Yep, I just found the picture icon haha, so you can now enjoy your fav blog posts with new fresh pictures, ENJOY!!!
Oli
Tuesday, 26 February 2013
Readers question 5: Pedals
Well its been a long time but again I have a readers question, yet again stemming from Sophie merely asking questions so here we go: What are the difference between strap, chain and direct drive pedals. On the end of this I will also briefly go into cam and sprockets too (ooohhhh exciting!)
SO lets start with the most basic question, what is a pedal? Well if your a drummer its that funny little thing under your foot you stamp on to make a lot of noise, to everyone else it is a mechanism. When you press down on the pedal this pulls down a chain/strap/mechanism which then turns a bar directly above the pedal holding the beater and projects it towards the head of a drum. An easy way to show this is get an elastic band and loop the band around it. Then pull tight and wrap the other end around our finger. Then turn your finger and you will see it turns the pencil, same principle.
So now we get to the different types of pedal. First up we have the industry standard, the chain pedal.
As a chain pedal it simply means that the mechanism to pull the beater to strike the drum is a chain. Chains are rigid and so any pressure applied to the pedal is applied to the beater almost instantly. They are also flexible (rigid and flexible? HOW?! Well a chain pulled tight becomes rigid, think of it like pulling an elastic band and pressing down on it, its a lot harder than pushing down on a non-stretched elastic band) so they have a bit of spring in them. This means that when the pedal bounces back and you bring your foot up the pedal bounces a bit higher. A lot of players enjoy this as it gives more power to each beat as it has to travel further.
Next up we have the strap pedal:
The strap pedal, you guessed it, has a strap instead of a chain. In essence it works just like a chain.It pulls down the beater and goes rigid when stretched, however being fabric it has a bit more elasticity in it. This has a very different effect on the pedal. When you stomp on the pedal the strap stretches slightly, then as it regains it rigidity it accelerates to retain its standard size (again, when you stretch an elastic band you can feel it pulling as it wants to revert to its original form) this causes the pedal to accelerate faster and strike much harder against the bass drum. In essence it is just a more powerful version of the basic chain pedal. However being fabric they are much more prone to breaking.
Finally we have the direct drive pedal:
Now as you can tell straight away, such pedals are VERY different. Firstly there is no cam or long bar holding the beater. In fact these pedals are very different. Instead they incorporate what is known as a direct drive mechanism, which is a series of metal bars directly attached to the beater so that all and any pressure on the pedal is directly transferred to the beater. This means the pedal is utterly unforgiving. Everything you play even as an accident will be played. They are super sensitive but lack the power of the other 2 pedals. The actual mechanism is a replica of a knee joint. When you apply pressure to the pedal it acts as a muscle and springs open your leg as if you are kicking. Ball bearings help make the pedal as smooth as possible and create the most sensitive pedal out there. However with so much going on, if something breaks on one of these pedals it can be very hard, and sometimes impossible, to fix.
Part 2: Cams and Sprockets
What is a cam and sprocket? Well these are what the chain/strap is attached to. Now you may think "hey its just a circle that the strap or chain is attached to, how can they be special at all?" Well, its down to the shape of them. Sprocket cams are mostly completely circular and quite thin meaning they can only hold a single chain. However being light and round they offer a more balanced feel.
Most sprocket pedals are for beginner pedals, but some such as this camco pedal, are reserved for professional usage due to there unique feel.
A cam pedal works slightly differently. They have a unique shape which changes the way the pedal feels.
The cam generally has less surface area in contact with the chain than a sprocket pedal and is generally angled forwards so that more power can be taken from each strike.
So there you have it, any questions and feel free to ask :)
Oli
So now we get to the different types of pedal. First up we have the industry standard, the chain pedal.
The strap pedal, you guessed it, has a strap instead of a chain. In essence it works just like a chain.It pulls down the beater and goes rigid when stretched, however being fabric it has a bit more elasticity in it. This has a very different effect on the pedal. When you stomp on the pedal the strap stretches slightly, then as it regains it rigidity it accelerates to retain its standard size (again, when you stretch an elastic band you can feel it pulling as it wants to revert to its original form) this causes the pedal to accelerate faster and strike much harder against the bass drum. In essence it is just a more powerful version of the basic chain pedal. However being fabric they are much more prone to breaking.
Finally we have the direct drive pedal:
Part 2: Cams and Sprockets
What is a cam and sprocket? Well these are what the chain/strap is attached to. Now you may think "hey its just a circle that the strap or chain is attached to, how can they be special at all?" Well, its down to the shape of them. Sprocket cams are mostly completely circular and quite thin meaning they can only hold a single chain. However being light and round they offer a more balanced feel.
A cam pedal works slightly differently. They have a unique shape which changes the way the pedal feels.
So there you have it, any questions and feel free to ask :)
Oli
Friday, 18 January 2013
Readers question 4: Shell Material
Hey and the 3rd question from Sophie, what does the different shell material do for a sound? Well this is a slightly hard question as most companies use either different types of one material (eg finnish birch compared to Scandinavia birch) which, although on a small level, do sound different, or they treat there material differently. But if we assume these materials are all generic it should help. So what are the most commonly found materials today?
Steel: The cheapest, and in some cases most expensive, shell material. It has a very harsh sound with high attack due to its hard material. They are often found on student snares and some intermediate where they are easy and cost effective to manufacture. However they also have there place in the professional market. The harsh and ringy sound of a steel snare is very good for funk where the sharp attack and long delay help blend into the music better. They also deliver cutting rim shots, however the snare is also very loud. Because of this players such as Chad Smith have found steel snares to be a staple in there own music. They are also finding a place in metal music where the volume and harsh sound cuts its way through the mix. A good way to hear a snare like this is in any red hot chilli peppers song or Limp Bizkit-Take a look around, where you can clearly hear the harsh tone of the steel.
Brass: The "standard" for professional sound. Been around since the 1920s as the luxury material. Back then snares such as the original ludwig black beauty and leedy full dress were made out of them. Even small boutique companies used brass. Some, like Boosey & Hawkes, who made drums purely aimed at the upper class, made their student snares out of seamless brass, the same they use today in the famous supraphonics! Vintage brass snares are highly sought after as brass shells have a better sound the more they age, just like wood, and because the craftsmanship is generally of a superior quality as they were hand made. They are a soft of "malleable" metal and so give a warm snare sound with medium decay and mellow overtones. All of the properties are considered pleasant and as such are the standard for the professional sound. To hear a brass snare usually you just have to turn on the radio, they are that common. But for a true example listen to anything by led zeppelin, where Bonham puts the fantastic Ludwig LM402 through its paces.
Birch: A material that has had an interesting development. It hasn't been as heavily promoted as Maple or other metals, but it is finally gaining its reputation. Being slightly more dense than maple it creates more punch and attack and being stronger it can be made thinner without the need for re-enforcement rings. It is also famed for its pre-eq'd sound. Thin birch shells became the staple of Premier drums and is what made them the company they are today. It has a fine grain and relatively light color. Due to its quick decay do to its denseness (a dense material doesn't vibrate as much or as long, try hitting a stick against a thin steel pipe and a thick one and you can see that the sound travels longer on the thin pipe due to it being a lot lighter and able to vibrate for longer), high attack and very low pitch (as it is able to be made thinner) it has become the wood of choice for metal drummers of today. A good example of a birch snare drum is Mikkey Dee from motorhead, and a good example of a birch drum sound is Nicko Mcbrain from Iron Maiden.
Maple: The standard of high quality wood. Quite a soft wood that produces a warm sound with plenty of overtones. In general maple comes in 2 types: single ply or multiple ply. Both produce a very different sound.
Single ply create a very open and resonant sound with plenty of overtones with low attack and very high sensitivity. This is the sound of vintage drums from around the 1930s until around 1960. Nowadays kept for jazz and soft rock where a cutting sound is not needed and a pleasant tone is more important than volume and cutting through a band. A multiple ply snare drum doesn't have the openness of a single ply but is more structurally stronger. It is also a lot cheaper to make ply snare drums compared to single ply. To try compensate some companies either make the maple very thin (premier) or so thin that they use re-enforcement hoops. The reason for the decreased openness is that a single ply snare drum is an uninterrupted lump of wood that is free to vibrate, whereas ply drums have a layer of glue in between each ply that soaks up vibrations and decreases resonance. For the sound of a single ply snare listen to pretty much any buddy rich song as he almost exclusively uses his single ply radio king. For a ply maple snare listen to dennis chambers with santana.
Acrylic: A material rarely used in snares but mainly found in kits. Famed for its striking visual appearance they took the world by storm in the 1970s. Traditional acrylic drums were very dry with a focused punch due to having a large seam that was simply glued together and then another plastic strip placed inside to strengthen it. This meant that with its non smooth and brittle shell vibrations didn't travel perfectly and resulted in the dry sound. Modern acrylic drums, however, are cast and so vibrate freely and are very open and resonant with added punch due to the speed the vibrations can travel through the shell due to its smoothness. Most drummers nowadays use triggers on these kits and use them primarily for there visual appeal. For the sound of a vintage acrylic listen to John Bohnam live (in studio he used a maple kit) and for a modern sound listen to Celebration day dvd by Led Zeppelin.
Rarer materials:
Mahogany: Low quality mahogany, or luan, is mostly found in student drums for its abundance, however it is a low quality wood that is rarely used. True mahogany, on the other hand, is an almost exotic material. It is renowned for its beautiful grain and dense material. It is also known for its unique property in that it has a remarkably similar sound to aged wood making it a fantastic alternative for a vintage snare. It also absorbs the low frequencies of sound and so is used among other woods to boost the low end of drums. In snares it is mostly used to recreate a vintage sound, or to make a high pitched dry sound due to its high density. A good example of a mahogany snare (and also having mahogany mixed into other materials, this time maple) then listen to Chris Adler playing with lamb of god.
Bubinga: A wood that is now becoming a bit more common. The densest wood currently on the market, it creates a high volume dry tone with high sensitivity. It is finding its place mainly among metal drummers for its great mix of properties. It is also a loud snare with a great sound range, many considering best when hit at high volume. A great example of this snare is in any song by Nightwish.
Aluminium: A word that americans can't say right, a very very soft material that due to this is the driest on the market. It does not conduct sound very well and as such has quick decay with extreme sensitivity and high attack. Again another snare that has found its place among metal drummers for its dryness and focused attack. A great example of this material is with Shawn Drover of Megadeth.
Copper: A material that is rarely seen. Copper sounds a bit like a brass snare, but with extra warmth and dryer. It is a mid way between metal and wood but is often overlooked for brass which also acts as a midway between wood and metal, but has more sought after properties. Mainly found in jazz due to it not having a cutting sound or high attack and thus failing to stand up against heavy music. A good way of hearing this sound is with Roy Haynes.
Bronze: A very expensive material that is often mistaken for wooden snares. Low attack and warm sound and moderate sustain without the common metallic sound. Often used by others as a substitute for wood but with some extra sensitivity and strength.
Titanium: The thinnest and driest shell on the market. Being so thin there is less to vibrate and due to the strength of the shell it creates a very crisp dry sound with perfect articulation. Very expensive shells and very hard to create.
Hope all this helps :)
Steel: The cheapest, and in some cases most expensive, shell material. It has a very harsh sound with high attack due to its hard material. They are often found on student snares and some intermediate where they are easy and cost effective to manufacture. However they also have there place in the professional market. The harsh and ringy sound of a steel snare is very good for funk where the sharp attack and long delay help blend into the music better. They also deliver cutting rim shots, however the snare is also very loud. Because of this players such as Chad Smith have found steel snares to be a staple in there own music. They are also finding a place in metal music where the volume and harsh sound cuts its way through the mix. A good way to hear a snare like this is in any red hot chilli peppers song or Limp Bizkit-Take a look around, where you can clearly hear the harsh tone of the steel.
Brass: The "standard" for professional sound. Been around since the 1920s as the luxury material. Back then snares such as the original ludwig black beauty and leedy full dress were made out of them. Even small boutique companies used brass. Some, like Boosey & Hawkes, who made drums purely aimed at the upper class, made their student snares out of seamless brass, the same they use today in the famous supraphonics! Vintage brass snares are highly sought after as brass shells have a better sound the more they age, just like wood, and because the craftsmanship is generally of a superior quality as they were hand made. They are a soft of "malleable" metal and so give a warm snare sound with medium decay and mellow overtones. All of the properties are considered pleasant and as such are the standard for the professional sound. To hear a brass snare usually you just have to turn on the radio, they are that common. But for a true example listen to anything by led zeppelin, where Bonham puts the fantastic Ludwig LM402 through its paces.
Birch: A material that has had an interesting development. It hasn't been as heavily promoted as Maple or other metals, but it is finally gaining its reputation. Being slightly more dense than maple it creates more punch and attack and being stronger it can be made thinner without the need for re-enforcement rings. It is also famed for its pre-eq'd sound. Thin birch shells became the staple of Premier drums and is what made them the company they are today. It has a fine grain and relatively light color. Due to its quick decay do to its denseness (a dense material doesn't vibrate as much or as long, try hitting a stick against a thin steel pipe and a thick one and you can see that the sound travels longer on the thin pipe due to it being a lot lighter and able to vibrate for longer), high attack and very low pitch (as it is able to be made thinner) it has become the wood of choice for metal drummers of today. A good example of a birch snare drum is Mikkey Dee from motorhead, and a good example of a birch drum sound is Nicko Mcbrain from Iron Maiden.
Maple: The standard of high quality wood. Quite a soft wood that produces a warm sound with plenty of overtones. In general maple comes in 2 types: single ply or multiple ply. Both produce a very different sound.
Single ply create a very open and resonant sound with plenty of overtones with low attack and very high sensitivity. This is the sound of vintage drums from around the 1930s until around 1960. Nowadays kept for jazz and soft rock where a cutting sound is not needed and a pleasant tone is more important than volume and cutting through a band. A multiple ply snare drum doesn't have the openness of a single ply but is more structurally stronger. It is also a lot cheaper to make ply snare drums compared to single ply. To try compensate some companies either make the maple very thin (premier) or so thin that they use re-enforcement hoops. The reason for the decreased openness is that a single ply snare drum is an uninterrupted lump of wood that is free to vibrate, whereas ply drums have a layer of glue in between each ply that soaks up vibrations and decreases resonance. For the sound of a single ply snare listen to pretty much any buddy rich song as he almost exclusively uses his single ply radio king. For a ply maple snare listen to dennis chambers with santana.
Acrylic: A material rarely used in snares but mainly found in kits. Famed for its striking visual appearance they took the world by storm in the 1970s. Traditional acrylic drums were very dry with a focused punch due to having a large seam that was simply glued together and then another plastic strip placed inside to strengthen it. This meant that with its non smooth and brittle shell vibrations didn't travel perfectly and resulted in the dry sound. Modern acrylic drums, however, are cast and so vibrate freely and are very open and resonant with added punch due to the speed the vibrations can travel through the shell due to its smoothness. Most drummers nowadays use triggers on these kits and use them primarily for there visual appeal. For the sound of a vintage acrylic listen to John Bohnam live (in studio he used a maple kit) and for a modern sound listen to Celebration day dvd by Led Zeppelin.
Rarer materials:
Mahogany: Low quality mahogany, or luan, is mostly found in student drums for its abundance, however it is a low quality wood that is rarely used. True mahogany, on the other hand, is an almost exotic material. It is renowned for its beautiful grain and dense material. It is also known for its unique property in that it has a remarkably similar sound to aged wood making it a fantastic alternative for a vintage snare. It also absorbs the low frequencies of sound and so is used among other woods to boost the low end of drums. In snares it is mostly used to recreate a vintage sound, or to make a high pitched dry sound due to its high density. A good example of a mahogany snare (and also having mahogany mixed into other materials, this time maple) then listen to Chris Adler playing with lamb of god.
Bubinga: A wood that is now becoming a bit more common. The densest wood currently on the market, it creates a high volume dry tone with high sensitivity. It is finding its place mainly among metal drummers for its great mix of properties. It is also a loud snare with a great sound range, many considering best when hit at high volume. A great example of this snare is in any song by Nightwish.
Aluminium: A word that americans can't say right, a very very soft material that due to this is the driest on the market. It does not conduct sound very well and as such has quick decay with extreme sensitivity and high attack. Again another snare that has found its place among metal drummers for its dryness and focused attack. A great example of this material is with Shawn Drover of Megadeth.
Copper: A material that is rarely seen. Copper sounds a bit like a brass snare, but with extra warmth and dryer. It is a mid way between metal and wood but is often overlooked for brass which also acts as a midway between wood and metal, but has more sought after properties. Mainly found in jazz due to it not having a cutting sound or high attack and thus failing to stand up against heavy music. A good way of hearing this sound is with Roy Haynes.
Bronze: A very expensive material that is often mistaken for wooden snares. Low attack and warm sound and moderate sustain without the common metallic sound. Often used by others as a substitute for wood but with some extra sensitivity and strength.
Titanium: The thinnest and driest shell on the market. Being so thin there is less to vibrate and due to the strength of the shell it creates a very crisp dry sound with perfect articulation. Very expensive shells and very hard to create.
Hope all this helps :)
Thursday, 17 January 2013
Readers Question 3: Shell Thickness
So the second of 6 questions from Sophie, what difference does the thickness of the shell make. Well this is actually quite an easy question. As the thickness of a shell increases, the volume, attack and dryness increases. This is due to the fact that a thin shell is more easy to vibrate and so vibrations travel more through the material and so ring out a lot more. The thicker a shell is the less space inside the shell so the pitch goes up, and with a heavier shell to vibrate it dries out the sound as vibrations travel for a shorter period of time. Also because the shell is thicker the shell is more dense and so the volume is raised. So there you go, the reason between the thickness in shells :)
Readers question 2: How do different drum hoops affect sound?
This is part of no less than SIX questions posted by my gorgeous girl Sophie about drum stuff. So to head it off we have a question, how do different drum hoops affect the sound?
So lets get down to the types of hoops first:
Single Flange: These are often found on vintage drums from around 1920-1940. They are often quite soft and are often seen having been bent by the pressure of the claws on them.They are often a soft brass. They are also found on vintage reproduction drums. They are the rarest type of hoop to find on drums nowadays. They are a very open sound as they restrict the snare head the least by only resting on the top of the head rim. They are also quite fragile as the brass claws that attach to the hoop are quite thin and over tension will cause them to snap. They create a very ringy sound and are the least focused type of drum hoop on the market. However they are also known as stick chopper hoops as the thin brass rim cuts into sticks and breaks them alarmingly quick. These are quite specialist hoops for the player who needs his drum to sing at the maximum level.
Triple Flange: The standard drum hoop. By far the easiest to make and available in large quantities. Arrived around the 1940s and quickly took the market by storm. They kept the drum with an open sound but with a bit more focus. They also were rolled outwards at the tip to stop them from breaking sticks so fast. They also negated the brittle claws on single flange hoops. These are the standard go to hoops for drums, they let a drum sing but offer some control.
Die Cast Hoops: These restrict and focus the sound of drums. These originated from the 1970s where they were designed to cut down the amount of ring of a drum. They dry out the sound of the drum and add more punch too. They also hold tuning better as they are so rigid and disperse the tension more evenly around the head. They are mainly used in snares for metal drummers for the increased attack and focus of the snare and the decreased chance of detuning during a heavy concert.
Wood Hoops: These are the most expensive types of hoops on the market. They are usually very thick and dramatically dry out the sound of a drum by adding extra weight and thickness to the drum heads. This creates a very dry sounding snare, but without creating too much focus leading to a very sensitive and dry snare but with the side effect of reduced volume. This is usually used for jazz snares when articulation at low volumes are needed.
So there you go, any more questions and then please ask!
So lets get down to the types of hoops first:
Single Flange: These are often found on vintage drums from around 1920-1940. They are often quite soft and are often seen having been bent by the pressure of the claws on them.They are often a soft brass. They are also found on vintage reproduction drums. They are the rarest type of hoop to find on drums nowadays. They are a very open sound as they restrict the snare head the least by only resting on the top of the head rim. They are also quite fragile as the brass claws that attach to the hoop are quite thin and over tension will cause them to snap. They create a very ringy sound and are the least focused type of drum hoop on the market. However they are also known as stick chopper hoops as the thin brass rim cuts into sticks and breaks them alarmingly quick. These are quite specialist hoops for the player who needs his drum to sing at the maximum level.
Triple Flange: The standard drum hoop. By far the easiest to make and available in large quantities. Arrived around the 1940s and quickly took the market by storm. They kept the drum with an open sound but with a bit more focus. They also were rolled outwards at the tip to stop them from breaking sticks so fast. They also negated the brittle claws on single flange hoops. These are the standard go to hoops for drums, they let a drum sing but offer some control.
Die Cast Hoops: These restrict and focus the sound of drums. These originated from the 1970s where they were designed to cut down the amount of ring of a drum. They dry out the sound of the drum and add more punch too. They also hold tuning better as they are so rigid and disperse the tension more evenly around the head. They are mainly used in snares for metal drummers for the increased attack and focus of the snare and the decreased chance of detuning during a heavy concert.
Wood Hoops: These are the most expensive types of hoops on the market. They are usually very thick and dramatically dry out the sound of a drum by adding extra weight and thickness to the drum heads. This creates a very dry sounding snare, but without creating too much focus leading to a very sensitive and dry snare but with the side effect of reduced volume. This is usually used for jazz snares when articulation at low volumes are needed.
So there you go, any more questions and then please ask!
Tuesday, 8 January 2013
Readers Question 1: Drum Racks, useful or not?
Hello everyone and welcome to our first Readers Question where I answer questions posted by readers. Our first comes from Josh Middleton who asked if drum racks or useful or not.
Well the answer really is dependent on the player, so first I will do the lovely pros and cons list.
Advantages:
Compact. The drum rack allows you to use less hardware therefore reducing the space your kit would take up.
Weight. Often enough a drum rack is fairly light. When compared to a large set of heavy braced stands the drum rack becomes a much lighter option.
Portability: Drum racks also pack up really small and take up a lot less room for transport.
Looks: To some people a rack looks really cool , but this is a matter of personal preference.
Adjust-ability. Most drum racks nowadays have a very large amount of freedom on where to play things. Round tubing racks allow for any angle of drum and cymbal placement and with a choice of curved of straight bars you can adjust how close or far away you want drums and cymbals to be. Also with the addition of extra pipes you can expand its side upwards and outwards to have better placement.
Sturdy. A rack in general is a very sturdy piece of hardware and great for mounting expensive drums you dont want to fall, a major advantage over traditional stand mounted toms.
Disadvantages.
Cost. Drum racks, especially the higher end ones, often cost a lot of money, more so than a set of stands.
Obtrusive. Sometimes the pipes can become obtrusive causing some drums like floor toms and bass drums to have limited placement, and other things like hi hats to have to fit in where possible. Of course there are ways around this such as floating floor toms and mounted hi hats, but this adds to the already great expenditure of a rack system.
Looks. Some people don't like the look of a drum rack, but this is down to personal preference.
Flexibility. Whilst the best has been done to make placement of drums and cymbals as varied as possible, the rack is still static and can mean that whilst some drums are in a prime position some wont be, and can cause problems for some drummers.
In conclusion.
Racks in general have there places. On small jazz kits they are rarely seen for the reason that light braced hardware does the job easier and better. On standard 5 piece kits and a little bigger they have there uses. Some drummers use it primarily for its looks at this point or because they want a sturdier and more flexible mounting system if they are using suspended toms. On large double bass kits and larger they become much more useful with more space for mounting the large amount of toms and cymbals that would otherwise create a large clutter of hardware that would weigh a tonne and cost a fortune. So in general yes, racks are a good thing. If you want to be a little less obtrusive try a stealth rack, but if you want to compact your size and have a sturdy mount for your drums and cymbals, you cant go wrong with a rack.
Oli
Well the answer really is dependent on the player, so first I will do the lovely pros and cons list.
Advantages:
Compact. The drum rack allows you to use less hardware therefore reducing the space your kit would take up.
Weight. Often enough a drum rack is fairly light. When compared to a large set of heavy braced stands the drum rack becomes a much lighter option.
Portability: Drum racks also pack up really small and take up a lot less room for transport.
Looks: To some people a rack looks really cool , but this is a matter of personal preference.
Adjust-ability. Most drum racks nowadays have a very large amount of freedom on where to play things. Round tubing racks allow for any angle of drum and cymbal placement and with a choice of curved of straight bars you can adjust how close or far away you want drums and cymbals to be. Also with the addition of extra pipes you can expand its side upwards and outwards to have better placement.
Sturdy. A rack in general is a very sturdy piece of hardware and great for mounting expensive drums you dont want to fall, a major advantage over traditional stand mounted toms.
Disadvantages.
Cost. Drum racks, especially the higher end ones, often cost a lot of money, more so than a set of stands.
Obtrusive. Sometimes the pipes can become obtrusive causing some drums like floor toms and bass drums to have limited placement, and other things like hi hats to have to fit in where possible. Of course there are ways around this such as floating floor toms and mounted hi hats, but this adds to the already great expenditure of a rack system.
Looks. Some people don't like the look of a drum rack, but this is down to personal preference.
Flexibility. Whilst the best has been done to make placement of drums and cymbals as varied as possible, the rack is still static and can mean that whilst some drums are in a prime position some wont be, and can cause problems for some drummers.
In conclusion.
Racks in general have there places. On small jazz kits they are rarely seen for the reason that light braced hardware does the job easier and better. On standard 5 piece kits and a little bigger they have there uses. Some drummers use it primarily for its looks at this point or because they want a sturdier and more flexible mounting system if they are using suspended toms. On large double bass kits and larger they become much more useful with more space for mounting the large amount of toms and cymbals that would otherwise create a large clutter of hardware that would weigh a tonne and cost a fortune. So in general yes, racks are a good thing. If you want to be a little less obtrusive try a stealth rack, but if you want to compact your size and have a sturdy mount for your drums and cymbals, you cant go wrong with a rack.
Oli
Drummers tips 1: Endorsements
Hey, this is part 1 on my Drummers Tips section. Now I am going to delve into something VERY risky. The realm of endorsements. Now, more than ever, the idea of an endorsement is becoming a marketing gimmick by many companies, so how do you know if your being taken advantage of or if you are getting a real deal?
1) Who contacted who?
This one is fairly basic. If you contacted them and then they offer, its more than likely being used as a form of marketing gimmick to secure you as a customer. However if they contact you first then its going to be a genuine endorsement. It also helps if you know the company for a long time. For example if you have been in regular contact with said company this can also help.
2) What do you/they get out of it?
Well this is the main reason for an endorsement. You should get discount and publicity, these are the 2 main reasons for an endorsement. Not only that but they would also want publicity on your behalf such as being a figurehead, writing reviews and generally promoting the product, Afterall it's give and take. Many companies have adopted the recent tactic of ramping RRP prices up and then selling the product to you at the normal store price under the false pretense it is an "endorsement". This in reality is not a true endorsement, but a gimmick.
I have been on the receiving end of both of these, so here is my personal experience.
Experience 1:
Drum company will go unnamed.
I spoke to drum company about getting a custom drum kit made. Immediately they came back to me stating the RRP price but because I came to them they would have me as an endorsee. Now immediately alarm bells rang, I was not well known nor was I a good drummer. Eventually however I pulled out, the price was too much.
Experience 2:
Drum Port.
Known the company since its inception. The guy was great and we talked for a long time. Then eventually after a year and I had built up a profile for myself I finally entered talks and long story short I got a massive discount and personal meeting with Kirk the owner. I thoroughly reccomend the product (though in this blog i wont be biased) and have enjoyed regular contact with him.
These are how they shouldn't (1) and should (2) go. Hope this helps and everyone PLEASE be careful for these market scams. And remember, if you do get offered an endorsement then be absaloutely POSITIVE it is with a company you are prepared to spend the rest of your career with.
Oli
1) Who contacted who?
This one is fairly basic. If you contacted them and then they offer, its more than likely being used as a form of marketing gimmick to secure you as a customer. However if they contact you first then its going to be a genuine endorsement. It also helps if you know the company for a long time. For example if you have been in regular contact with said company this can also help.
2) What do you/they get out of it?
Well this is the main reason for an endorsement. You should get discount and publicity, these are the 2 main reasons for an endorsement. Not only that but they would also want publicity on your behalf such as being a figurehead, writing reviews and generally promoting the product, Afterall it's give and take. Many companies have adopted the recent tactic of ramping RRP prices up and then selling the product to you at the normal store price under the false pretense it is an "endorsement". This in reality is not a true endorsement, but a gimmick.
I have been on the receiving end of both of these, so here is my personal experience.
Experience 1:
Drum company will go unnamed.
I spoke to drum company about getting a custom drum kit made. Immediately they came back to me stating the RRP price but because I came to them they would have me as an endorsee. Now immediately alarm bells rang, I was not well known nor was I a good drummer. Eventually however I pulled out, the price was too much.
Experience 2:
Drum Port.
Known the company since its inception. The guy was great and we talked for a long time. Then eventually after a year and I had built up a profile for myself I finally entered talks and long story short I got a massive discount and personal meeting with Kirk the owner. I thoroughly reccomend the product (though in this blog i wont be biased) and have enjoyed regular contact with him.
These are how they shouldn't (1) and should (2) go. Hope this helps and everyone PLEASE be careful for these market scams. And remember, if you do get offered an endorsement then be absaloutely POSITIVE it is with a company you are prepared to spend the rest of your career with.
Oli
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