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This is a very rare snare drum. Of the 3 dance/band Sensitive models introduced in 1929 I feel that the Standard-Sensitive is the rarest although I would not argue if the New-Era Sensitive was also thought of as the rarest.
Read moreThis one is a bit of a transitional oddity, nothing earthshaking but a little quirky.
Read moreWe have to go to the Ludwig Drummer Magazines of that time or to dealer flyers to learn of the special “Hotsy-Totsy" and "Mottled Sepia" finishes offered in 1928.
Read moreI got this drum at the Chicago Vintage Drum Show many years ago.
Read more“Not all pearl covering options were offered in the catalogs. Some finish options, like model options, were short lived and never made the next years catalog.
Read moreLipskin Special Models were not catalogued so we can assume that they were made for a dealer.
Read moreSlingerland purchased the patent from C. G. Conn in 1933. Ludwig & Ludwig sued Slingerland for patent infringement and Slingerland was forced to cease and desist any further manufacturing of the DuAll model along with having to pay for any DuAll models that were previously sold.
Read moreI got this *Clamshell Sea Green Pearl Radio King a few Chicago Shows ago from my good friend and fellow collector Joe Luoma.
Read moreThese two drums came from my good friend and fellow collector Mark Cooper. Mark passed away last year and I miss his friendship, sense of humor and the great drum deals that we did over the last 15+ years. I was able to get some great snare drums from Mark. Rest in peace my friend.
Read moreThe most interesting part of this drum is the uncatalogued finish that I call “Rainbow Sprinkles”. It looks like a “coral” enamel base with multi-colored specks on top. I have never seen or heard of another Slingerland drum with this finish.
Read moreI got this drum a while back. The drum came to me is this condition so no cleaning/restoration was necessary. I don’t see as many 15” Stipelgold snares vs 14” Stipelgold snares. I wonder if this is true with other collectors.
Read moreI call it a “Monday Morning at the Office” drum because the scroll pattern is in every panel but there is no “Ludwig Chicago” engraving that would normally be just left of the strainer.
Read moreI got this rare drum from Bill Wanser of Olympic Drums & Percussion. Bill also pointed out a Ludwig Drummer magazine article that places Rose Pearl at 1929, this aligns perfectly as the Standard-Sensitive model was first seen in 1929. Bill agrees that this was an uncatalogued finish, L & L obviously had the material but it was never seen in a catalog, only in a Ludwig Drummer Magazine article.
Read more"The Broadcaster was evidently a forerunner of the Radio King, the strainer is a very early Radio King style strainer and the lugs do not have inserts. (The tension rods thread directly into the lugs.) The muffler was the single-pad style Harold R. Dodd muffler."
Read moreI call it a “Monday Morning at the Office” drum because the scroll pattern is in every panel but there is no “Ludwig Chicago” engraving that would normally be just left of the strainer.
Read moreMost of these drums have 10 brass wood screws or 10 brass brads on the top bearing edge that are in line with the tube lugs and are there to allow the brass ring of the Tone Flange to seat. This drum is a tad different, there are12 brass brads that do not line up with the lugs (see photo). I also noticed a difference in the internal attachment hardware. On Slingerland snares of this era there is usually a washer, a lock washer and a screw. This drum has a larger washer, smaller washer, lock washer and a screw for the lugs, 3 point strainer and butt plate.
Read moreThe engraving pattern is based on the engraving pattern that was used on the 1928 Slingerland Gold Plated Artist Models
Read more*Collectors of the same 1930s era Ludwigs and Slingerlands know this finish as Abalone Pearl but Leedy chose to call their finish Oriental Pearl.
Read morePlaceholder for Mike’s 2/29/24 article
Read moreIt is a ‘One Of-A Kind’ treasure in that it is the first (right side) mounted tom Gene used with the Benny Goodman Trio/Quartet in the 1936 period.
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