The inner ply is the one that will affect the drum sound the most. And grain direction does matter. Bearing edge will also affect the drum sound, but most won't hear the differences in a live setting or even at band practice. In a ply shell there is so much glue, the different woods won't make much of a difference.
Russell, what kind of "exotic" drum are you looking for? I have experience in this area. Feel free to PM me...
> but most won't hear the differences in a live setting or even at band practice
latz - I can hear a distinct difference in the tone of a vintage Rogers kit against a vintage Ludwig or Gretsch kit. Lumber and edges do matter, and they do affect sound, sometimes dramatically.
As in the case of comparing a 60's Rogers with dbl. 45's edges to the sound of a 60's Ludwig kit with fatter (more shell to head contact) 30 degree round-overs. The Rogers kit will project better and have more volume and attack, like modern kits. The Ludwigs will not have the same volume, sound warmer and will not have the same attack as the Rogers will.
Calfskin - Can't ignore physics, brother. The edges do matter to the sound produced. The wood matters; density, thickness etc. Heads, hoops, hardware, it all contributes to, and dictates the sound that the drum will produce. I -can- hear a difference between some drum manufacturers products. As far as 'vintage drum appeal' which drums are popular, seem to be tied to generational considerations. We all love and get nostalgic about, the drums we played when we were learning/growing up. I'm sure that in 30 years people will be waxing nostalgic for their old 2001 DDrum, or 2006 Peace Drum kits. Who knows. BTW, I read your other post, just wanted to say; I started playing drums pre-Ringo and I love Ludwig drums because I learned on them and because I really love the sound they produce. I don't know what that does for your, 'interest in anything vintage is tied to, Ringo' theory... I take exception with it.
John
All good. I missed the link above the Veggie Tales "Orchestra" youtube clip. Have to watch later. Fingers crossed.B
Calfskin, The Lanfillharmonic (I may have beaten up the spelling) was awesome! Amazing creativity and resourcefulness. I applaud their accomplishments and hope the movement spreads. However, what does this have to do with drum timbre and the thread? Are you comparing a Stradivarius to a old can or license plate? Don't. Tin ear is an affliction that affects millions and millions of people, without their ever knowing it.
Not sure whom suffers from "perceptual handicap", Doc. : - )
B
I thought his cello sounded pretty good. The real point is, as I commented before, is that it isn't the material so much as what is done with it.
Prior to you guys viewing the vegetable orchestra video, if I had said that you could make a reasonable sounding English Horn out of a carrot and a bell pepper(to make the bell,of course!), none of you would have believed me and certainly would have been calling for the meds.
As far as the bearing edge goes. Yes ,there are small differences,related to the point of contact but it is just so llttle as to not merit the disproportionate fuss over it, once any leakage has been solved.
Trommelfabrik Sattler (Tromsa), a little company that I have a personal fondness for did not change their shells,fittings or hoops for quite a few years(about20) but during that time, they did change from a bevel to a half-round bearing edge. I have quite a few examples of identical drums with different edges. When i get a chance, I will set up a little experiment with all things being equal except the edges and post some sound files.
> but most won't hear the differences in a live setting or even at band practicelatz - I can hear a distinct difference in the tone of a vintage Rogers kit against a vintage Ludwig or Gretsch kit. Lumber and edges do matter, and they do affect sound, sometimes dramatically.
John, I agree 100%. I can hear a difference. This is why I've made drums out of many exotic woods. My point is that most drummers can barely tune their drums, much less hear a difference in what wood or bearing edge the drum has, especially in a live setting.
John, I agree 100%. I can hear a difference. This is why I've made drums out of many exotic woods. My point is that most drummers can barely tune their drums, much less hear a difference in what wood or bearing edge the drum has, especially in a live setting.
Isn't that the truth and a ridiculous oversight by the drum community since...forever. It is really sad I think.
> My point is that most drummers can barely tune their drums,
I'll have to concede that point out of deference to reality! lol
Tuning drums is the kind of thing anybody can get good at if you practice doing it. It's a part of many drummers education that gets neglected. And it's such a 'key thing' too. (No tuning key pun intended...) :p
John
Lack of tuning skill was my point. If the drummer doesn't know how to tune his drums or if they are tuned, how could he possibly be able to tell the different sounds from different woods or edges...
