Past Meets Present - Ted MacKenzie

Past Meets Present → Into The Future...Buddy Rich ~ Henry Adler ~ Ted MacKenzie

In 1942, after four years with The Tommy Dorsey Orchestra, Buddy Rich was already considered “The World’s Greatest Drummer.” Soon afterwards, he wanted to develop some music reading skills, so he began to study with renowned drum teacher Henry Adler.

Ironically, he never learned, due to his busy touring schedule. It didn’t make a difference; Buddy Rich was a one of a kind genius with a photographic memory. He could hear a song just once, and memorize it completely. When Buddy sat behind the drums, pure instinct took over. The following quote from drummer Ted MacKenzie sums up Buddy’s relationship with Henry Adler in the 1940’s.

“He never had to practice and no one could teach him. Henry Adler said that Buddy wanted desperately to learn how to read drum notation, but always returned to him empty handed.” - Ted MacKenzie

Adler was keenly aware of the importance in documenting Buddy’s style and technique. This quickly evolved into a collaborative book effort between the two, “Buddy Rich's Modern Interpretation of Snare Drum Rudiments.” Over seventy years have passed since it was first published, and it is still considered the Bible of Drumming. The Rich-Adler method became the standard for all drum books to follow.

While Buddy went on to greater fame, Henry Adler continued teaching the Rich-Adler method in his New York Studio. In 1969, drummer Ted MacKenzie began to study with him. There, Ted also learned additional techniques from jazz drummers, Jim Chapin and Sonny Igoe.

MacKenzie’s name may be unfamiliar to many in the drumming community, yet his reputation precedes him in upstate New York, where he has been teaching for over forty years. He considers the Rich-Adler method to be “the greatest rudimental system on the planet.”

In the mid 1990’s, Ted Mackenzie and Henry Adler met once again. They teamed up to revise the original 1942 edition of “Modern Interpretation of Snare Drum Rudiments.” Adler came out of retirement specifically to work on this essential project. Both agreed it was long overdue. In 2005, the updated version of Buddy’s book was released to critical acclaim. Buddy Rich’s, bible of drumming, is now more relevant for the 21st Century. It became inevitable that Ted would write a sequel expanding on the earlier Rich - Adler concepts. This book is titled “Buddy Rich’s Rudiments Around The Kit” and is available at Amazon, Barnes & Noble and on Ebay.

“Essentially, it’s what you know and how you apply it that counts. I teach drummers what they need to know, so they can apply it with their own understanding. It’s like learning the ABC's. You can't relate if you don't know the rudimental backdrop.” - Ted MacKenzie

I witnessed Ted’s methodologies in the studio, and the ease at which the students were able to embrace his interpretation of the Rich-Adler techniques. One such student is world renowned “Shadows Fall” drummer, Jason Bittner. When Jason is not touring the world, he always finds time to study with Ted. It is a real testament to Ted MacKenzie’s talents. Jason’s feedback on his use of ‘Buddy Rich’s Rudiments Around The Kit’ is:

"A great tool for anyone who really wants to learn the rudiments and how to apply them in a musical setting, rather than just sitting at the pad playing them repetitively just for the sake of practice." - Jason Bittner

Ted MacKenzie’s great skill as both a musician and artist contributes heavily to his teaching methods. Numerous illustrations showing Buddy’s grip technique and hand positions were all drawn by Ted. He also designed and demonstrated the correct rudimental hand and finger positions in photographic form. Ted’s book is the definitive reference on Buddy. The Rich-Adler method allows the rudiments to be adapted to any drum set configuration in an infinite number of ways.

Ted Mackenzie's dedication to both preserving and propagating the legacy of the one and only Buddy Rich is second to none. His 3 books, DVD's, drum clinics, and continuous instruction not only keep Buddy's memory alive, but also sheds light on a method that's relevant to young players of today. If they're serious about the instrument, Ted is the "go-to-guy," both conceptually and creatively. Because of guys like Ted, Buddy's fire continues to burn stronger than ever!" - Bob Girouard, Modern Drummer Magazine

In addition to MacKenzie’s method books, he also developed “The Ultimate Drummer's Workout.” His “Wag the Brush” technique, uses brushes to exercise the wrists, hands, and fingers. This helps to quickly improve speed, strength, and endurance. All of Ted’s teaching materials are meant to work together as a cohesive unit for maximum results.

Buddy Rich protégé jazz drummer, Donny Osborne, had the opportunity to use Ted’s Book, and had this to say:

“The book is clear and well written. For a drummer who has the basic knowledge of the drum kit, this is the book that will absolutely move you to the next level. If you just read what is on the page, and practice, practice, practice, with the right amount of patience you should, in time, be able to accomplish what is in the book. The DVD’s are great tools and help to illustrate the points made in Ted’s book. Seeing the exercises and how they are played helps those starting out, or when you just hit a snag. If you are a fan of Buddy Rich, this is the one to get!” - Donny Osborne

Looking back to 1919, we saw 18 month old Bernard “Buddy” Rich, amaze audiences, known then as, “Traps The Drum Wonder.” Even at this very young age, it was more than obvious he was destined for ultimate greatness. If Adler had not fully documented Buddy’s style and technique, it may have been lost to the ages. For this, we owe Henry Adler a huge debt of gratitude. Ted MacKenzie continues that storied tradition by optimistically moving forward. He is hopeful that every new generation of drummers will embrace the Rich-Adler method. In doing so, we will keep Buddy Rich’s great legacy alive forever.

Rich Redmond's Drummer's Weekend

Rich Redmond’s “CRASH COURSE FOR SUCCESS”- Drummer’s Weekend

Student drummers from around the U.S. experienced a one of a kind drumming event on November 1-3, 2013 in Nashville, Tn.

This weekend of education, inspiration, and entertainment featured 24 hours of hands on training with multi platinum country star Jason Aldean’s recording/touring drummer Rich Redmond. Rich hosted guest clinicians TROY LUCCKETTA (TESLA) and JIM RILEY (RASCAL FLATTS). A guest studio drummer panel featured NICK BUDA (Taylor Swift), KEN COOMER (Wilco), TONY MORRA (Downtown Batterie), TOMMY HARDEN (Reba, Sessions) interacted with the students and answered questions. JIM HANDLEY presented a tuning clinic. Producer MICHAEL KNOX (Jason Aldean, Rachel Farley, Bush Hawg) made himself available for a powerful Q+A session focusing on the creative process and what producers are looking for in drummers. Nashville's 3 KINGS rhythm section (Jason Aldean, Thompson Square) also discussed concepts related to performing in a rhythm section and building a career. Students sat in with an all star rhythm section featuring bassist Pete Iannacone (Josh Stone) and guitarist John Foster (The Consolers). Rich’s teaching focused on his CRASH philosophy for success in the music business as well as subjects like: The Nashville Number System, song charting, overdubbing percussion, creating click tracks, getting and keeping gigs, money beats, mental/business techniques to create the music career of your dreams.

Students were treated to daily-catered meals and evening “hangs” with the clinicians. Also, plenty of door prizes and giveaways were provided by:

DW, SABIAN, PROMARK, REMO, ROLAND, KICKPORT, GON BOPS, AUDIO TECHNICA, CYMPAD, GATOR, PITCH SLAP, BOOTY SHAKERS, BLACK WIDOW, HANSENFUTZ, PROLOGIX, DRUMTACS, THE CARMICHAEL THRONE, AUARALEX, ADAM ARGULLIN, DIRECT SOUND EXTREME ISOLATION, EAR FILTERS, THE KELLY SHU, GREAT LEATHER, RED MONKEY and many others.

Students performed music with recording artists JOHN EDDIE and ADAM FEARS at a closing ceremony concert at Douglas Corner Cafe in Nashville. All proceeds collected from admission benefited the W.O. Smith School Of Music in Nashville.

An American Minstrel Drum

Maker: J.W. Pepper & Son Circa: 1911 Dimensions: 6" (h) x 16" (dia.)

An incredible piece of American black memorabilia, this rare and one of a kind minstrel drum also speaks volumes as to the changing role of the drum from one of military communication to that of an exclusive tool of entertainment. Formally part of a large "Black Memorabilia" collection, this drum was indeed part of an early 20th century minstrel show. It was accompanied by a tambourine featuring the hand-painted, exaggerated face of a black male character known as "Tambo," that covered the entire surface of the calf skin head. No doubt just part of the show as the average performance consisted mostly of music and comedy. Beginning in the 1830's, the blackface minstrel show was the first distinctly American theater form and was at the very core of the rise of an American music industry. In the early decades it provided a window for white America to view black America. But in the end, early minstrel music and dance was not the true black culture: it was merely the white reaction to it.

Seven of the eight panels are hand painted with the face of a "darky" stock character in classic "black-face" make-up with shades of blue, white, yellow, and red. Of particular note is the panel painting of the stock character of a civil war soldier clad in blue, echoing the free black soldiers' many contributions of service at a time of great change in the relatively young American country. It also seems to beckon forth thoughts of a time of reconstruction as well as of the growing freedoms and changing attitudes that would culminate in what would become jazz music and beyond.

The other panels present a variety of clownish characters, all in cartoon-like images and vivid color suggesting that this drum was played in a carnival like atmosphere with parades and bandstand performances.

By the turn of the 20th century, the minstrel show was starting a gradual decline as vaudeville began to replace it in popularity. However, it still managed to survive into the 1920s as a professional form of entertainment, with amateur performances continuing well into the 1960s.

The condition of the drum is one of restoration with some parts still unaccounted for and the skins left un-repaired. The shell is in very solid condition and is made of a single ply of ash wood, typical for drum makers in this part of the country. The counter-hoops are solid maple and are augmented with sheet metal to protect the wooden hoops from the abuses of honest stick wear. Ten single tension, slotted metal tuning rods are reminiscent of an earlier, well established style of rod modified with a thumb screw attachment. A few of these thumb screw rods have been lost or are broken off at the top and have been temporarily replaced with period slotted tuning rods that use a specific key or a flat head screwdriver to adjust until the correct replacement parts are found. The metal tension rod mounted leg rest is missing, but the top hoop mounted belt hook is still present and in good condition, confirming the drums versatility from bandstand to parade ground. Some of the snare adjuster is missing but the scroll patterned thumb screw is in perfect order and is still attached to a set of wire snares which were to be considered as something relatively new at the time.

Inside the drum is a paper maker's label identifying James W. Pepper and his son, Howard E., as the makers of this drum. The label reads: "J.W. Pepper & Son / Manufacturers of / Drums, Musical Instruments, Music and Musical Merchandise / Thirty Third and Walnut Streets, Philadelphia, PA." The label has some small cracks and a few small tears but is fully legible and shows its age. This address and the style of hardware suggests the circa of this drum to be about 1911.

There is really no definitive evidence that the J. W. Pepper & Son Company actually made this drum as they were known to market drums made by other builders and have their label affixed to those drums at different times.

We may also never know who painted or played this incredibly unique piece of American culture, but what we are left with is a partial record of evidence of the history of the music and percussion of this country. Crossing the lines of collecting between vintage drums, black memorabilia, and American history in general, this drum will always be in great demand as it changes hands over the years and will always be a great investment. Coming at the very end of the American victorian era, it is reminiscent of a time of great change that helped to make drums of music more common than Drums of WAR!

From Lancaster County, PA Thoughts from the shop....

-Brian Hill

Nokes & Nicolai American Drummer 5

Over the years, I seem to have bought and collected almost every drum catalog I could find. Not only are they great resources for parts and information, but they are also pieces of American history (I have Premier and other British catalogs, too!). Today, we journey back to Beantown, to Boston, once a mainstay of percussion building. For about 15 years, one of the recognizable companies was Nokes & Nicolai and also seen as Nokes and Nicolai. They were in a direct line of three companies that were connected with the same strainer design that resurfaced decades later. First, there was the Harry Bower Company and that begat the F.E.Dodge Company and that begat today’s organization, whose nickname was “No-Nic”. When this catalog was published, the three firms, in this direct line, had been in the drum business for 48 years.

Today’s catalog is 100 years old. It dates to 1913, one year after Messrs. Nokes and Nicolai bought the business from Dodge. The company made solid shell snare drums, brass and aluminum shelled snare drums, solid shell bass drums, bells, tympani (1913 spelling), xylophones, traps, Rogers drum heads, and they imported Zildjian cymbals and “genuine Chinese tom toms” Even back in 1912, N&N was able to use a self aligning sleeve for tuning drums—both for a thumb rod and wrench tightened rod. You can see that a number of products carried the Dodge name. And this catalog came out two years before the better known Dodge Brothers, unrelated to F. E. Dodge, built their first car.

I apologize for the marks on each page, they are from clear adhesive tape used by the former owner to keep the now delicate pages from deteriorating more. I think this company is an important ancestor in our American drum history and needs to be included.

I have seen, from time to time, Nokes & Nicolai products on eBay, and we know that, as they ended their business run, the company was sold to Liberty Rawhide of Chicago. Liberty made drum heads and snare drums, at least, for awhile, before being sold to Slingerland. That Slingerland was everywhere! H.H Slingerland Sr. ended up with old Bower/Dodge/N& N/Liberty equipment in 1928, just as they launched their drum division and before they bought Ludwig drum making equipment before their move to Elkhart two years later. A more detailed history of N&N can be found on the excellent website bostondrumbuilders.com. Lee Vinson has done a terrific job in detailing a number of companies and their products. I hope the Northeast is filled with these great drums. The rest of us have to find the estates of old vaudeville players who retired elsewhere or wait for their families to let great-grandpa’s drums be sold on eBay.

I think, for me, the interesting thing is the strainer that dates back to Harry Bower and is pictured with the Dodge name. I saw that strainer design resurrected in the 1980s when custom drum builder Joe Montineri brought it out on his snare drums. I did not appreciate, at that time, how long that basic design, had been around.

So, now, we all know a little more about Nokes & Nicolai, part of our passing parade.

-Harry

Famous 2x4 Snare Drum

Drum Stats

• Famous Drum Company

• 5.5" x 14"

• "2x4" snare drum - block shell construction made from spruce two by four lumber

• Joe Partridge, drumsmith

• #1 built for the George Lawrence collection

1923 Ludwig 5x15 Theatre Concert Brass snare drum

Drum Stats

• Ludwig 1923 Ludwig Original All Metal Separate Tension Drum - No. 4 - 5" x 15"

• Theatre Concert model

• Two piece brass shell with soldered second flange bearing edge

• Original throw off replaced

• 8-lug 15" model

• Not shown in any of the Ludwig catalogs

• From the George Lawrence collection

Ludwig LM400 Supraphonic

Model:  Ludwig LM400 Supraphonic 5x14 snare drumYear: 1963 to present

Description:  Current model is U.S. made and has a spun aluminum seamless shell with chrome plating, imperial lugs, and a P85 throw off.

Prices as of 12/01/2013: Current Retail Price: NEW $695 (MAP $459) Excellent Condition Used (High Price): $300 Good Condition Used (Median Price): $200 Fair Condition Used (Low Price): $100

Opinions and debate about these average values are welcome in the comments section below, and values will change according to review of evidence present. Also welcome are comments about identifying features and timeline.

History and Identification :

The Ludwig Supra Phonic snare drum is one of the most popular snare drums of all time. It was used extensively on records by rock and jazz drummers of the fifties, sixties and seventies. Who knows how many hundreds of thousands of them were made over six decades? The SupraPhonic was introduced as the Super Ludwig in 1958 and was available in 5" depth only. The "Supra", as it was nicknamed, went through many major and minor changes over the years. The early chrome over brass shells and brass hoops are more desirable and rarer than the later chrome over aluminum shell drums and steel hoops. The chromed brass and chromed aluminum shells are hard to distinguish between and lots of fuss is made by collectors over how to tell the difference. The timeline of the changes below will help you date your drum. The only true 100% guaranteed way to tell if it's a brass shell underneath the chrome is to take one of the lugs or the strainer off the drum and remove a tiny bit of the chrome from the lug hole with a small file. If the brass shows through - bingo! If it's a darker grey color it's aluminum. Also if the chrome is flaking off the drum, it's an aluminum shell. Aluminum does not like to be chromed. Why are the brass ones so desirable? -The rarity and the superior tone.

The 1958 - 1963 chrome over brass and clear lacquer over brass shell Super Ludwigs range in price from $600 to $1000. Most aluminum and steel models correspond to the pricing above. A new or used Supraphonic of any stripe is a drum worth owning.

Super Ludwig and Supraphonic Timeline

1958: WFL badge (very rare), WFL P83 throw off, narrow crimped snare beds, brass shell has two folds- one flange downward from the bearing edge and a second fold back toward the shell, different from the aluminum shell which does not have the second fold. These drums are the best sounding of all the Supras because of the extra flange in the edge.

1958 - 1959: Ludwig Keystone brass and blue "transition" badge

1958 - 1960: Two piece brass shell w vertical weld seam, crimped narrow snare beds

 1960 - 1963: Brass keystone badge w no serial number & etched characters. 6.5" depth model LM402 added, imperial lugs redesigned to be more hollow thus lighter

 1961: Lacquered brass shell discontinued, a few shells were made out of steel, the one piece spun aluminum shell with one flange is introduced. The aluminum shells are lighter in weight and higher in pitch than the brass shells. Super Sensitive Supraphonic is introduced, snare beds widened to 8", round knob muffler replaced by the P-4067 "baseball bat" muffler w red felt. The felt was changed to white in 1964

1963: Name changed from Super Ludwig 400 to Supra-Phonic 400, serial numbers began to be stamped on badges in late 1963 - 4 digits - in '64 five digits - and in '65 six digits, Lug screws changed from hex head screws and washers to flat head screws w small bell washers.

1964: Brass hoops were changed to steel, felt on baseball bat muffler changed to white felt

1968: Baseball bat muffler replaced by 1" knob muffler, P83 strainer replaced with P85, shell material changed to a different non ferrous aluminum alloy; these shells are stamped AG on the inside

1969: First Blue and Olive parallelogram badges w no serial numbers, a few Supras were made without badges during this transition

1970: Lud-a-loy stickers added to inside of shell, a few Supraphonic 400 snares are made with brass shells and can be identified by the letters B or BR stamped by the muffler, and by modified shorter blue and olive badges.

1977: Strainer and butt height changed from 1/2" to 7/8"

1980: P85 12 strainer holes for gut snares changed to just two holes for wire snare strings

1984: P85 two hole model replaced by one slot P85 model

1988: Monroe badge replaces old Keystone badge

1994: New options offered on a Supraphonic 400: tube lugs, hammered shells, brass shells and bronze shells

There are exceptions to all of these variations and changes. Ludwig experimented a lot with different components, especially during the early sixties. One can find drums with the wrong shell, badges, lugs, and other parts that were factory originals due to shortages, old stock, custom builds for artists, etc., so these identifying factors are not written in stone, but it is a fairly reliable guide.

I am not the world’s foremost authority on vintage drums but I know enough to get me in trouble and I know there are guys and gals who know more than I do! Please, if you have differing information and opinions, I would love to hear from you in the comments below, but please be civil about it.

Thanks, George Lawrence - who wishes now that he hadn't sold his 1963 COB Supra.

Cymgard Cymbal Protection

Something new! Cymgards are elastic rubber edge protectors and dampeners for cymbals. They have three basic purposes;

1. To dampen the sound of the cymbal for quiet practice,
2. Cymbal edge protection, and,
3. Cushioning for the cymbals in shipment or transit.

They are available in three styles: Cymgard Standard and Cymgard Lite for single cymbals, and Cymgard HiHats for pairs of hi hat cymbals. The Standard is a heavy weight rubber that can absorb heavy impact. They are designed to fit, cushion, and shield the edges of your cymbals from damage due to impact and falling. They are available in sizes from 12” to 24”. The HiHat model is the same weight and will accommodate a pair of hi hat cymbals from 13” to 16”. The Cymgard Lites are, you guessed it, a lighter weight model with a thinner profile that is good for less dampening than the Standard, as well as for protection in transit or storage. They come in sizes from 6” to 24”.

While the Lites go on easy, there is a little bit of a trick to getting the Standards on the cymbals the very first time, but once you learn the simple pull and snap technique, it takes no time at all. The Cymgards will break in and eventually mold to the cymbal over time which is great since there can be as much as a ¼” difference between manufacturers’ sizes. They are made well out of a quality rubber that will stand some abuse and not deteriorate.

Performance:

I tried both the Standard and the Lite versions on a 20” medium ride cymbal and an 18” medium thin crash cymbal. When playing the cymbals with the thicker and stiffer Standard Cymgard, they made the cymbals completely dead as one would expect, BUT the feel of the stick rebound off of the cymbal was about the same as an undampened one – very natural. Crashing with the shank of the stick on the side of the cymbals gave a dead “gonk” sound with no sustain, very similar to the sound and feel of hitting a rubber electronic cymbal pad. Perfect for playing with padded drums or a practice pad set. The Lites were my favorite for practice because they allowed some sustain when riding or crashing, though not really louder. The Standard HiHats are not designed for practice, just storage and cushioning. I also accidentally found a different use that was not described by the manufacturer. I placed a smaller Cymgard Lite loosely on top of the ride cymbal and thought "hmmm....what does that sound like?" it let the cymbal ring even a little more and allowed me to crash the natural edge too.

Protection:

I tried dropping and throwing a couple of old cracked cymbals on the ground. The Standards kept the cymbal edge from bending and cracking. I also tried a stand mounted cymbal, tipping the stand over until the cymbal fell and hit the ground. Same protection; no damage. This could come in handy in those bars or gigs where you have to leave your kit set up where a cymbal might get bumped into.

Cushioning:

I tried storing both the Standards and the Lites in my hard cymbal case and in my soft cymbal bag. The Standards take up more space but I would probably use them if I were going to fly the cymbals in checked baggage. I liked the Lites better for storing in the cymbal bag because they serve as dividers that keep the cymbals from rubbing against each other and don’t take up as much space as the Standards.

The manufacturer has a good video on YouTube that demonstrates all of the applications. My score for Cymgard is a solid ten. They do what they are designed to do and the multi purposes make it worth the investment. I can see no negatives. It's nice to see an innovative product that is designed well, manufactured well, and helps us drummers do what we need to do.

Prices range from $11.95 for the smallest 6” to $28.95 for the largest 24”. This is a product that could pay for itself in the long run as it can possibly save a cymbal from cracking or bending, necessitating a new cymbal purchase. Cymgards are sold at the www.cymgard.com website.

Snare Kick Riser Stand

I and probably ten thousand other drummers have had the idea of a pedal operated snare drum. Of course Rick Allen of Def Leppard has been playing an electronic snare trigger pedal for years, but I am not aware an acoustic snare drum stand with foot pedal attachment made by any of the major drum hardware manufacturers. Well, it took a guitar player to actually make a commercial model. Jim Darnell is a guitarist and the owner of Side Kick Drums. The Snare Kick Riser Stand is simply a metal stand that holds a snare drum on its side and has a “lip” to attach a foot pedal to.

It works and it is very simple and well made.

The popular Mumford & Sons with their lead singer/acoustic guitarist pumping a bass drum is responsible for the sacrilege of solo acoustic guitarists playing a lone bass drum with their right foot. Now this gizmo will give them something to do with their left foot!- but I think the biggest market for this Snare Kick Riser Stand may be drummers who want to free up their left hand to do other things. I can see this catching on quickly.

The stand is made of steel that is powder coated black. The two circular cradles for the snare have a firm foam rubber bumper glued to isolate the snare from the metal. The rear cradle is fixed in position while the front cradle is adjustable back and forth to accommodate different depth snare drums, up to 10”. The cradles will accommodate 14” and 13” diameter drums. Even though the drum just “sits” on the cradle while flanges in front and back hold the drum in place, the snare drum is pretty secure without excessive tight clamping. There is a 16” piece of thin flat metal in the rear that serves two purposes; it acts as the “hoop” for the pedal to attach to and acts as a “stabilizer” to keep the drum and stand from tipping over on the site. The spurs in front are adjustable and are attached to a nice front piece that has the company name laser cut into it. This is a well designed piece of gear, made of sturdy but light metal.

I tried it with several different size snare drums. It was very stable and it produced the desired effect despite my weak left foot... :-)

The Snare Kick Riser Stand is available from the manufacturer for $109.99 at www.sidekickdrums.com. They also make specialty snare drums and bass drums. Dealers are welcome too.

DrumClip - External Ring Control

This is a nice simple little tone control device that solves a lot of problems. Head treatments over the years, for the most part, have been everything from home made duct tape concoctions to rocket science Rube Goldberg type mechanisms to plastic rings. This product, to me, is the most logical device yet. No moving parts, sleek design, low profile and low maintenance. The idea for DrumClip may have come from the plastic clips on clip–on drum microphones. It can be called a muffler, but overtone controller is a better description.

DrumClip is made of a flexible plastic that snaps securely onto the hoop of a drum. It won’t come off unless you take it off and it stays in place. The broad surface that interacts with the drum head is strategically aligned to put only slight pressure on the head, which is enough to cancel the vibrations in the outer two inches of the head where most of the ringing happens. It comes with two different optional stick on pads; one felt and one rubber pad, that can be applied to the unit to further dampen the head.

What I like about the way DrumClip works is that it isn't attached to the head like plastic do-nut rings, duct tape, wallets, etc.

It stays in place and the head vibrates against it (or doesn't vibrate against it depending on how you want to look at it). DrumClip is small enough that it can stay on the drum when in transport in a case or bag, or thrown into a stick bag or cymbal bag. It can be detached on the fly for those times when you don’t want ring control. There are two models; the Regular DrumClip for toms and snares 12” and larger, and the Small DrumClip for toms 12” and smaller as well as larger toms. Both models can be used on bottom heads as well.

I played on drums outfitted with a variety of DrumClips at PASIC last month and they work great. I’ve been experimenting with the Regular DrumClip on my snare drums and really like the variation in controlling overtones that I can get with the different pads.

DrumClips can be ordered from the manufacturer’s website www.thedrumclip.com for $6.95 apiece plus sales tax and shipping.

The 2014 "Hit Like A Girl" Contest

Hit Like A Girl 2014 Contest Plans January 24, 2014 KickoffNew Sponsors, Participants and Judges include Guitar Center, PAS and Jessica Bowen

The Hit Like A Girl Contest* has announced that the 2014 edition of the international contest for female drummers will open for entries on January 24, 2014. The program that began just two years ago as a way to celebrate and support female drummers has grown into a major promotion of female drumming, becoming one of the drum community’s most popular, fastest growing activities. Since beginning in 2011, the Hit Like A Girl Contest’s accomplishments have included:

• Participants from the ages of 7 to 70 from 42 countries
• More than 4,000,000 web impressions
• Tens of thousands of votes and comments
• Participation and judging by many of the top women drummers in the world
• Support from leading drum, percussion, hardware, electronics and accessory companies

In 2014 the Hit Like A Girl Contest will expand in many exciting ways. In addition to recently acquiring support from Guitar Center and the Percussive Arts Society, contest organizers are in the process of growing the event’s footprint by bringing on major corporate and media sponsors from around the world. Because the promoters have invited all companies to participate in the event, this year’s sponsors and supporters will include a larger, more diverse number of leading drum and percussion companies.

The 2014 contest will also feature participation by a wider range of top female drum artists, such as Jessica Bowen, drummer of popular punk-pop band The Summer Set, who has been named the Hit Like A Girl spokesperson for the year as well as one of the 2014 contest judges.

To learn more and sign-up go to www.hitlikeagirlcontest.com. Follow on Facebook at facebook.com/hitlikeagirlcontest.

Highlight videos of the 2013 Contest (under 18):

Highlight videos of the 2013 Contest (over 18):

*Hit Like A Girl is a trademark of the Percussion Marketing Council. (Playdrums.com)

Larry Levine In Clinic

Internationally recognized drummer/educator Larry Levine was the guest artist at Rocky’s Music Studio in North Greenbush, NY, presenting a master class from his acclaimed, award-winning instructional series, Drum-i-Stix: From Pad to Performance.

Larry was warmly introduced to the audience by his former student ; Jason Bittner of Shadow’s Fall.

The innovative and creative percussion workshop was designed for all ages and skill levels.

Eager participants had the opportunity to learn coordination development, interpretations of various styles, and an understanding of how the rudiments are applied to the drum set. As an additional supplement, Larry did a very special presentation on drum corps and marching band techniques.

The sold-out audience interacted with many of the exercises Mr. Levine demonstrated, and a small group performed with the final marching ensemble.

Door prizes were awarded and attendees were treated to the presence of some of the most noted drummers from the upstate New York area. The event was supported by Yamaha Drums, Sabian Cymbals, Aquarian Drumheads, Regal Tip Drumsticks, KickPort Products, KMC Musicorps, SKB Cases, Mountain Rythym, HHot Hat, LT Lug Locks, J. A. Music, Not So Modern Drummer, The Percussive Arts Society, The Original Long Island Drum Center, KoSA, The Recording Academy, Drummers Collective, and DrumART LLC.

As a result of this successful clinic, Mr. Levine has been invited to conduct a full drum camp in association with Rocky Petrocelli, owner of Rocky’s Music Studio, and the Montessori School of Albany, NY. Additionally, Larry received his second commendation from the Recording Academy/Grammy association for "appreciation and recognition in supporting its mission to improve the environment for music, its education, advocacy, and human services.”

Ahead Adds New Tenor Sticks

Ahead Expands Marching Line With New Chavez “Arsenal” Tenor Sticks And Mallets.

Based on their proven, proprietary designs that integrate an advanced aluminum core and handle, Ahead Marching Drumsticks offer near-perfect uniformity and consistency in terms of weight, size, balance and tone plus the increased durability, comfort and shock absorption that make them ideal for drum corps, Winterguard and other types of marching drum lines. And now, the exclusive "Chavez" Arsenal Tenor Drum sticks and mallets bring Ahead's superior physical, musical and visual advantages to even more marching drummers on the field and off.

Developed in conjunction with Dallas Mavericks’s drum line instructor and educator “Chavez”, the new Ahead Arsenal ATS Tenor Drumsticks and ATM Tenor Drum Mallets feature a durable white powder-coated finish, extruded and swaged handles with premium-quality DuPont Delrin® heads. The ATS are 15.625˝ long by .695˝ diameter, 80 grams, with .875˝ white Delrin heads. The ATM are 14.50˝ long by .695˝ diameter, 82 grams, with 1.25˝ black Delrin tips.

For further information visit www.aheaddrumsticks.com or your local authorized Ahead Drumstick dealer, stop by the Big Bang booth at NAMM (#3564) or contact Big Bang Distribution at 800-547-6401, bigbangdist.com.

Top Country Drummers Choose Cympad

Cympad Goes Country As Top Country Drummers Choose Cympad.

Cympad, makers of a wide range of cellular foam cymbal washers, has announced that the drummers for several of Country music’s biggest artists are now using and endorsing the innovative and popular cymbal accessory. Many of the musicians that these Cympad endorsers perform with have been nominated for 2013 Country Music Association Awards and will be appearing on the CMA Awards show, which will be broadcast live from Nashville on Wednesday, November 6, 2013 at 8:00 ET on ABC-TV.

Cympad’s roster of Country Drum Artists include:

Sean Fuller (Florida Georgia Line)* Garrett Goodwin (Carrie Underwood)* Jeff Marino (Darius Rucker)* Billy Mason (Tim McGraw)* Kent Slucher (Luke Bryan)* Rich Redmond (Jason Aldean)*

These Country music players, along with a growing number of Jazz, Rock, R&B, Latin, Metal and other drummers, use a variety of Cympad Optimizers, Chromatics and Moderators cymbal pads in both studio and live situations. Cympads are available at drumshops and music stores everywhere. For more information visit www.cympad.com.

Telestar Mid 60's Snare Drum

Drum Stats

• Made in Japan

• Luan plywood shell with maple reinforcing rings

• Recovered in peacock satin flame wrap by Sam Bacco -three point reproduction strainer

• Original Slingerland type hoops, Gretsch type lugs

• Ultra cool Telestar badge

NSMD Company Engraved Black Beauty Snare

Drum Stats

• NSMD logo and Slingerland pattern engraved by John Aldridge

• Black chrome over brass seamed 6.5" x 14" shell

• Aztec Gold color hardware

• The Flagship of the the line - available only from NSMD for $1,300

• Winner of several Snare Drum Olympics contests and has been compared to the sound of vintage Ludwig and Slingerland Black Beauties.

File This Under Custom...

I remind my wife all the time, there's never a dull moment in our lives.

I'm Chris, and that's my little girl Avery atop my limited edition Pearl snare drum. I run the production side of Not So Modern Drummer, Drum Room Marketing, and the Nashville Drum Show. She runs the show at home.

I'm fortunate enough that George hired me on to handle production management here at Not So Modern Drummer. What we didn't know at the time, is that my little girl would be born just about the time we're ready to take our new marketing and branding plans public. It took a bit of planning - and there's been many long, sleepless nights for both of us - but both Avery and NSMD are doing better than ever.

So this is what I got, and I'm pretty proud of both!

1936 L&S Catalog (Leedy & Strupe)

In October, 1929, an ailing U.G. Leedy sold Leedy Manufacturing to band instrument giant C.G. Conn Ltd.  For the next 9 months,  Leedy drum building was in a state of transition. In August of 1930, the Elkhart factory was up and running. In those intervening months, Conn sent in a supervisor, Ed Cortas, and many employees came and went. Leedy himself hoped that his 100 loyal employees would have jobs in Elkhart, but many of them did not or could not or, more probably would not, move. U.G. decided to create another company called General Products. Concerned that the Depression would not bring in drum sales, Leedy wanted General Products to make other products as well. But, they would make drums. The legend has become fact. He wanted to name the company Leedy & Sons. He had two sons—Eugene and Edwin, later called Hollis. Conn had just spent $900,000 in cash to buy the Leedy name, so there could be no use of that name outside the drums now made by Conn.

Best place to order essay online.

I have only seen one Strupe drum, but have seen publicity shots of others.

Mr. Leedy bought a former dairy building and started the process of turning it into a drum factory. Some of it was completed when he died in January, 1931. His widow gave this fledgling company the funds to complete the woodworking shop. Edwin joined as Secretary Treasurer. Eugene did not become involved.

Leedy and Sons became L&S and we now think that L&S also stood for Leedy & Strupe. One of the former key Leedy employees who did not leave Indianapolis, at that point, was Cecil Strupe, the engineer. He was named president of L&S. In the earliest days of production, there were also Strupe badged drums. It may have been an attempt to circumvent the Leedy name while promoting Strupe’s name since he was known to drummers thanks to frequent mention in the Leedy Topics.

Today’s catalog was made in 1936. It is the only L&S I have found. I have seen brochures, and I think this company deserves honorable mention in American Drum History. L&S drums were sold nationally by mail through Chicago Musical Instruments. Chicago Musical Instruments had formerly sold Ludwig & Ludwig drums through their catalog, but that deal soured when Conn bought Ludwig as well. So, the catalog sales company needed a new drum supplier. If you lived in Indianapolis, you could stop by the factory and buy from their showroom. Famed California jazz drummer Benny Barth, told me about that. An L&S snare was his first drum. L&S made drums, timpani, bells and other mallet instruments, but the products just always seemed a notch below Leedy in quality. You can see imperfections in the cast lugs, from the dies. The drum rods were hex headed, calling for a special key. I would say that like the Cecil Strupe designs for Leedy, we see the same kind of toggle crazy, and thin metal/weak spot strainer inventions on L&S snare drums.

The popular high end snare drum during the middle years was called the Dictator, which was probably not a wise choice during the Hitler and Mussolini years. I see example of L&S drums pretty regularly on eBay and they seem to come from all parts of the country, which may give proof to the scope of sales from Chicago.

The company was never a success, but it hung on and had an interesting ending. Strupe left the company and moved to Chicago where he went to work for WFL. Edwin Leedy sold the company to a music store owner who marketed the ready made products through his store. He changed the name to the Indiana Drum Company. At some point in the early 40s, Sears and Roebuck had a connection with Indiana Drum, using the name Drum Master and then may have bought the machinery and designs. Sears advertised that they had a factory in Chicago, and, in the one Sears Drum catalog I have seen (check out Drumarchive.com to see it), you can see L&S drums, no matter what they were called.

I am sure World War II ended Sears' need to have a drum manufacturing plant. After the war, they struck deals with Kent and Japanese manufacturers to have drum sets for sale in their catalogs.

But for 10 years, Leedy Indianapolis alums were building L&S "Drummers Equipment” and hoping for the best.

-Harry

The Last Ten Miles

One bright day in early Spring, 2013, I met up with friend and fellow collector/ historian, Craig Caba, at his home in Central PA, to look at and talk about some of our old drums. Our conversation soon found its way to the project of another mutual friend, Jim Smith, known affectionately as, the "Yankee Drummer." Jim had realized that there wasn't a memorial to the Civil War Musician, and creating one would be rather expensive. To help fund this endeavor, he had the idea of selling commemorative replicas of Civil War drum sticks made from the wood of "witness trees"…..trees that were present and alive on the Gettysburg Battlefield during the time of the Battle in 1863.

At the suggestion of friends, Jim also decided to recreate the little known, but epic journey of a certain veteran drummer of the "Late Hostilities."

That certain veteran was Peter Guibert, Drummer of Co. F, 74th PA, who at 70 years old, marched with his old drum to the 50th Anniversary Reunion of the Battle of Gettysburg. Jim, also 70 years old, would recreate the march of 200 miles from the Pittsburg area to Gettysburg in 19 days, this time to honor Peter Guibert and celebrate the 150th Anniversary of the Battle. Jim would use the same drum that Guibert used while in the War, and on his journey in 1913…….. 100 years ago to the day! Craig and I eagerly decided we would accept Jim's invitation to join him in Cashtown, for the last ten miles of this historic journey to Gettysburg.

Born in Germany on January 4, 1844, Peter Guibert, of Allegheny County, PA, mustered into Company F, 74th PA at Camp Wilkins, near Pittsburg, on September 14, 1861, as a musician. During the next three years, these men fought and died in different theaters of the War, and for a period of time, in the Army of the Potomac. Before the end of 1862, the 74th eventually found itself as part of their former regimental commander, Col. Schimmelpfennig's, new brigade. General Schimmelpfennig's brigade was in Schurz's division and part of Howard's 11th Corps, Army of the Potomac. At Chacellorsville, VA, in May, 1863, they were heavily engaged and on the second day of fighting, they were placed on the left of the 11th Corps, which was on the Union right. When the regiments on the far right belonging to the 1st Division broke, the 74th, along with other regiments of its brigade, changed fronts and held off the Confederates of General T.J. "Stonewall" Jackson, losing 52 men. Less than two months later, they were again in the thick of it at Gettysburg.

The 74th, still part of Howard's 11th Corps, found itself on the Union right during the fighting of July 1, 1863. Placed on the 11th Corps left, they were soon caught up in the rout that broke the Union right. Falling back through Gettysburg, they reformed on Cemetery Hill where they remained for the rest of the battle. During the remainder of the War, the 74th saw service in South Carolina and the Washington defenses. After mustering out of the 74th, Guibert soon enlisted in Co. D, 77th PA, in February, 1865, again as a musician, and headed for Tennessee until mustering out in August, 1865.

Following the War, Peter Guibert returned to civilian life in Allegheny County near Pittsburg and worked as barber. 1913 brought about the 50th Anniversary of the Battle of Gettysburg. That year, Peter turned 70 years old and held a strong desire to attend the anniversary ceremonies of the epic battle he participated in 50 years ago. Being the largest and most costly of the Civil War's battles, he knew veterans from all over the country would attend. Instead of taking a train, horse, or automobile, he decided to walk the distance. He would be accompanied on this journey by his friend, 62 year old John Conroy, an Army veteran, (1872-77) who fought Comanche Indians in Texas. On May 26th, 1913, they stepped off from the steps of what was then the Allegheny City Hall at 9:00 a.m. Ahead were 200 miles of some of the most challenging ridges and heights of Pennsylvania's Allegheny and Appalachian Mountains, chief among them was the Bald Knob Summit, with a height exceeding 2900 ft., and the Tuscarora Mountain (2458 ft.), among many others.

On the march, Guibert would beat his drum and entertain the folks along the way, many times in return for refreshments and lodging. On the morning of June 12th, the Guibert party departed from the Cashtown Inn, Cashtown PA, where they had spent the night, and began the last ten miles to Gettysburg. Completing the trek in 19 days, the two weary travelers entered the edge of Gettysburg on morning of June 13th where they were picked up by the Bell Telephone wagon and given a ride to the center of town.

There, they played a free concert and stayed at the City Hotel (now the James Getty Hotel), located on the square, until after the reunion festivities were complete. While in Gettysburg, Peter seems to have been quite active as several creditable accounts have him entertaining many of the inhabitants and veterans; apparently earning enough money to fund his stay. Peter also took the opportunity to join, and be photographed with, veteran musicians of the Union and Confederate ranks for a one-time performance of "The Blue and Grey Reunion Band of 1913." He was also featured as the opening act for the epic silent film: "The Battle of Gettysburg."

Jim Smith acquired the Guibert drum directly from a member of the Guibert family, niece Betty Mower, of Delmont. She had learned of the Yankee Drummer through a local newspaper article in 1982. The old Civil War drum had been passed to her through the family and had languished in attics for decades. Jim bought the drum along with an old newspaper article about the 1913 trek and then met with several members of the Guibert family over time. Through diligent work, he was able to piece together much of the life of Peter Guibert and even found additional period newspaper articles about the trek and his time spent in Gettysburg. However, Jim's commitment to the trek began during a visit with Peter's Grandson, Clarence Guibert, who at one point "expressed concern that peter's name was not listed in the official PA records in Gettysburg." Jim later found Guibert's name in the records...misspelled...the error has since been corrected.

Peter Guibert's field drum was one of the newer designs available to the drummers of the era. The shell was constructed of solid brass and is somewhat heavy. It has a very efficient, brass snare adjustor that isn't the frequent norm of what most period drums utilized. Jim has since made small metal parts that over-lay the wooded hoops at the point over of the rope holes, to help protect against the wear and pressure of the ropes bearing down on these old hoops. Other replacement parts include hemp rope, leather ears, skins and snares.

With no makers label or any markings in or on the shell, the maker remains unknown. However, a brass shell construction at this time suggests that the drum was imported from Europe.

The sound is exceptionally full and projects well, especially when played with heavy, robust sticks. When Jim acquired the drum, it had a broken head with an old silver-tipped stick inside. He then fully restored the drum to playing condition and has kept it in that condition.

According to local newspaper accounts, Peter Guibert and John Conroy not only trudged along with this old field drum, but a rope tension bass drum and pedal, fife, calliope, harmonica, slide whistle, and various other musical instruments for the purpose of Guibert performing as a "one-man-band," as he "was well-known as an entertainer." Jim also included an old rope tension bass drum as well as other musical instruments in keeping with the spirit of the trek.

After 190 miles on the road, Jim and his friend, Ray Zimmerman (who plays the part of John Conroy) arrived at the Cashtown Inn where they met up with Craig and me. On this day, the Peter Guibert Trek of 2013 had a slightly larger entourage of seven people, including Len DeCarlo (trek coordinator), Duane Myers, and Dick Mizikar, along with two vehicles. I had brought along my circa 1840 Porter Blanchard field drum so I could play along with Jim for this final 10 mile leg of the journey. While at the Cashtown Inn, Jim and I played our drums for each other, as well as together. One thing about playing authentic rope tension drums with calf skins and gut snares is that you clearly hear all three aspects of the drum: There is the basic sound of the drum, and the sound of the snares, but then you hear the sound of the "drone," which is something I think that's missing from drums with plastic heads, synthetic snares, and muffling. The sound of these old drums really "carries" outdoors.

We stepped off in mid-morning... Jim, "Conroy," Craig and I, along with our escort vehicles, and headed east down Old Route 30, "The Lincoln Highway," through Cashtown... The same route that Confederates under Lt. General A.P. Hill used 150 years ago, as they headed east to Gettysburg, playing a cadence as we went. In doing so, the feeling of history was almost over-whelming as we felt the trodden path of so many other travelers of the past.

The day was extremely hot and humid...as I imagine it was in 1863 and in 1913. As the sun rose high in the sky, I could feel its effects start as we played our drums on the hot road. We stopped at every waving flag and cemetery along the way and properly saluted with drum and hand. The dogs did not bother with us as I wondered if the drums intimidated them. One of the stranger things we learned was that cows apparently like drums! At every instant of the sound of the drum, herds of cows would line up along the fences and watch...moving along as we did...pleasantly animated.

As we progressed, residents would venture out to see what the racket was all about, many times offering us drinks and sandwiches, while eagerly soaking up tales of the trek. At one point, we heard the sound of a drum set coming from a house along the route. We decided to serenade our newly found compatriot with a rousing and spirited round of Three Camps. The commotion worked as the drummer from within soon appeared on the front porch and applauded our completion of the piece. At other points we were saluted by the local veterans, who we respectfully saluted back. Passing vehicles would honk and wave. Everybody cheered. And so it was as the Peter Guibert Trek proceeded along the 200 hundred mile route that seemed full of goodwill.

Jim Smith, at 70 years of age, had completed one of the most challenging and epic journeys to honor any veteran of the "Late War" in grand style. The combination of heat, humidity, rain, and wind (or lack of it) only added to the reality of walking such long distances with a drum. Another daunting danger was the traffic which made safety along the way a major concern. There were no major mishaps in this regard, as the most common occurrence seemed to be the constant honking of horns and waves of well-wishers in general. Through it all, Jims pace, style, and playing were precise and purposeful, and being a master drummer and historian, he knew all the music and calls.

The route was full of high elevations and valleys and as Craig and I would occasionally lag behind talking, we could see that Jim (and "Conroy") repeatedly would take each hill like a Roosevelt! Jim Smith appeared larger than life on that day. In keeping true to the form of the original trek, Ray had quietly arranged to have a wagon of the Bell Telephone Company waiting for them as a surprise on the morning June 13th as they prepared to take Gettysburg, just as Peter Guibert and John Conroy did 100 years ago to the day!

Arriving at noon in the Gettysburg Square, they played a free concert by the James Getty Hotel and met with well-wishers and family. Also joining them was friend and fellow drummer John Beck, President of the Percussive Arts Society, who was also at the initial step-off in Pittsburg. Later that day, Jim delivered dirt from Peter Guibert's grave to the 74th PA regimental marker on the Battlefield. As did Peter, Jim stayed at the Hotel on the square and remanded in the area until much of the festivities came to a close.

Heat, fatigue, and dehydration played a large part on the march for military drummers and soldiers alike. This is something that we would be reminded of during the Trek and celebrations leading up to and during the 150th Anniversary of the Battle of Gettysburg, as well as with the previous reunions and the Battle itself. During this time, several drummers and bandsmen "went down with the heat" and needed to be transported to the local hospital.

I was quickly reminded that being a drummer during the "Late Hostilities" was no easy task. During this last ten miles of Jim's Trek, Craig and I learned of so many things that affected the daily life of early drummers and soldiers while on the march.

Peter Guibert died on December 7, 1933, at age 89. He had played music all of his life, as the music was deep within him. Known as the "Wizard of the Drums" and the "Master of Military Music"...names that a "God Father" of the rope drum community the likes of Jim Smith, could easy personify without fault. But Jim, the Yankee Drummer, had earned his own new moniker as he entered Gettysburg right on time, the very same day as did Peter Guibert, exactly 100 years ago...now we refer to him as "Jim Smith: Iron Man of the Alleghenies."

In the end, the big question here is...Why did Peter Guibert decide to walk the 200 miles to Gettysburg?...Especially when the government offered free train passes to any Civil War veteran wishing to attend the reunion. The only reason offered by Smith is that Guibert apparently walked everywhere! With the Peter Guibert Trek of 2013 behind us, I find myself happily reminiscing with Craig as we look back on and talk about the privilege and the experience we had partaking in recreating this historic, yet telling journey. We also embraced the camaraderie we found in all who took part in making this event a huge success. "There are many historical artifacts out there that have interesting stories to tell but rarely get the opportunity"...Jim Smith has taken the opportunity to do so and has marched with it and made it so. Our special, indebted thanks to Jim for offering us the opportunity to share with him ... The Last Ten Miles.

From Lancaster County, PA, Thoughts from the Shop....

Brian Hill

Ancient Tree - "The Architect Model"

Following in the footsteps of so many American drum makers, Ed Mendel honed his master woodworking skills in fields somewhat far remote from drum making.  Located in Gainesville, FL, Ed has worked under a master craftsman in cabinet making and is a custom home builder and designer, as well as a General Contractor.  Being a life-long drummer, Ed sought out something different in drums.  Through experimentation and trial and error, Ed founded a company with a slightly different focus:  Ancient Tree Drums.

I first came across Ancient Tree Drums when I was at the Chicago Drum Show a few years ago.  They immediately stood out to me from the rest of the crowd.  They not only looked like percussive art, but they sounded like percussive art!

The whole presentation exuded a sort of historic…..older-than-dirt….artsy…..and just down-right cool kind of vibe.  I ended up coming back a couple of more times, tapping and examining the different models presented before pulling the trigger on a model Ed refers to as “The Architect:”  a vertical stave constructed, river recovered, cypress heartwood drum with rock maple hoops and very artsy, dark/rust powder-coated lugs.  I just loved the sound I was hearing:  It sounded like the snare drum I’ve been hearing in my head for years, and it didn’t look like any other drum around.  It immediately became one of my “go-to” drums.

Since then, I’ve had Ed make me a similar drum, another Architect model, with 2.3mm, triple-flanged matching metal counter hoops.  The drums are almost identical in construction and design, but, have some very different sonic qualities due to the difference in counter hoops and being from different river recovered logs.  (Each Ancient Tree drum has its own unique characteristics.)

Both shells are a 6” x 14”, 20 piece stave construction with vertically running grain, which helps to bring out the lower fundamental tones of the shell, and are about ½” thick.

These particular shells have a very solid, low-end punch that I don’t very often hear in a snare of this size.  Along with extreme sensitivity and crispness, there’s a lot of power here.

The cypress heartwood has an estimated age of around 1500 years and has spent roughly 150 years at the bottom of a river in Florida.  Being a heartwood, it contains a large enough percentage of resign to prevent it from absorbing water, preserving it on the river bed in a relatively “dry” state.  The grain of this wood is so tight (as well are the joints holding the staves together) and clear, it rivals maple.  This river recovered cypress heartwood is undoubtedly one of the rarest woods around.

Both drums are equipped with Evans heads; PureSound twenty-strand snare wires, Trick three-step snare throw-off, and powder-coated, custom-milled, aeronautical aluminum single post lugs.  The lugs and the 2.3 triple-flanged metal counter hoops have a nice dark, three dimensional look and feel that adds to the overall warmth of this small piece of art.

In playing Ancient Tree drums for the last few years, I’ve come to know them pretty well.  The shell has the projection of maple, but with a serious warmth and “Earthy-ness” that can only come from this type of wood.

From a response and sensitivity standpoint, I think this may be one of the most sensitive drums I’ve played in years.  Every note is clear and articulate at any volume.  The main difference I find between the two models centers on the counter hoops.  As one might expect, the metal hoops bring out a brighter timbre and overall crack with a certain openness that gives this drum a bit more volume and life than the wooden hoops allow.  The wooden hoops seem to give a more controlled sound.

The difference in the logs that make up the shells also weighs in on the over-all timbre.  The model with the metal hoops utilizes some lighter colored wood, which I suppose adds to a slightly brighter sound quality as opposed to the mostly darker colored wood which makes up the rock maple counter hoop drum. Granted, these are all small nuances that make up the  characteristics of any drum, but definitely ones you want to take into consideration when picking your next best drum!

Ancient Tree Drums also come in a variety of other great woods, materials, sizes and combinations.  Ed also currently offers other rare and ancient, river recovered heartwoods in Longleaf & Curly Pine varieties, in addition to Black Southern Cherry, and Black Walnut. All wood selections are subject to availability.  But as Ed discovers different woods, different models will always be offered. In addition to the rock maple hoops, Ancient Tree also makes some custom hoops with wood combinations such as segmented rock maple/cherry as well as other domestic and exotic materials, along with wood in-lays for that extra touch.  The hardware combinations also seem to be varied:  to see what Ed and Ancient Tree Drums are currently offering, visit them at the web-site to see what’s new.

So, the sound isn’t necessarily “different”…..it’s just a great sound, which is exactly what Ed set out to do!  It sounds like a great snare drum with its own distinct characteristics.  If you’re looking for that one drum that combines sonic and visual superiority as well as the craftsmanship and rarity of valuable art, I would have to recommend a serious look at these Ancient Trees and this master drum builder.

From Lancaster County PA, Thoughts from the shop………. Brian Hill