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Sincerely, Robin Reuter-Steele Indianapolis
P.S. - I have Bonzo's set too! P.P.S. - I have Neil's set too. Last one. Anyway, I want to dump this one...it won't fit in the Prius.
Hey Not-So-Modern-Drummer folks, here's some you don't often see. Check out the attached photos. A Leedy Dreadnaught kit from June 1944. The 1929-30 Leedy kit I got from the original owner. I call it the Frank Gomes Memorial Drum set. He was a WWII hero who recently passed at 95.
Bob Meyer Cortlandt Manor, NY
Can you identify this drum? If you've got some info, leave us a comment below.
Drum Shows! February 16 is the date of Joe Gilday’s Delaware Drum Show. If you are in the mid-Atlantic be sure to go. This is an established drum show and is well attended. Not So Modern Drummer is sponsoring one of the door prizes – a collection of thirty back issues of the print copies.
Don’t forget our Nashville Drum Show in September! We just finalized some details and registration for exhibitors is open! Go to NashvilleDrumShow.com for booth information. Attendees will be able to buy discounted advance tickets at the show’s website in the near future. We have added some new features this year; an all star performance by famous Nashville drummers, a drum set solo competition with great prizes for kids and adults, and a world famous clinician (stay tuned).
Snare Drum Olympics! The Snare Drum Olympics contest is underway and the new Snare Drum Olympics site will be up soon. You can call and contact me for details until then. Anyone who builds drums can enter their instruments into the contest and get a great deal of publicity. From major manufacturers to first time builders , the Snare Drum Olympics is a great way to showcase your drums.
A big salute to Bruno Mars for opening the Super Bowl half time show with a drum solo. Outstanding! The numbers say that the half time show had the highest number of tv viewers of all time. Are we gonna see a whole new generations of kids inspired to play like Ringo inspired some of us Baby Boomers? I hope so.
George's Signature
(330) 338-6035 george@notsomoderndrummer.com
Even though this is a review drum in this issue, we couldn't keep it from being the Custom Drum of the Month! Read the review here: http://www.notsomoderndrummer.com/website/product-reviews/mbw-drums-sleeping-beauty-6-5x14-aluminum-snare-drum/
This month we're featuring a 1950s Slingerland one-ply steam bent Radio King, 6.5 x 14 with clamshell strainer and stick chopper hoops. Courtesy of the Mell Csiscila collection.
What separates one drum builder’s instrument from another? We used to say it was unique lugs or a unique badge, but there are so many independent drum builders out there now and so many drums on the market it is getting hard to tell them apart. So it always comes down to tone, doesn’t it? How does the drum sound? How does it feel to play it? Is it just another pretty face or does it stand out from the crowd when you hit it? Does it light up the eyes and the ears? Michael Bouvier of MBW drums has a new model that is one of the best sounding snare drums I’ve ever heard, and it’s also a beauty; a “Sleeping Beauty”.
The 6.5 x 14 shell is a thin aluminum straight cylinder with no bearing edge flanges. The bearing edge is a single forty five degree cut to the inside with a slight round over on the outside. The snare beds are deep and wide which cuts down on buzzing.
The finish on the shell is classy and elegant - weathered aluminum with copper vein patina. It’s a completely hand finished effect. No two will be exactly alike. The hardware is all brass; 2.5mm brass single-flange hoops, full length brass tube lugs and a George Way type, hand turned brass beer tap throw off with détente tension settings, all weathered by hand and sealed to protect the finish. The aging and weathering of the finish is so realistic that, at first glance, this drum appears to be a very old vintage drum.
Sound: When I first started tapping and hitting this “Sleeping Beauty” snare drum, I thought I might be over reacting because it was the first drum I had heard that day. It sounded phenomenally great but I wanted to be sure of what I was hearing. So I went around the Drum Room and hit some of my first string and holy grail snares as a point of reference.
My ears were not deceiving me. This drum has some serious, serious tone and it is elegantly beautiful to boot. Several of my pro students came in a little later and had the same reaction and opinion.
I don’t like to use over used words like “crack”, “loud”, etc. to describe drum sounds. The first word that came to mind with this drum was “rich”. The fundamental tone is very evident with a nice blend of shell overtones and just enough head ring to give it a little sustain, even with the Evans Dry head. Combined with its very even snare response, it produces a nice throaty “honk” that I like to hear out of a metal drum. Rim shots have a nice, tight pop or snap to then. The snares responded perfectly from the center to the edge of the head. It came tuned to a medium high note and was very easy to tune down into the “fat” tuning area. Nice big, low sound at that low tuning. The very high tuning was very good – no choking and it gave a nice loud report when I laid into it at triple forte. The drum feels really good to the hands. It is a pleasure to play.
I have a drum track overdub recording session tomorrow in the Drum Room with a name artist and this will be the first snare I will pull out. It would surprise me if they want me to change it out for something different. I’ll report back about that.
The judges’ decision? A solid ten. This “Sleeping Beauty” (love the name) is a keeper. This one is already sold and I am going to miss this one when I have to give it back. I might have to buy one of my own. I really think this falls in the category of a “go to” drum. Each drum will ship with and Evans HD Dry batter, Evans 300 Hazy reso and Puresound Super 30 wires. The snare I reviewed is a 6.5x14. Any size of this model, form 5x14 – 8x14, is sold for $795 shipped anywhere in the continental US.
Additional charges may apply for overseas. Michael says these he has these shells made in any size all the way up to bass drum diameters. Pricing varies on the snares depending on other diameters.
Contact Information:
Michael Bouvier at MBW michael@mbwdrums.com www.mbwdrums.com
“I have fond memories of musical discovery years before ever picking up the sticks”. – Shawn Meehan
Shawn Meehan grew up in a household, surrounded by many distinctive styles of music. His dad played guitar and owned an extensive record collection. As a young drummer in his hometown of Portland, Maine, he was unknowingly building a storied musical career. His first teachers, Gerry Gemmiti and Anthony Fournier taught him all of the important basics. Shawn would then spend countless hours practicing every day, and never missed a drum lesson. Due to his hard work and determination, Shawn’s parents bought him a new set of drums.
He then began jamming with friends; gigging soon afterwards with two bands ‘Stagnation’, formed during junior year of high school; followed by ‘Solitude Made Easy’. Both groups focused on heavy rock and the progressive. In his senior year, he studied jazz techniques with Steve Grover emphasizing diversification in one’s approach to drumming.
Subsequent to graduation, Shawn attended Berklee College Of Music majoring in percussion. His first teacher, John Hazilla taught him brush techniques and various methodologies of Charley Wilcoxon. He spent a minimum of six hours a day practicing, fully understanding that dedication would result in success.
“Shawn respects the traditions of the past, while adding something new. He’s always been about getting exactly the right feel and support for each piece of music. Excellence and authenticity define him. He is a totally unselfish player with an accomplished track record and reputation… It’s a groove thing; he Just Gets It.” - Casey Scheuerell
Upon completion of his freshman year, Shawn returned home to Portland, and enrolled at the University of Maine, playing in their Big Band, and the Contemporary Jazz Ensemble. Between numerous gigs, he also attended classes at the University of Southern Maine. Shawn spent two years studying with the legendary Alan Dawson; then returned to Berklee to complete his degree.
“The Berklee environment was incredible and intense, I still have stacks of notebooks and cassette tapes from those days.” – Shawn Meehan
Upon returning, he was required to audition for evaluation and placement in the various Level 4 ensembles. Succeeding admirably, it was time to begin once again. Shawn fully immersed himself in his classes with Steve Houghton and John Ramsay learning a variety of techniques, followed by an intense year of study with Kenwood Dennard. His other professors included Frank Briggs, Eguie Castrillo, Ernesto Diaz, Ed Kaspik, Jackie Santos, Casey Scheuerell, Ed Uribe, Mark Walker, and Bob Weiner.
“I studied privately with quite a few people. There were so many masters who influenced me, and not only drummers. It would be a very long list to include everyone.” – Shawn Meehan
After graduating from Berklee, Shawn began working regularly with bassist James Thacker. He later toured with renowned blues legends Eddie Kirkland, Johnnie Marshall, and Toni Lynn Washington.
Since 2006, Shawn has been the drummer for the legendary swing group “Eight To The Bar, (ETTB)”. The band was formed in 1975, predating the retro-swing revival of the late 1980’s. Their impeccable reputation precedes them wherever they perform. Next year, they will be celebrating their fortieth anniversary. Although Swing and Motown are their specialty, they play in a vast array of styles.
“Eight To The Bar affords me the opportunity to perform a wide range of music from old school swing, to R & B and contemporary pop.” – Shawn Meehan
The present ‘Eight To The Bar’ line-up features Cynthia Lyon, Brinna Jones, Colin Tilton, Michael Corsini, Shawn Meehan, and Tommy Whalen.
“I have worked with Shawn Meehan for many years. His drumming is always inspirational. He also plays some of the best ‘Texas Shuffles’ I have ever heard.” - Tommy Whalen – guitarist, Eight To The Bar
Playing an average of 150 gigs a year; they are also working on their 12th album. In 2011, they were invited to perform at the U.S. Embassy in the Republic of Georgia, which launched a goodwill tour of the entire country. Shawn has gone full circle with ETTB. At age 12, he saw them perform in Portland, Maine, which left such an indelible impression on him; it fueled his desire to play in a band.
As a side project, Shawn performs with ‘The Darktown Tumblers’, covering the Meters, Dr. John, and the Neville Brothers.
“Shawn is a dedicated, hard working drummer who is always in the rehearsal studio practicing. He literally lives and breathes the music. Shawn is always the first one I call for any type of gig. I love every opportunity I get to play with him.” - Jeff McAuliffe - bassist, Darktown Tumblers.
Currently he is filling in with the band, “Jukebox Heroes”, who have over 450 songs in their repertoire.
Shawn Meehan is also an extremely passionate educator with a busy teaching schedule at his Boston studio. He is thrilled having the opportunity to give back to his community, especially working with the children at the North End Music and Performing Arts Center, which for many is the first introduction to the joys of music.
“As a teacher, I hope to positively influence my students the same way my teachers have influenced me”. - Shawn Meehan
Shawn’s unending dedication to his profession has brought him much acclaim by his peers and former teachers. He has a long career ahead of him and says he is really grateful to be living his dream.
Discography : Shawn Meehan Peter Hostage Trio ‘Do That’ (Resonance 1999) Robbie Lee Quintet: ‘Live at the Regattabar’ (RSL 2000) Eight To The Bar ‘Calling All Ickeroos’ (Jitterbop 2008) Eight To The Bar ‘The Romper Room’ (Jitterbop 2010)
Selected Discography : Eight To The Bar The Joint Is Jumpin’ (Jitterbop 1983) Swingin’ School (Jitterbop 1984) Redheads Of Rhythm – EP (Jitterbop 1989) Something Old, Something New, Something Rhythm, Something Blues (Jitterbop 1993) Behind The Eight Ball (Jitterbop 1998) Beat Me Rocking (Jitterbop 2001) Hey, Sailor (Jitterbop 2002) Superhero Swinger Undercover (Jitterbop 2003) You Call This Swing ? (Jitterbop 2005)
Shawn Meehan’s Equipment Specifications: DW Collector’s series Black Oyster Glass Bass Drum 18 x 20 -Toms 8 x 10 9x 12 14 x 14 Various Snare Drums – DW Edge, Craviotto, Sonor maple/birch, Pearl Maple 8 x 14 Sonor 6.5 x 14 Ferromanganese 1966 Vintage Slingerland Blue Satin Flame kit 20 inch Bass Drum 12 inch Tom / 14 inch Floor Tom Sonorlite Piano Black 18 inch Bass Drum / 12 inch Tom 14 inch Floor Tom Avedis Zildjian Cymbals - Various A’s & K’s Vic Firth sticks and brushes Shawn Meehan is sponsored by Sergio Bellotti’s 247 Drums Winchester, Massachusetts.
‘Eight To The Bar’ - contact information: P.O. Box 123 Northford, CT 06472 Ph. 203- 484- 4749 http://www.eighttothebar.com https://www.facebook.com/EightToTheBar https://www.facebook.com/cynthia.lyon.54?fref=ts
Hey George,
Here's the pictures of my thirties trap kit. It's a Leedy Spartan bass drum and snare. Front head can be illuminated from inside. Horsehair throne. I've assembled the kit over time to make it a true "contraption." Leedy Chinese toms and temple blocks, Ludwig cowbells and bass drum pedal. Leedy & Ludwig hi hat sock cymbal and ching cymbal. I play this kit and it sounds like a "Steamboat Willie" cartoon.
If you've got anymore questions let me know. Feel free to reverse the images so that no one gets hurt in the view of the pictures. LOL!
John Root Nashville, TN
"Proud Left-Handed Drummer" www.JohnRootDrums.com
NICK HOPKIN OFFERS VINTAGE BRITISH DRUMS AT 2014 CHICAGO DRUM SHOW Leading UK Specialist Will Showcase Rare Premier Kits in Debut USA Appearance
British vintage drum specialist Nick Hopkin Drums makes its North American debut with an exhibit at the 2014 Chicago Drum Show on 17 & 18 May 2014. Hopkin, whose facility near the England/Wales border attracts such major-name players as Sean Moore (Manic Street Preachers), Steve White (Paul Weller), Clive Deamer (Robert Plant) and Geoff Barrow (Portishead) has quickly built a reputation as the go-to for rare and hard-to-find vintage kits, snares and accessories. At the Chicago show, itself renowned as a world-leading exhibition, Hopkin will highlight, among other collectibles, rare drums from the vaults of legendary British drum maker Premier. “These kits have been tucked away at the Premier facility in Leicester for decades,” notes Hopkin, “and their presence at the Chicago show will be their first time they’ve been seen by the public. They are super-collectible. And yes, they are for sale.”
Hopkin, also a regular columnist for the magazines Drummer (UK) and Not So Modern Drummer (USA), notes that, “The UK has a rich history in drum design and manufacturing, with brands including Premier, Ajax, Beverley and Hayman being highly collectible. Non-British brands including classic-era Ludwig, Gretsch and Slingerland also come through the shop, which handles a constantly changing inventory of great gear that can also be seen online.”
Founded in 2012, Nick Hopkin Drums quickly established itself as one of the UK’s leading sources of pro-quality vintage gear and has steadily amassed a keen international following. “Yes,” noted Hopkin, “where better to tell vintage fans and collectors that they have a new source of high-quality collectible gear - especially those great British brands - than at a world-class drum show in Chicago, the hometown of such legendary names as Slingerland and the Ludwig Drum Company.”
MEDIA CONTACT: NICK HOPKIN - +44 (0)1873 857960 www.nickhopkindrums.com
Bob Henrit's book, "Banging On!" is a hugely entertaining memoir of the legendary British drummer whose unerring sense of timing and rhythmic flair provided the rock solid base for Adam Faith, The Roulettes, The Kinks, Argent, The Zombies, Don McLean, Richie Havens, Ringo Starr, Colin Blunstone, Unit 4 + 2, Honeybus, Richard Anthony, Roger Daltrey, Leo Sayer and Ian Mathews.
"Banging On!" is illustrated with a wealth of photos and personal recollections of Keith Moon, Cliff Richard, David Bowie, The Shadows, Queen, The Hollies, Sandy Shaw, Genesis and many more whose music will forever echo throughout the airwaves and digits of the world.
Born in 1944, Bob Henrit grew up in Hertfordshire and was educated at a Catholic college. Having mastered the washboard by the age of twelve, within a short time he was playing drums for Adam Faith. A founder member of Argent, he went on to play with (among others) Don McLean and Richie Havens, before joining Ray and Dave Davies in The Kinks.
He’s had a diverse career in music as player, writer, film-maker, broadcaster, drum store owner and inventor. Bob is happily married with three children and two granddaughters, and he lives with some of them in Enfield. His time is spent writing, reading, public-speaking, travelling, indulging in various sports and, of course, drumming.
For more information and to purchase his book, click here.
Rogers Drums were made in three factories. The first one was in New Jersey, when the family owned the company. When Rogers was purchased by Cleveland based Henry Grossman (of Grossman Music) he moved operations to Covington, Ohio in the 1950s. In 1969, Rogers, as a division then, of CBS Musical Instruments consolidated production in Fullerton, California.
During the Covington years, finished product was shipped to Grossman Music headquarters in Cleveland for warehousing and sales. Once CBS owned Rogers, in April of 1966, the warehousing was done in nearby Dayton, Ohio.
Today's feature was created during the Covington time period when Rogers also used the Toronto firm of H&A Selmer for Canadian distribution. I've had this undated catalog for quite a few years and I would date it about 1962 since some of the pages are exactly the same as the US catalog.
The Canadian version has a few differences and pictures of sets and descriptions were minimized to save space.
The catalog is about one third the total size of the US counterpart, leaving out a number of products. What we do find are the various Rogers sets, snare drums, tom toms and basses, marching drums, Swiv-o-matic hardware, stands, cymbals and heads and percussion items. No prices are listed.
You can see the front cover - an illustration of a silhouette of a matched grip drummer. The inside front and back covers have pictures of international endorsees - Charles Botterill of England and Mark Bowden of Australia are in both the US and Canadian catalogs, but Canada's own Ron Rully and Ray Reilly are pictured with their sets. Buddy Rich and Louie Bellson are also on the back cover in gleaming black and white.
The only color shot shows us the 14 plastic wraps and two lacquers available in 1962. If I could go back in time, I would get every Mardi Gras drum I could get from the factory and warehouse. The only problem with Rogers in 1962 was that the company was in the final two years of using the beautiful but fragile drawn brass lugs. We needed another year for Rogers to introduce their nearly indestructible beavertail lugs and then the drum set war was really on.
I have not seen another Rogers Canadian catalog. Let me know if you have one or have seen one.
Q: What do Ringo’s drums – the iconic Ludwig Downbeat made famous on the Ed Sullivan Show, a set of Zildjians – straight from the depths of the family fault, murder, mystery, sex and betrayal have in common?
A: Dangerous Illusions, the new literary crime novel by Joseph J. Gabriele.
Percussionist and novelist Joseph J. Gabriele paints an incredibly rich and vibrant picture in his 268-page murder mystery thriller. While hosting a lavish party at his Park Avenue apartment, Eliot Sexton, a Manhattan writer and percussionist, finds his friend and former U.S. Diplomat murdered and “THE” iconic drum set, worshiped by millions, stolen from his office – and his 70 party guests see nothing.
Mr. Gabriele leads the reader on an unforgettable journey through Manhattan in search of the killer, the thief, the drums, and answers to questions that have unpredictable and volatile consequences. New York is never what it appears to be.
The seemingly effortless blend of drum and percussion details with modern writing is superb, to say the least, and aficionados from the Not So Modern Drummer community will truly appreciate the style in which Mr. Gabriele presents classic instruments, drum shops, and legendary drummers – from Baby Dodds, Chick Webb and Gene Krupa to Joe Morello and Ringo Starr. As a drummer and reader you are instantly transported to the time and place, and the memories that made drumming history – and the many reasons each of us are drumming today. We were equally impressed with the subtle weaving of rhythmic patterns in the writing – and it had us tapping them out as we followed along, slowly becoming one with the characters.
Mr. Gabriele has presented a can’t-put-down thriller, and is well worth the read. The drum addict within us all will appreciate the attention to detail – thanks to Mr. Gabriele’s seven years of researching and writing – conveying knowledge from drum collectors, historians and experts from around the world – including the Ludwig family themselves.
Dangerous Illusions will be released in hardcover on February 9, 2014 – the 50th anniversary of Ringo and the rest of the Fab Four making their debut in America on the Ed Sullivan Show. It is currently available as an e-book at all major online retailers. For more information, visit: www.dangerousillusions.com.
Drums have been moving creatures into dance and trance since the first rhythms were beat out of an audible object. The rhythms were a natural extension of ourselves; pulsing from our very core and starting with our own heart beats. With the modern inspiration that came at times from catalysts such as the “Ringo effect” or the impact of the likes of Gene Krupa, youngsters have always thought that drums were the coolest! Like most young boys, the generations of the early and mid 1800s, were visibly excited by the sight and sound of martial music propelled by the drums of the drum corps.
Nothing could instill a child with more pride and inspiration than being an accomplished drummer, and nothing short of a grand adventure could propel them to enlist faster.
From the very beginning, the American military has had a long history of recruiting young boys in time of hostilities. In the years following the American Revolution, military and governmental officials tried earnestly to rid the Army of the many under-aged boys that previously helped fill the ranks of the fledgling armed forces that eventually won the war. Over the next several decades the regulations on minimum requirements ebbed and flowed with the changing circumstances of building the new Republic. Regulations for the minimum age and height were always of a lower standard for musicians. Local and state militia units often ignored these regulations for musicians as most were just glad to have them along. Many under aged lads simply accompanied their fathers into the ranks or were orphaned and simply needed a place in the community.
By the time of the Civil War, the minimum age for an enlisted man was eighteen years, with a height requirement of at least five feet, four and a half inches. However, a musician could be enlisted as young as twelve years with no minimum height requirement. As would be expected, many underage boys simply lied about their age in order to enlist, skewing the records forever. Of the records of those who did not lie about their age, we know that there were at least three hundred boys 13 years old and under enlisted in the Union army during the Civil War, and at least 25 who were ten years old or younger.
Two of the younger enlisted drummers were eight year old Avery Brown of Company C, 31st Ohio who, two decades later, billed himself as “The Drummer Boy of the Cumberland”. Also there was 9 year old Albert C. White who accompanied his father, Lt. Cornelius C. White, into the ranks of Company D, 64th Ohio. Disease, hardships, and the casualty of battle would shorten the tenure of many of these small adventurers as they would not last 3 month, but the lot of them stayed the course and even reenlisted for the duration of the War.
Despite the sometimes romanticized idea of all these young drummer boys in the Army, most were never allowed even close to a recruiting officer. They were encouraged to find a “gig” on the home front. These young wizards of the drum were highly sought after…..and the younger the better. P.T. Barnum’s famed New York City museum regularly employed exceptionally talented young drummers during the War. Two of the most notable were Major Willie Bagley and Master Allie Turner, both four years old.
This drum was made shortly before the War started in 1861, during a time of extreme patriotism, and is a miniature version of a full sized military drum. With the War now a reality, production of this type of luxury item would no longer be practical, as most manufacturing would have been concentrated on the war effort. Commonly referred to as a child’s drum, rather than a toy, it sports many of the same features found on a regular sized military drum. The shell is a varnished, single ply of thin ash veneer with red sponged maple counter hoops. A single row of vertical brass tacks reinforce the outer edge of the scarf joint. The central figure of the drum is a decal of an eagle standing on a patriotic shield that was a very popular design from 1855to 1865. However, this type of design was also used decades before and was still in use on drums through the end of the century.
The original cat-gut snares remain and are simply wrapped around a piece of wood that acts as a snare butt and pinched between the hoop and shell opposite to create the tension. The ruptured heads are made of a parchment material very similar to heavy paper and glued to the flesh hoops. Only one leather ear is left present on the drum as the others have long since deteriorated from time and use. The hemp rope is tattered, but also original.
Written on the bottom head in pencil is the name: Harry C. Hartfence. Harry, quite possibly the original owner, may have received this drum as a gift. With the condition of the drum and the fact of the manner in which it was made, especially the condition of the heads and no repairs evident, the probability of a young Harry being the original owner makes good sense. No records indicate he was in the army during the Civil War.
Included with the drum is a very rare, child sized cloth drum sling, which is in very good condition. It is attached to the drum with an equally rare wrought iron sling attachment ring, which is run through one of the rope holes. It seems there was no standard with which to attach the sling to the drum….each drummer or manufacturer had his own way of accomplishing this task. A nice pair of black, under-sized drum sticks round out this grouping.
The drum remains original and untouched; sometimes referred to as “relic or farm-fresh” condition. Only a light cleaning was needed. The shell has a crack that runs about half way around the center of the drum and may be the victim of the inexpensive manner in which it was constructed as well as the lack of reinforcement at the scarf joint area. After all, it was only a child’s drum but, nonetheless, a silent testament to the patriotic zeal and seemingly ever present desire of youngsters to make the music. This small instrument was certainly made for those who had to stay behind…..…those too young to die.
From Lancaster County, PA... thoughts from the Shop.
-Brian Hill
1968 saw the introduction of a new English drum manufacturer, Hayman. The man behind these drums was Ivor Arbiter, who according to Bob Henrit was the first to import Ludwig and Gretsch drums into the UK during ‘the Beat Boom’. Arbiter had identified a gap in the market for a set of loud drums that would get heard over the ever increasing volume of amplified music.
If you’re looking for a classic vintage English kit with a unique sound, then look no further than Hayman. There’s been a resurgence of interest in these British beauties in the last couple of years here in the UK. In their short production time, they attracted a number of high profile endorsers; even today, many name players have a Hayman kit in their collection for studio work due to their unique sound.
Originally named ‘George Hayman’, but quickly shortened to ‘Hayman’, these drums looked and sounded different to other English kits. With their turret style lugs, at a glance it would be easy to mistake these for Camco drums. But use your ears and you’ll experience a loud, resonant set of drums that live up to the name on their badges – ‘vibrasonic’.
Handcrafted in the UK, Hayman were marketed as ‘The greatest drum happening since the plastic head’ and claimed to be ‘more resonant than any drum on the market’.
Their quality control was so thorough all drums were sold with a lifetime guarantee. So let’s have a look at these drums in more detail….
Aside from lugs, their other most distinguishable feature was their shell interiors, with a ‘vibrasonic’ coating - Seven coats of special metallic poly-eurathene spray, bonded to the internals of the shell, claimed to be superior to Ludwig’s ‘resocote’. The shells were made of cross laminated Swedish Ply (which according to the catalogue was more expensive than regular ply and stronger due to the cross lamination) and featured 8 ply internal support rims (also laminated individually for extra strength). Initially produced in only 3 brushed metallic finishes (gold, silver and midnight blue -brass badges ’69-73), other colors were introduced later (regal red, matt black, natural pine and iceberg- smaller, silver badges ’73-75). The earlier finishes were triple laminate layers of Melinex and metal foil, which were flame resistant. They were unique to Hayman and I haven’t seen them anywhere else (although I read somewhere these coatings were used on refrigerators).
The kits were marketed in the following configurations; ‘The Pacemaker’ 20, 13, 16 & snare; ‘The Big Sound’ 22, 13, 16 & snare; ‘The Showman’ 22,12,13,16 & snare; ‘The Recording’ 18, 12, 14 & snare. Bass drums were available up to a 26”, but most kits still in circulation today are the ‘Big Sound’ and ‘Showman’.
The hardware on these drums were innovative for an English kit in the 60’s; fold-out ‘Holdfast’ bass drum spurs, triple flange hoops, ‘baseball bat’ dampers and adjustable swivel tom mounts. The tom post mounted onto a flat, curved rail on the bass drum, which one could slide to obtain optimum positioning; claimed to be ‘the most advanced to come from any drum factory’ boasting every angle and height adjustment with ‘functional thumb screws that stay firm’. Anyone who’s used them would probably disagree, as they are very difficult to negotiate and famously crush your fingers. The bass drum rods were among the first shaped to actually enable the drummer to tune his bass drum with ease.
The snare drums were the first non-American snare drum to feature 10 lugs and a simple throw off. With the vibrasonic lining and fitted with 22 strand wires, they were advertised as having the sound of a metal drum.
Speedomatic stands accompanied these sets, once again with groundbreaking features, the most rugged on the market at the time. The snare stand was the first in Britain to offer a basket holding mechanism, cymbal stands were offered as either tripod or flat base. The hi hat stand had double tension springs and the bass drum pedal was fibre belted.
Unfortunately, The Hayman brand was finished by 1975, although it was briefly re-launched in the 80’s with the shells made in Taiwan. Don’t mistake these drums for the originals.
Key players - Wilgar Campbell (Rory Gallagher); Randy Jones (Maynard Ferguson band); Paul Hammond (Atomic Rooster); Aynsley Dunbar ; Brian Bennett (The Shadows); Rob Townsend (Family); Ronnie Verrall; Bob Henrit (Argent, Kinks), Bill Bruford (Yes), Simon Kirke (Free), Mitch Mitchell (Jimi Hendrix Experience), Mitch Mitchell (Jimi Hendrix Experience) and many others over the years.
NB: Bob Henrit is currently writing the Arbiter book and we look forward to this being published soon. He’s just released his autobiography ‘Banging On’ which is a worthy read.
I was reading some posts online & George mentioned that you folks found a lacquer that was hard enough to topcoat cymbals. Could you tell me what that lacquer is or can I buy some from you folks for my Paiste Signature Series fast crash? - Stan
Read moreHi George, I was wondering if you might know where I could find a L & L 1920's brass oval badge in nice shape. I've made a few contacts to date and have someone checking for me at the Connecticut and Chicago drum shows, but was hoping through your own contacts, you might be able to point me in a specific direction. Thanks very much for any assistance you can offer and also wanted you to know, NSMD is looking great these days.. nice job!
Best regards, Joe Czulinski
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Hey Joe, I don't have any in stock, but I'll post your request. Anyone?
From Denzil Woody...
This Leedy and Ludwig kit was purchased in 1952 when I was a sophomore in college. I played them for three years and they have been stored in hard cases since that time.
Submitted by Joe Gaskill...
What are you, new? It doesn’t take too long for men of certain tastes to show me their upturned nose. It happens in any sub-sub culture, really – classic cars, baseball statistics, Pokemon. When someone is new and alone, few people want to give you the time of day. Sure, you might get a cursory “welcome to the forum, poonwrangler69”, but the second you confuse a Powertone with a Dynasonic, people tend to ignore you. I’m not coughing up leprosy, here. I’m just new.
Some (embarrassing) history: Right after high school, I got me a job at Guitar Center. And for 14 months, I was that guy. Yeah, I had a side-snare on my zebra-striped DW kit. Yeah, I had suspended floor toms. Yeah, I had a china splash. Two of them. For me, DW made the best drums on the planet – and it wasn’t until years later that I realized that the only thing DW had over other drums was an enormous advertising budget. And boy did I buy into it. Looking back, I think I overpaid.
6 years ago, I was sound-checking a drummer’s vintage kit. I dug into him. “Why do you play these? What can these do that a modern company with zillions of dollars in R&D can’t?” His reply wasted no time: “Hit ‘em!”
And hit ‘em I did. The next week, I sold the Dee-Dubs at an enormous loss and paid too much for a 74 Ludwig Hollywood in peeling Black Diamond Pearl. But that’s all it took – hitting two three-ply floor toms at once shook something deep inside me (besides my lower intestine) – everything I thought I knew about drums was wrong. I was about to start a long, incredibly expensive journey into a world I knew little about – with no one to help me.
I picked up knowledge where I could. After a few embarrassing incidences where I asked questions I could’ve found the answer to on Google, I realized that reading the conversations of other collectors on vintage forums was easier than risking looking stupid. Suffering fools, I've learned, doesn't come easily to collectors of great means.
But I understand. You didn't spend years building a knowledge of minutiae that rivals a sommelier’s just to baby-sit the new kid. Hell, I wouldn't want to talk to me either. (Is it the beard? My mom tells me it looks distinguished!) The reality shows about antiquing and picking and pawn-starring hasn't done much to stem the crimson tide of non-drumming craigslist speculators looking for a quick flip-buck, either. But before you hesitate to answer a Supraphonic question you've heard 1,000 times, try and remember – the more I learn, the bigger my passion for vintage drums grows – and the more I want to spend every free cent I have on them. And you guys always have something for sale.
You using that bit of oyster pink wrap?
Antone Lourenco of Aantone's Music sent me this one to appraise...
Hey Antone, That is the first model of the Ludwig Super Sensitive snare made between 1929 and 1935. Not to be confused with the first model with a parallel strainer, the Super Ludwig that debuted in 1925. The Super Sensitive has the extra snares under the top head. I'd estimate the value at $2000 if it's in great cosmetic and working condition which it looks like it is. Do you mind if I post this on the Not So Modern Drummer site? Beautiful finish and inlay. Is it for sale?
Well known snare collector Mike Curotto said $1,500 to $2,000.
-George Lawrence
