupiter confusion--but--this video compares three COB snares: (1) a vintage Rogers Dynasonic, (2) a Tama SC145, and (3) a pre-'78 Pearl Jupiter (note the more rounded beads and the parallel action throw).  Yes, the pre-'78 Pearl shell is slightly different, and of course the parallel snare strainer is completely different.  However, it has a very similar voice...similar enough that the video comparison is relevant to this post.

September 3, 2017

Restoring a Ludwig Vistalite

Lessons learned after purchasing and restoring a vintage Ludwig Vistalite tom.

By Darin Soll

In a previous post, Our love affair with wood shells, I asked, "Why aren't more drummers opting for the consistent tone, durability, and reduced sensitivity to heat and humidity that synthetic drums offer?"  As my regular readers know, I love my Rocket Shells 8x13 snare drum with its carbon fiber shell, but I have never played drums with acrylic shells, such as Ludwig's legendary Vistalite line.  That is about to change--last week, I purchased a vintage 9x13 Vistalite tom for an audio project I am working on.  In this post, I share what I learned in the purchase and restoration process.
Used vintage 9x13 Vistalite tom in Translucent Smoke

The Purchase.  I found an inexpensive vintage 9x13 Vistalite tom in Translucent Smoke on Reverb.  The listing described the drum's condition as "good" with some surface scratches but no cracks.  It also noted that the Ludwig badge was missing but the drum was otherwise complete.  Zooming in on the photos in the listing, I could see that the shell had multiple deep scratches and scuffs, but it seemed round and functional.  The hardware showed moderate to severe corrosion.  Since I needed an acrylic shell for audio rather than aesthetic purposes, I decided to go ahead and buy the drum.
Ludwig reissue of Bonham's classic kit

The History.  After their 1972 introduction, Ludwig Vistalites grabbed the spotlight on the drum risers of John Bohnam, Robbie Bachmann, and Karen Carpenter.  While the seller had no information about the history of my particular drum, we can tell from presence of a tone control that it is a vintage 1970s Vistalite.  Translucent Smoke Vistalites first appeared in the 1977 Ludwig catalog.  Since Ludwig discontinued the vintage Vistalites in 1979, we can deduce that this drum is between 38 and 40 years old.  Ludwig reintroduced Vistalite drums in 2001, and the photo at right shows Ludwig's reissue of Bonham's classic Vistalite setup.  Since the reintroduction, vintage 70s Vistalites have become collectable.  One Ludwig faction argues that vintage Vistalites sound better, while the other argues that the superior quality of reissued Vistalites' seams and bearing edges gives them, ahem, the edge.

Initial Assessment.  My "new" Vistalite tom arrived extremely dirty--the packing material consisted of foam peanuts, dirt, dead crickets, assorted beads, and at least one nail!  As usual, I started with complete disassembly and thorough inspection of all parts.  This drum shipped from Louisiana, and judging from the level of corrosion on all of the hardware, it lived much of its life in high humidity at best, and submerged in a bayou at worst.  The hoops, tension rods, and tone control all showed quite a bit of rust, and the tension lug and tom bracket bolts were corroded as well.  The shell had multiple deep scratches and scuffs.  While the tension lugs themselves were in decent shape, with only a moderate level of dings and pitting, the springs were showing some rust.

The drum shell, on the other hand, was totally unfazed by all the moisture.  One of the advantages of synthetic shells is that they can handle all the moisture you throw at them without corroding, swelling, shrinking, or rotting.

The Restoration.  I decided to restore this drum into what I would actually consider to be good condition.  First, I ordered new 2.3mm triple-flange chrome hoops, 1-7/8" tension rods, and Evans Level 360 Genera heads from my friends at Drum Factory Direct.  Next, I ordered new tap bolts and fender washers for the tension lugs and tom bracket from Bolt Depot, a great source for small quantities of specific types of bolts and washers.

While I was waiting for the new parts to arrive, I decided to work on the tension lugs and the shell.  Now that the tension lugs were off, I used a little Turtle Wax Chrome Polish & Rust Remover to shine up the lug casings.  The polish will not fix pitting in chrome, but it did remove patches of oxidation and rust.  I used the same product with a wire brush to remove the rust from the tension lug springs and receivers.  One tension lug was missing the small foam strip that prevents the spring from rattling inside the lug.  To replace it, I cut a piece of packing foam down to the size of the strip from another lug.
Shell after cleaning and buffing

Next, I used NOVUS' Plastic Polish Kit and a power buffer to attack the scratches and scuffs in the shell.  The NOVUS kit includes three separate products to address deep scratches (#3), light scratches (#2), and cleaning (#1) of acrylic items.  I used a power buffer with the #3 product on the deep scratches and scuffs.  I saw significant improvement after about 20 minutes of buffing--the photos above and the one at right show the same side of the shell for comparison.  If I had more time, I believe I could remove them completely.  I then used the #2 product to buff out all of the light scratches.  After buffing out the scratches and scuffs to my satisfaction, I wiped down the entire shell with NOVUS' #1 cleaner.

Stress cracks around tension lug holes
While working on the shell, I noticed that it does in fact have cracks, contrary to what the seller stated.  Several of the tension lug bolt holes are surrounded by star cracks.  This is a common problem with Vistalites--over-tightening of tension lug bolts causes stress cracks to form and then radiate out from the bolt holes.  There is not much that can be done about these cracks.  The good news is that the tension lugs and bolt washers cover most of them, and I don't expect them to alter the tone of the shell.
Vintage acrylic shell seam

I also noticed small ridges in the bearing edges at each end of the shell seam.  Vintage Vistalites are formed by rolling a sheet of acrylic into a cylinder and then gluing the edges of the sheet together, forming a seam.  The ridges I noticed appear to be excess adhesive at the ends of the seam.  Because this is a one-off project drum, I got out my Dremel tool and lightly sanded off the excess adhesive by hand, being extremely careful to leave the overall bearing edges level.  Because level bearing edges are so critical to drum tuning and tone, I always recommend that you leave bearing edge repairs to a professional, especially with wood drums.  In the photo to the right, you can see the seam after I sanded off the excess adhesive.  Note that the bearing edge is now completely level.

The Re-assembly Process.  After spending some time on the tension lugs and the shell, my new parts arrived.  Let the re-assembly begin!

Step 1:  Re-install the tension lugs.  First, check to make sure the foam pad, spring, and lug receiver are properly seated in each tension lug.  Vistalites also include mylar shims to prevent tension lugs from marring the shells--simply slip the shim over the lug bolt receivers before you re-insert the lug into the bolt holes on the shell.  At left, you can see the exact bolt and washer "sandwich" I used to attach the tension rods to the shell--a #8
tap bolt (hex head) in a 3/8" length, a #8 split lock washer, and a #8 fender washer with a 3/4" outside diameter.  Note that I am adding a split washer and using a slightly oversized fender washer (the original had a 5/8" outside diameter).  The oversized washer helps spread the stress of the bolts on the shell as well as cover more of the existing stress cracks, as you can see at right.  To prevent damaging the shell and choking its tone, use the minimum torque necessary when bolting hardware to the shell.  My process was to tighten the bolts evenly until I just reached the point where I was unable to jiggle the tension lug on the outside of the shell by hand (there is some play between the lugs and the bolt holes), then just a slight turn more.  The split washers will help prevent the bolts from working loose over time.

Step 2:  Re-install the tom bracket.  Skip this step if you plan to use suspension mounts, otherwise, ensure the eye bolt is inserted and the washers and nut
are installed on the bracket itself.  Vistalite tom brackets also include mylar shims to keep the brackets from marring the shells.  Slip the shim over the bracket bolt receivers, and then re-insert the bracket into the bolt holes on the shell.  The tom bracket bolt and washer sandwich is a #10 tap bolt in a 1/2" length, a #10 split lock washer, and a #10 fender washer with a 1-1/2" outside diameter.  I cleaned and used the original fender washers because they were already formed to the shell.

Step 3:  Re-install the tone control.  Skip this step if you are building a drum to be played--tone controls are outdated and there is no reason to add more parts that can develop rattles inside your drum.  If you are restoring the drum to its original state, however, you will want to re-install the tone control.  Insert the three small screws into the mounting holes above the vent hole.  Thread them through the tone control bracket and the metal plate on the inside of the shell, add the washers and nuts, and tighten just enough to keep the tone control from jiggling.
Evans Level 360 heads fit perfectly

Step 4:  Install the heads.  New Evans Level 360 Genera heads fit perfectly on this drum.  New chrome hoops not only look great but head off tuning problems arising from out-of-round hoops.  At $11.50 a piece for new six-hole 2.3mm triple-flange hoops, Drum Factory Direct makes the decision a no-brainer.  I installed nylon washers on the new tension rods and brought the heads up to an even tension before dialing in the tuning.

Restored Vistalite tom looks and sounds good!
Step 5:  Tune the drum.  Be sure to check out my post Tuning drums with Tune-bot for tips and tricks on drum tuning.  A round and true drum with consistent bearing edges reduces the tuning effort, and the 6mm acrylic shell delivers more projection and brightness than a comparable wood shell.

Step 6:  Enjoy your new drum!  As you can see, while not perfect, this 40-year-old cleans up well enough to be a solid addition to a vintage Vistalite kit.

Happy drumming!


October 5, 2016

News from Drum Nuts (& Bolts)

By Darin Soll

By its fourth anniversary on October 7, Drum Nuts (& Bolts) will have been viewed 64,000 times by drummers across the globe, from the US to the Ukraine, the UK to Australia, and many countries in between!  I want to thank all of my readers for helping Drum Nuts (& Bolts) become a go-to resource for drummers interested in drum tuning, vintage Slingerland drums, selecting gear on a budget, and other topics related to the technical side of drumming.

2016 has been a busy year, and time has flown by since I posted my last article.  Unfortunately, drumming and writing have taken a back seat to other priorities.  However, that is about to change, starting with the look and feel of the blog itself!

So, to "re-launch" Drum Nuts (& Bolts), I have updated the blog template to give it more of a musician/club vibe and to add some useful features such as the "Popular Posts" section in the right-hand column.  Popular Posts, as the name suggests, lists the most popular articles in the blog, starting with "Tuning drums with Tune-bot," which is far and away the most popular article with 10,000 views since it was originally published in August 2013.

I hope you enjoy the changes and I invite you to continue providing your feedback by commenting on articles in the blog.

Thanks again for your support, and happy drumming!


September 1, 2015

Drum head selection...a closer look

How standard, 45-degree, and roundover bearing edges combined with coated, clear, and edge control heads affect the tone of your drums.

By Darin Soll

In the three years since My favorite head combinations, one of the first posts in this blog, I have had the opportunity to experiment with additional drum head combinations across four different drum kits.  In this post, I will share my updated drum head recommendations, the result of dozens of additional hours of changing out heads, tuning them up, and then playing them in the rehearsal studio.

Typical drum bearing edge profiles, courtesy of Modern Drummer
But first, a refresher on drum bearing edges is in order...

Many of you have probably seen the illustration on the right from Modern Drummer magazine, which depicts various bearing edge profiles.

Bearing edges matter.

Drum kits from the 1960s and 1970s were built with rounder bearing edge profiles.  The "Vintage Roundover" edge pictured above was common on snare drums and rack toms, and it was not uncommon to see full roundover edges on floor toms and bass drums.  Vintage roundover edges produce a warmer tone as the increased shell contact with the head reduces harmonic overtones ("brightness"), attack, and sustain.  The shell plays a greater role in the overall tone of the drum.

Conversely, "Standard" or "Double 45" degree edges produce a brighter tone as the reduced shell contact with the head increases harmonic overtones, attack, and sustain.  These modern (1980s to present) 45-degree edges are cut more sharply, and with sharper bearing edges, the shell's role in the tone of the drum is reduced.

We already knew that different types of drum heads can affect the tone of our drums, and now we know that bearing edges affect tone as well.  So, that raises a question...how does the interplay between drum heads and bearing edges affect the overall tone of our drums?  What combinations of heads and edges will produce the tone we are looking for?

I currently have access to four acoustic drum kits, so I had the ability to do "head-to-head" (pun intended) comparisons between drums with modern Standard edges and drums with Vintage Roundover edges, and then cross-check the results on other kits with similar bearing edge profiles.  These comparisons have been extremely useful in helping me to choose the most appropriate drum heads for the specific sound I want.

Drum kits used in this comparison:
  • PDP X7, thin all-maple shells, Standard bearing edges
  • PDP FS, thin all-birch shells, Standard bearing edges
  • Slingerland, 3-ply maple-poplar-maple shells with re-rings, Vintage Roundover edges
  • Stone Custom Drum, 3-ply walnut-poplar-maple shells with re-rings, Vintage Roundover edges

The following Head Selection Matrix summarizes my recommendations for toms.  It's really two separate charts--the top half shows head combinations for toms with vintage/roundover edges, and the bottom half shows head combinations for toms with modern/45 degree edges.  The desired tone ranges from warm to medium to bright as you move from left to right across the three columns.  For each tom type (rack and floor), I list my batter head choice over my resonant head choice.

Head Selection Matrix for toms--click the image to enlarge

So for example, if you have vintage/roundover edges and you want a "medium" tone, I recommend the middle column selections in the Vintage section of the matrix--coated 1-ply batters over clear 1-ply resos on your rack toms, and coated 2-ply batters over clear 1-ply resos on your floor toms.  Move to the right for a brighter tone, and to the left for a warmer tone.

To achieve a "medium" tone with modern/45 degree edges, you would use the middle column selections in the Modern section of the matrix--clear 2-ply batters over clear 1-ply resos on your rack toms, and clear EC2/Powerstroke batters over clear 1-ply resos on your floor toms.  Note that the "medium" tone selections in the Vintage section of the matrix will result in a brighter tone on Modern edges.  Note also that the "medium" tone selections in the Modern section of the matrix will result in a warmer tone on Vintage edges.

Obviously there a dozen other types of drum heads that I haven't covered, and thousands of drummers out there with different needs and tastes.  This matrix is not intended to be all things to all drummers...I'm just sharing what I've observed as I tried these combinations of heads and edges.  Hopefully this serves as a useful resource as your strive to get the best tone out of your drums.

Happy drumming!


June 22, 2015

Slingerland vs. PDP: Maple snares head-to-head

By Darin Soll

Back in October, I wrote about my quest for the snare drum sound on Rush's 1982 "Signals" album.  As many of you know, Neil Peart played "Ol' Faithful," a 5.5x14 Slingerland Artist snare, until 1993.  While the Artist model could be purchased at various times with either a 3-ply maple-poplar-maple or 1-ply solid maple shell, at least one Slingerland authority indicates that "Ol' Faithful" was a 3-ply drum.  Neil himself seems to confirm this in an April 1984 Modern Drummer interview, excerpted here in Andrew Olson's excellent blog on Neil and his drum kits through the years.  Andrew details the kit Neil used for Signals on this page.

Two weeks prior to my October post, I found a 1964 Slingerland 5.5x14 Deluxe Student model in Sparkling Red Pearl finish at my local Sam Ash store.  The Deluxe Student model is based upon the same 3-ply maple-poplar-maple shell as the 3-ply Artist, so I decided to give it a try.  Outfitted with new Evans G1 coated batter and Hazy 300 snare side heads, as well as Puresound Custom 16-wire snares, this classic Slingy's sound is very similar to Peart's snare on "Signals."

Another maple snare drum in my collection, a 2008 PDP Platinum 5.5x14 1-ply solid maple, also produces a very "Signals-esce" sound.  And the PDP has a Slingerland connection--readers of this blog know that I purchased the Platinum solid maple snare as a less expensive alternative to Slingerland's legendary 1-ply Radio King model.  Two very different snare drums, built 44 years apart, both conjuring up The Professor's sound?  This calls for a head-to-head comparison!

1964 Slingerland 5.5x14 Deluxe Student 3-ply
2008 PDP Platinum 5x14 solid maple

Again, I want to point out that while both drums incorporate maple into wood shells of similar dimensions and wear Puresound Custom 16-wire snares, these are two very different drums.  The main differences include:
  1. The Slingy has a 3-ply maple-poplar-maple shell with maple re-rings, while the PDP has a 1-ply steam-bent solid maple shell with no re-rings.
  2. Slingerland used 30-degree roundover edges, while PDP cuts sharp 45 degree edges with a shallow backcut.
  3. The Slingy's shell depth is 5.5", while the PDP's is 5.0".
  4. The Slingy has six tension lugs, while the PDP has ten.
  5. The Slingy has chrome-over-brass stick saver hoops (similar in rigidity to 2.3mm hoops), while the PDP has been upgraded to 3.0mm steel DW True Hoops.
  6. The Slingy wears an Evans G1 coated 1-ply batter head, while the PDP wears a Remo Controlled Sound coated 1-ply reverse dot batter head.
As a result, this comparison is a mostly subjective review of each drum's performance in six categories:  (1) Quality of construction, (2) Ease of tuning, (3) Sensitivity, (4) Projection, (5) Overall tone, and (6) Resembles "Signals" snare sound.  Here are the results of my review:

Snare drums head-to-head:  Slingerland Deluxe Student vs. PDP Platinum solid maple

Rating scale:  1 to 5, with 5 being highest
Category Slingerland Deluxe Student PDP Platinum solid maple Comments
Quality of construction
Slingy remains solid after 50 years!  PDP's original 1.6mm hoops and clunky throw were mediocre.
Ease of tuning
PDP's bearing edges are excellent.  Slingy more challenging to tune evenly with only 6 lugs and less rigid brass hoops.
PDP "edges" out Slingy with sharper bearing edges and even tension between its 10 lugs.
PDP solid maple shell projects more volume, overcoming any dampening effect of the reverse dot head.
Overall tone
PDP solid maple shell adds somewhat more body, "woodiness" to tone.
Resembles "Signals" snare sound
Both drums are close--PDP wins with drier tone due to heavier hoops and 10 lugs.
Total scores

Notes:  Both drums tuned to 3g using Tune-bot.  Volume results are based on average decibel levels measured by Extech 407730 sound level meter.
Slingerland Deluxe Student upgrades:  Puresound Custom 16-strand snares, Evans G1 coated batter head, Evans Hazy 300 snare head.
PDP Platinum solid maple upgrades:  DW Mag throw, DW 3.0mm True-Hoops, Puresound Custom 16-strand snares, Remo Controlled Sound reverse dot batter head.

The PDP Platinum solid maple snare wins this mostly unscientific challenge, 26 to 22!

While a solid shell could help the Slingy's scores, in the context of this challenge, I think heavier hoops, or a Slingy with eight or ten tension lugs, would really level the playing field.  Either improvement would even the tension across the heads and dry out the tone.  Unfortunately, I have not found any 6-hole snare side 3.0mm or die cast hoops for 14-inch drums in my online searches.

PDP drums continue to impress.  Don't overlook them as you search for the right snare for your sound!

This comparison got me thinking...wouldn't it be interesting to have Bernie Stone at Stone Custom Drum build a reproduction of The Professor's Ol' Faithful snare?  "Stone Faithful?"  Hmmm...

Until next time!


April 3, 2015

New Stone Custom Drum kit with American Classic 3-ply shells

Drummers who grew up playing vintage American drums (Slingerland, Ludwig, Rogers, Gretsch) owe it to themselves to check out Stone Custom Drum!

By Darin Soll

Readers of this blog know that I would never buy a new custom drum kit.  Never.  After all, I've written a ton about selecting drum gear on a budget.  I would recommend maple or birch PDP drums to anyone, and I am a big proponent of buying used gear on eBay.

Then, I heard about Stone Custom Drum.  Stone Custom Drum is a custom drum builder based in Fort Wayne, Indiana, building new drums using the vintage Slingerland formula.  Being a huge Slingerland fan, I had to take a closer look.

Stone Custom Drum 6-piece custom kit
Well...the short story is that looking turned into buying.  Say hello to my new six-piece custom kit, courtesy of Stone Custom Drum!

The longer story about Stone Custom Drum, "SCD" in the rest of this article, is worth sharing.  Read on to learn how this budget-conscious drummer ended up purchasing a brand new, custom made SCD kit...

SCD is owned by Bernie Stone, a longtime drummer and drum-maker.  As head of drum repairs at The Percussion Center in Fort Wayne in the mid-to-late 80s, Bernie developed a reputation as a top drum craftsman.  He had the opportunity to work on drums for a number of famous drummers, including Neil Peart.  About ten years ago, Bernie had the opportunity to acquire the tools and molds from Slingerland's long defunct Niles, Illinois, factory.  After carefully re-furbishing the old Slingerland equipment, Stone Custom Drum began building new drum kits with 3-ply and 5-ply shells.  While the classic maple-poplar-maple formula remains the standard, Bernie's crew will also incorporate a number of exotic woods into your shells, depending on your requirements and taste.

I initially approached SCD about building a 18x22 bass drum to match my '76 violin red Slingerland kit.  The original 14x24 bass drum is just a bit too tall for my two-up rack tom setup.  I specified a 3-ply maple-poplar-maple shell with reinforcing rings, knowing that SCD's black oval badge is so similar to Slingerland's Niles badge that to most observers, a new 18x22 SCD bass drum would appear to be an original Slingerland.  SCD responded promptly with an estimate and informed me that I would need to ship one of my existing drums to them in order to color match the violin red finish.  The estimate was reasonable, but it got me thinking--do I really want another orange drum?  What would it cost to have SCD build a complete custom kit?

I already knew what I really wanted...a "new Slingerland" kit.  The classic 3-ply maple-poplar-maple shell with re-rings, vintage bearing edges, my typical two-up, two-down tom configuration, chrome Slingerland hoops and Sound King lugs, and a walnut-to-dark brown burst finish.  A matching 7x13 snare would round out the perfect kit.  I emailed all of the details to Kenton Snyder at SCD, and he replied promptly with an estimate in the neighborhood of $4,000.  I gave SCD the green light to build my new kit, along with a couple photos of the walnut burst finish I was looking for.

Again, since I've written a ton about selecting gear on a budget, I need to explain why I would even consider spending $4,000 for a six-piece custom drum kit.  The reason is simple--if you want custom drums, that's what they cost.  Custom drums are constructed by experienced craftsmen with no-compromise materials to each customer's specifications.  Keep in mind that over the past 40 years, low-priced imported goods (built using low-priced labor and materials) have skewed our perspective on what products should cost.  Without getting too far off-topic into the economics of the drum industry, I'll simply point out that based on the government's inflation calculator, an $800 Slingerland drum kit in 1976 would cost $3,300 in today's dollars, adjusted for inflation.  And while Slingerland offered a number of factory options, its kits could not be classified as "custom."

All walnut 7x13 snare, before hardware
After shooting a few samples of the walnut burst finish in the SCD workshop, Bernie called me with a concern--his test maple shells were not taking walnut stain well.  He recommended switching the outer ply to walnut to achieve the results I was looking for.  Since walnut is similar in hardness to maple, we decided that this change wouldn't adversely affect the tone of the shells.  Kenton let me know that switching all drums to a walnut outer ply would add a bit over $300 to my order.  I gave them the thumb's up to proceed.

Bernie then told me that he already had a 3-ply all-walnut 7x13 shell that he could use for my snare at no extra charge.  I decided to go for that as well.  I also let Bernie know that I would rather do tube lugs on the snare.  He agreed that tube lugs would look great.  This level of collaboration with the builder is only possible with a custom kit.

I originally specified 8x12, 9x13, 12x14, and 14x16 toms, an 18x22 bass drum, as well as the 7x13 snare drum.  I decided to have Kenton add a 7x10 tom as well, for those occasions that call for a fusion setup rather than a standard rock setup.  After all, why invest in a custom kit that doesn't meet all of my needs?  Kenton let me know that the 7x10 tom would add about $400 to my order.  With shipping, my grand total was now approaching $5,000.

SCD shells, newly finished, before hardware
SCD completed the build of my new custom drum kit in about one month.  They texted photos to me as the build progressed, and emailed me with a few questions about some of the finer details as they came up.  The walnut burst finish turned out beautifully, so when the first photos of the finished shells arrived, the waiting became MUCH more difficult!

The drums had to travel nearly 2,000 miles to reach my home, so shipping meant another week of waiting.  But the wait was worth it--the drums were packed securely, arrived in excellent condition, and looked even better up close and in person!

The first thing I noticed while unpacking my new drums is how light they are.  Poplar core 3-ply shells weigh less than thin-shell all-maple or all-birch drums.  While my vintage Slingerland drums with their poplar cores are similar in weight, the lightness of my new SCD drums still caught my attention.  The next thing I noticed, of course, was the beautiful finish of my new drums!

Finished shells in the SCD workshop 
My drums arrived in the middle of a particularly busy week at my day job, so I had to wait a few days before I was able to set up and play my new SCD kit.  After unloading them at my rehearsal studio, I began the set up process.  First, I added my own WorldMax DSS isolation mounts to the rack toms.  I decided to standardize on PDP mount hardware since I plan to keep one of my PDP kits for gigs, so I attached a PDP 10.5mm tom bracket to each of the DSS mounts.  SCD could have provided all of this for me, but I already had the mounts.

Next up--tuning.  As always, I use Tune-bot to dial my drums into notes, and I followed the "Darin's PDP FS Tune-bot tunings for modern rock" scheme in my previous Tuning drums with Tune-bot blog post.  Bernie's crew did a fantastic job with my shells and edges, and all drums tuned up very easily.

Once I wrapped up the tuning process, I mounted my new SCD drums on my PDP rack, made a few positioning adjustments, and I was ready to play.

Walnut-poplar-maple shell with re-rings
Boom.  Meaning "wow," but also describing the low-end punch emanating from my new SCD shells!  It could be my imagination, but I am wondering if the walnut ply in each shell is enhancing the lower frequencies.  The bass drum fills the room in the same manner as my Slingerland 14x24.  The all-walnut snare has a great voice as well.  The toms have all the warmth of my vintage Slingerlands, mostly due to the vintage-style edges, but partly due to the Evans coated G2 batter heads.

To sum it up, my new SCD drums are beautiful to the eye--and to the ear.  The walnut burst finish is exactly what I wanted, the Slingerland-style shells recapture the warm tone of vintage American drums, and the Slingerland-style stick saver hoops provide triple-flange flexibility with rimshots that rival die-cast hoops.

Drummers in the market for a custom kit, particularly those who grew up with the awesome tone of vintage American drums, owe it to themselves to check out Stone Custom Drum!