Why does custom take so darned long?

One thing that’s common with today’s consumers is that when they want something, they want it now. I blame technology – buy an item on-line and it’ll usually be pulled from stock, packaged up, and started in the shipping process within hours. That new norm has changed our expectations enormously.

The same thing holds true when you’re buying drums.  Buy from a brick-and-mortar store and you take them home with you. Buy on-line and you have them within a few days. If they’re not in stock, the retailer can usually special order from the manufacturer and get them to you in a few days or a few weeks.

But order something from a custom builder and it can seem like someone slams on the brakes. Suddenly you’re talking about anywhere from several weeks to several months, and you feel like the kid in the back seat of the car – are we there yet, are we there yet?

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Frustrating, for sure. But knowing what to expect and how to participate in the process can help a lot.

Understand that drum building is not an industry of enormous factories and many thousands of workers.  It’s mostly a community of very small shops and tiny staffs. Even many of the well-known builders are much smaller operations than you’d think. That means that if someone’s out sick or there’s a personnel change, it can affect the production schedule. Major weather problems can affect the production schedule. Specialized tools and their maintenance can affect the production schedule. Material shortages or subcontractor delays can affect the production schedule.

So, really, why does it take so long? Most of those how-it’s-done videos seem to have the drum finished in a matter of hours, if not minutes. Maybe, you wonder, the builder isn’t organized, or doesn’t want to work hard, or isn’t a stable business, or just doesn’t care.  But, overall, the reality is that the custom build is a very different process from mass production.

Bear in mind that with mass production there are routine materials, sizes, components, and processes – a lot gets done with programmed machinery, templates, and assembly-line setups. But when you’re talking about custom, made-to-order work, it’s difficult to standardize production because of the frequent need to modify setups and processes.

For example, mass production of wood shells usually involves only a few species to choose from. But if you decide you want something different, a custom builder is going to have to source raw materials especially for your order. Specific dimensional requirements (and appearance, for anything that’s not covered by wrap, paint, or veneer) mean it’s not just a matter of popping out to the nearest home improvement center.

And actually making a shell can be a long process as well. If you want something that’s bent, glued, or molded, the material has to be shaped, sized, and fine-tuned to be within specifications. If it’s solid wood, it may need to stabilize for days at a time, or have moisture content slowly altered at certain stages. Occasionally, there can even be a failure – imperfections or weak spots inside the material that didn’t show on the outside, stresses during the process that damage the material, or sections that aren’t stable until fully assembled.

Your order might require special wraps, designs, artwork, etc., that can take time – sometimes a little, sometimes a lot – or specialized hardware that has to be fabricated. Even with mass-produced, relatively standard parts there’s always the possibility of a back order or limited availability. And pulling together all the materials and components for your project could involve a fair amount of shipping time in addition to fabrication time.

Then you may want special fittings, such as reinforcement rings, inlays, decorations, and so forth. Some of these take only an hour or so to install, others can take days to complete. And any custom parts usually mean there’s custom layout and drilling involved as well. Simple wraps can be installed quickly, but some finishes involve mixed materials, custom-blended tints, multiple applications, or lengthy curing times.

So it’s sounding like there are no reasonable limits on how long a custom order can take, right? Well, there are a few things you can do to help this process along and make it more comfortable and enjoyable for you. After all, it’s not just the builder’s project; it’s yours, too.

  • You probably asked at the beginning for a rough estimate of how long an order would take. But once all of the final specs are agreed on, ask whether anything has altered that projection.
  • If the adjusted timeline sounds longer than you’re comfortable with, check to see if any changes in the design might speed up the process.
  • Once things are underway, don’t hesitate to ask for updates on progress (within reason, of course). Sometimes a normally slight delay turns out to be longer than expected, and you’re entitled to know what’s going on. If there’s a roadblock, the builder should be willing to tell you what it is and what solutions he’s pursuing. (And, yes, there are such things as unreasonable or avoidable delays that you shouldn’t have to accept.)
  • Lastly, do your part to keep things in motion: respond to questions, raise concerns, don’t keep rethinking your plan once it’s underway, ask for information when you need it. A custom drum project should be a collaborative partnership between artist and artisan – and that’s an approach that can give you a great experience as well as a fine instrument.

1950-55 Leedy & Ludwig 5x14 "Zebra" Broadway Standard

I got this drum from Bun E. Carlos at the 2013 Chicago Vintage Drum Show. Bun E. Carlos had the only two known Leedy & Ludwig Zebra snare drums, a 4 x 14 Broadway New-Era and a 5 x 14 Broadway Standard. He sold me the 5 x 14 Broadway Standard. The drum was previously owned by Mark Cooper of Coopers Vintage Drums and a special thanks goes to Mark for the additional info on this drum. Bun E. also helped me to authenticate the Zebra finish by giving me a few photos of his Leedy & Ludwig “Salesman Sample” floor tom shell that shows the Zebra finish as one of the samples. Bun E. added this: "The wrap was available to the general public. Aside from your drum, and my 5 drums, I've seen only 2 other Zebra drums, a big bass drum and floor tom on EBay a few years back. Only 8 drums, rarer than an original Triumphal!!!!! Haha!!"...? I love Bun E.’s wry sense of humor.

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William Kent (1915-2014)

William Kent, co-founder of the Kent Drum Company, passed away in his Buffalo, New York area home on December 11, 2014. William turned 99 years old last month and passed after a very short illness.

In 1947 William and Ed Kent opened the Kent Drum Company in Kenmore, NY with a focus to create student-level kits, encouraging music making at all economic levels. The company also offered professional-level drum sets, snare drums and percussion accessories. William was always proud of a common story told throughout the industry - "A Christmas morning surprise, in 1964 or 1965... for the young Ringo want-to-be, a new Kent Drum set under the tree!" The company closed in 1977, allowing William and Ed to retire. Drum Paradise, their retail shop next to the factory, closed the following year.

William Kent's 2013 NAMM Oral History interview: https://www.namm.org/library/oral-history/william-kent

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Text courtesy of Dan Del Fiorentino, NAMM Music Historian.

 

Master Blaster

As with many drums of the 18th and 19 centuries, this full-barrel bass was more than likely hand crafted by a trunk and furniture maker, or possibly even a coach and carriage builder.  The main tack pattern surrounding the sling attachments is very common to that which was used on the lids of storage or travel trunks of the era.  A drum maker would normally have his own unique tack pattern to identify his work as opposed to a commonly used utilitarian tack design familiar to trunk builders.  A secondary brass tack pattern of a circle within a circle is located surrounding the unreinforced vent hole.

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1940 Radio Kings - A Family Tradition

I was scrolling through a vintage drummer Facebook group one day, and I came across a post from Joe Ciucci. Rather, I came across an open-mouth drool worthy video of his 1940 restored Slingerland Radio Kings…. Joe was just the guy attached to the post! I sent a message to Joe, and we struck up a conversation. Joe turned out to be as nice as his drums, and I offered to showcase the drums in Not So Modern Drummer. He took me up on the offer, and here we are today. Joe was instrumental in setting up our Nashville Drum Show trip to ATL Drum Collective, and if you came to the Nashville show, you couldn't have missed the Radio Kings in the vintage drum museum.

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Rick Latham's Polish Snare Drum

We got this question from Rick Latham as he was ending his summer tour in Europe.Can any of you help us out here? - NSMD:  Hi George, Greetings brother from the Black Forest of Germany! Hope you are doing well. I'm nearing the end of a three month tour here in Europe - Germany, Italy, France, Poland, Switzerland... all great! I ran across this drum in a drum shop in Poznan, Poland and the guys are curious if it's anything cool - or maybe a bastardized-something-weird? Ha! I told them if anyone would know, it would be you - so give it your best shot.

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DW "Buddy Rich" Drum Set

This is a Drum Workshop set that I purchased March of 1983 that was custom built for Buddy Rich in August 1982. He used it for the beginning of the 1983 tour and played them until he had the heart attack when he was in Ann Arbor Michigan. It was ordered and built to his specifications through Joe Cusatis at the modern drum shop in NYC. He wanted the Slingerland TDR throw off on the snare, He wanted Pearl spurs and a Ludwig rail/banana mount for the tom tom. He also wanted Ludwig cymbal holders for the bass drum. The rest of the set is DW but is wrapped in Ludwig white marine pearl. It has the BR on the front bass drum head and "Buddy Rich Fragile" on the cases.

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