I know that there are collectors who are fanatics about drum sets that are perfect duplicates--including color--of the drums pictured in a catalog. What some of these collectors don't know or, maybe they don't care about is that often times the drums pictured in the catalog are not what is listed in the detail breakdown. Older pictures were frequently used, sometimes with artful airbrushing effects. Some drum sets pictured in catalogs were put together as inside jokes. The marketing people would joke that some fools will pop for this enormous impractical drum set simply because it is pictured in the catalog. These guys were like Nostradamus because that is exactly what did happen.
That's true. I can list examples of catalog discrepancies, too, but we seem to agree on that point so I won't go into it. But, again, what the intention of the catalog was and what they are now are two different things. There was no way to predict, back then, what would become of American manufacturing when it came to drums. For awhile, it was no big deal when imports started flowing in. Everyone seemed to be fine with buying the well-made, Asian import drums -Tama, Pearl, Yamaha. But that trend wore itself out.
Now, everyone wants the drums they remember from the old days of Ma & Pa music shops on the corner. They want the pre-Guitar center/Musician's Friend stuff...because everyone can have that kind of stuff. It's readily available. But the same can't be said for vintage American kits....so that's what everyone wants.
Catalogs may not be perfect provenance. The same goes for badge numbers. But catalogs and badge numbers are what we have and they are better than nothing.
The marketing people would joke that some fools will pop for this enormous impractical drum set simply because it is pictured in the catalog.
Well, that and the fact that contemporary bands' drummers which the kids were watching were also using huge drum sets at the time. Smart marketing meant that someone needed to put at least one into a catalog -and the bigger the better! The Octa-Plus was Ludwig's flagship, but Slingerland also had a monster kit....as did Rogers....can't say for sure about Gretsch, but almost every company at that time had a huge drum set. I don't think it was to sucker anyone. I think it was to reflect what contemporary drummer were using onstage.
In fact, I remember my older brother taking me to see Alice Cooper when "I'm Eighteen" was topping the charts. The drummer (forget his name...tall, lanky guy with blonde hair) was playing a huge chrome Leedy kit -multiple toms, twin bass drums. This was previous to the release of the Octa-Plus.
And, after that, I was mesmerized by big drum sets. When the Octa-Plus came out, it was every young drummer's dream to sit behind one....well, at least every young drummer I knew who looked at the same catalog as I did. That walnut Cortex octa-Plus is burned into my mind! In retrospect, I'm glad I couldn't mow enough lawns to afford one, because I'd have surely bought one. And what would I do with something like that, now? HAHAHA! But, I still love it!