Ultimate Drumming Tips_ Tricks_ and Projects

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Inspiring drum ideas from the pages ofthe UKs biggest selling drum magazine

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GEAR BUYING ADVICE BUDGET UPGRADES FOR YOUR DRUM KIT PREPARE FOR THE

STUDIO LEARN TO SOLO FREE VIDEO CONTENT WITH OUR EXPERT TUTORIALS

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EDITORS LETTER:WELCOME

AS MUSICIANS WE ARE CONSTANTLYlooking to develop

and improve, and as drummers we are a particularly fastidiousbunch forever looking to improve our sound, nail our technique

and tweak our set-ups.

Every month in Rhythmwe strive to feed that hunger we know

you have for improving your craft, with practical features from

our team of experts designed to help you get to where you want

to be with your drumming.

Here we've collected together the best of Rhythms practical

advice in one place. So we have advice on kit maintenance and

restoration, what to look for when buying new gear and how to

achieve the sound and style youre striving for. Our epic 30 Day

Workout will help hone your playing skills and focus your practice

regime; Troubleshoot Your Drums is lled with quick xes to help

your drumming; elsewhere we present exercises with video

lesson accompaniment to help you nail solos, grooves and more.

For real drum-heads, we've got advice on how to buy vintage

drums, and for those keen to take their drumming to the next

level, perhaps professionally, we've got advice on everything

from building your own home studio to recording your drums and

even becoming a remote session drummer.

In short, we've jam-packed Ultimate Drumming Tips, Tricks &Projectswith loads of ideas to help you on your way to achieving

your drumming goals.

WELCOME

Chris Barnes, [email protected]


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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

CONTENTS

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26



CONTENTS

8MOT Your Drum Kit

16Buyers Guide Gear Advice

2021 Budget Kit Hacks

26How To Buy Vintage

34Vintage Restoration Projects

42Gear FAQs

47Troubleshoot Your Drumming

63How To Make Your Beats Groove

66How to Solo

7130 Day Drum Workout

90Beginners Guide To Big Band

96Playing FAQs

102How To Prep Your Kit For Recording

104The Easy Guide To Recording Drums

113Classic Drum Sounds

& How You Can Recreate Them

134How To Build Your Own Studio

138Become A Remote Session Drummer

144Recording FAQs

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102 138

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IMPROVE YOUR GEAR

TIPS, TRICKS &PROJECTS TO HELP YOU



IMPROVE YOUR GEAR:INTRO

We drummers love our gear.From that very rst snareor budget kit through to the pro kit that we all aspire to one

day play; no matter what level we are at, its our love of our

instrument that shines through. But sometimes, our gear

can let us down. Perhaps your kit is simply past its best, or

youve outgrown it and are looking to replace a drum,

cymbal or whole kit. Maybe its just a little wear and tear

that requires a quick x, a replacement part, or just a good

clean? And maybe you yearn for classic vintage sounds in

your playing, or are looking to start a collection of vintage

drums? Here, we look at all things gear-related. From

giving your kit a quick MOT, buffing up and sorting out

those squeaks or detuning worries, to buying some brand

spanking new gear or getting into vintage drums, here

are some handy tips and suggestions for new projects

to sink your sticks into.

8

MOT Your Drum Kit

16

Buyers Guide Gear Advice

20

21 Budget Kit Hacks

26

How To Buy Vintage

34

Vintage Restoration Projects

42

Gear FAQs




Tools and products used by Yard for Project 1:1. White spirit

2. T-Cut

3. Goo Gone

4. Colron Finishing Wax

5. Autosol Shine & Metal Polish

6. Masking tape

7. Electric cordless drill

8. File

9. Soft cloth

10. Fine wire wool

11. Baked bean tin

12. Plastic tub

13. Drum key

14. Sharp blade

HOW TO MAINTAIN YOUR BELOVED GEAR: ACOUSTIC DRUM SHELLS, HOOPS, LUGS ETC

MOT YOURDRUM KIT

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WORDS:GEOFF NICHOLLS

PROJECT 1



IMPROVE YOUR GEAR:MOT YOUR DRUM KIT

TIPPRESTON PRINCE(TIKI DRUMS)

If there are springs rattling andvibrating, the old cotton wool worksgreat, or even better some off-cutsof sponge.

Your acoustic drumkit is a prettystraightforwardinstrument. It

does, though, consist ofhundreds of small items, eachof which you need to keep aneye on and maintain properlyfunctioning and squeak-free.

Some drummers like to keep their kit in sparkling

condition at all times; others prefer the funkier

approach, preferring to leave well alone, particularly

their cymbals. And for most of us an occasional

wipe-over with a clean cloth is all thats needed for

day-to-day maintenance. Every now and then,

though maybe once a year we feel our kit needs

DISASSEMBLY

To take off the heads, Yard uses a marching drum

key which has a long lever. I use it because its

easier than a small key, he says. Its useful for

tuning as well. The drum may have quite a bit of dust

and fluff inside and on the bearing edges which can

be simply brushed off with a soft paint brush. If the

interior is painted you can wipe it with a slightly

damp cloth and cleaning agent. Check the inside to

make sure there are no cracks.

To clean a drum right up we would normally takethe drum completely to pieces. I use a cordless drill

in reverse to take off the lugs 6mm metric on

modern drums or " bit for vintage drums.

Keep the parts in a pot. Here I use an old baked

bean tin (clean it out first) a bit of recycling! Write

the name on the can with a Sharpie pen: Ludwig

13"x9" tom, Silver Sparkle. Now you know

everything is safe.

Lug contains spring,damping foam and

swivel nut

Put metal partsinto plastic pot with

toothbrush for cleaning

Use white spiritand scrub with

toothbrushDry thoroughlywith cloth

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Remove the headsusing a drum key

Use a cordlessdrill to take off

the lugs

Undrill the lugfixing bolts

Keep the parts in apot, such as an old

baked bean tin

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LUG INNARDS

Yard:These old Ludwig lugs have springs insideplus a bit of foam which stops them from rattling or

humming. There is also the brass insert swivel nut.

Assess each bit as you go. Some parts are not that

dirty and just need a wipe over, while some parts can

be really filthy. For cleaning I put the metal parts in a

plastic tub with white spirit and brush them out with

a toothbrush or paintbrush. I prefer not to use any

de-greasing agents. Wipe each part dry with a bit of

cloth, usually an old T-shirt. T-shirts are the best

thing for cleaning.

some serious TLC. Then well drag our drums into the

kitchen or the shed and give them a proper MOT.

This will certainly involve removing the heads and

you may bravely go all the way, removing the lugs in

order to get your shells and chromed parts as clean

as new. In this new series we will be looking at how

to maintain and clean your drums, your cymbals and

your hardware. We are not concerned here with

restoration of your drums that will follow in a future

series of articles.

In this first part, well begin with the drums. If you

remove the nut boxes (lugs) then you must take care

not to lose any tiny parts. Best keep them in a

labelled container, perhaps with a lid. Its easy these

days to take photographs, so if you have any worries

about the way something is put together, keep a

pictorial record.

Rhythmvisited the workshop of Yard Gavrilovic

who, as well as being Steve Gadds long-serving tech,

runs the Vintage DrumYard in Clacton-On-Sea, Essex

[www.vintagedrumyard.co.uk], where he restores,

VintageDrumYardsYard Gavrilovic

supplies and customises drum equipment. We got

the man himself to show us how he goes about

thoroughly cleaning up a single drum, and since

Yards stock is mostly vintage, the drum in question is

a 1970s 13"x9" Ludwig tom. Being old, this drum

required some pretty heavy-duty cleaning. But you

can follow the same procedure with any age of drum

and a newer drum most likely wont need the more

abrasive treatments.




Yard:Each tension rod is given a good twist in wire

wool which gets off the rust spots if there are any. If

they have grease on them, we put them in a tub

again with white spirit and let them soak well before

rubbing through with a toothbrush. Then take them

out and let them dry off fully. I very rarely use

Vaseline or any lubricant because I find that

encourages them to de-tune. Many kits come with a

dab of Vaseline (or other lubricant) today theyre

really just covering themselves against cross-

threading. The main thing is not to leave any damp

on them always dry them thoroughly.

Yard:If the shell has a wrap and is in poor condition

Ill give it a bit of T-Cut to start with to clean some of

the grime off. On a wrap, T-Cut wont take the top layer

off because its plastic, so it is quite safe. Some people

say only ever put it onto the cloth, but I sometimes put

it straight onto the wrap. You can also use T-Cut on a

lacquer finish, its not as vicious as people make out,

but always do a test bit hidden away somewhere,

opposite the badge say, at the back usually under a

lug or mounting bracket that has been taken off.Whenever using a liquid always do a test area in case it

reacts. Then use a wax-free polish to buff up, whether

its a wrap or lacquer finish, and wipe off any residue.

The cloth used for cleaning shells and chrome

should be as soft as possible so as not to scratch the

The most popular products with our experts are car

wax, Windex, Mr Sheen and Pledge furniture polish.

Tom Willhelm (Daniel Adairs tech), agrees: I use

Pledge furniture polish on both lacquer and wrappedshells. I spray the Pledge onto a diaper and then apply

that to the surface to clean the shell. I prefer a diaper

as it is less likely to scratch it. Drum restorer Jeremy

Peake uses Mr Sheen, which is also a degreaser, for

lacqueredandwrap finishes. If a wrap is dull Jeremy

surface (eg: a cotton T-shirt). Semi-synthetic fabrics

with nylon, polyester, etc, can scratch a glassy smooth

lacquered finish. A popular alternative is nappies as

theyre made to be ultra-soft. It should also be notedthat there are many drummers who avoid using any

cleaning products unless absolutely necessary. For

most drummers with relatively new/modern drums,

simply buffing with a soft cloth will work wonders,

maybe with the addition of a mild cleaner/polisher.

LUG CASES

Yard:To polish up the lug case we have a special jig

with holes drilled in it. Over the years weve added

different holes specifically to take each type of lug. The

lug slots in there and it stops it from moving about while

you clean it. We use really fine, zero wire wool, dry with

no cleaning agent. You can also use chrome cleaner, but

it leaves a white residue/dust, so you have to be careful

to buff all of that off. We find you usually dont need to

use chrome cleaner once youve cleaned it thoroughly.

For most drummers with relatively new/modern drums, simply buffing the shellswith a soft cloth will work wonders

Clean tension rods withfine wire wool

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TIPTAM RANKIN(VINTPREM)

Dip the tension rod ends inVaseline before assembly.

To lube or not to lubeThe use of lubricants on tension rods is

controversial, with different drummers

firmly in the for or against camps. On

the one hand lubes may help to prevent

rusting while making tuning smooth with

less chance of cross-threading. On the other

hand, as Yard says, they can promote de-

tuning and the build-up of gunge. Perhaps it

depends on how hard you play and whether

you are prepared to keep tuning up or using

lug-locks, etc? Whatever you decide, here

are some further pointers.

Daniel Adairs tech Tom Willhelm says,

I use a bicycle degreaser to clean any grime

or grit off lug casings and tension rods. If

they are dirty with just dust or stick shavings

I will use a diaper sprayed with Pledge polish

to clean the lug casings. I use a silicone spray

for lubrication of the tension rods.

A J Nosek, who techs for Andy

Hurley (Fallout Boy/The Damned Things),

uses WD-40 inside (lug boxes) and/or

light based oil lube or mechanical grease

for bolts, something to lock out any

moisture and maintain the interior

metals from corrosion.

SHELLS

TENSION RODS

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Carefully buff chromewith finest wire wool

Lug case is secured onspecial customised jig

T-Cut applied to cloth iscarefully used to restorea wrapped shell

Car wax can be usedfor polishing up theshell exterior




METAL HOOPS

Yard:Generally, if it is quite a rough-looking hoop, I

will rub it down with wire wool first. Wire wool gets

rust spots off, which you normally get around the

tension bolt holes. You can also use chrome cleaner,

which I do quite often. I use vehicle Autosol Metal

Polish and Autosol Shining, making sure to get off

the residues. You let it dry and then buff it off with a

cloth. All buffing is done with old T-shirts.

BADGES

Yard:If I need to take a badge off then I will, but

you need a special grommet tool. For your MOT its

best to put masking tape on the badge so you dont

mess it up. Run a blade round it carefully. Then you

can rub away to your hearts content and you wont

damage the badge.

BEARING EDGES

Yard:I rub a bit of Colron Finishing (furniture) wax

on the bearing edges. It takes out that little bit of

dryness. It doesnt really do anything for the tuning,

but it helps the head to slide and seat slightly better.

AJ Nosek explains: I usually coat exposed wood bearing

edges with a thin layer of Vaseline, enough to smooth/

cover but not saturate. If the edge has any minor

damage, soft sand paper (220+) with light pressure

will fix it without losing the angle/precision cut.

uses a car colour reviver, then Mr Sheen and a cockpit

shine spray. Preston Prince offers: If slightly scuffed

with light scratching and blemishes I tend to wipe with

a sponge lightly soaped in Fairy Liquid. I might even

T-Cut the shells, then buff with a car wax or polish to

pull out the blemishes. Good Charlottes Dean

Butterworth says he uses Windex to clean the shells,

lacquered or wrapped. If the finish is particularly dull

Dean says hell buff with wood polish or Windex.

Jazz-funk legend Ndugu Chancler says, For drums

with lacquered or covered shells I use a lemon oil and

a spray furniture wax with a soft cloth, or baby diaper

to wax and keep the shells clean and shiny. On the

lugs I will use a chrome polish to keep them shiny and

protected from rust. Once the drums have a nice

protective coating of wax, I keep the shells dusted. To

bring back a dull shine I use a paste or cream wax with

a buffer. I never use any abrasive cleaners or scouring

pads on any equipment. If you keep the equipment

clean you wont need to use harsh cleaning agents.

Ndugu makes a good point, that if you clean your

gear daily you wont have to do much for your yearly

MOT. Laurie Jenkins says he gives Kasabian drummer

Ian Matthews DWs a once over daily with Pledge to

keep the sparkle. And A J Nosek gives Andy Hurleys

drums a thorough wiping with a clean, dry (soft)

towel after every performance to make sure moisture

doesnt build up, especially around lugs/under rims. I

use Carruba liquid wax or furniture polish to improve

the shine; mild detergent soap in warm water to get

off deep grime, but I make sure its completely dry

before casing/travel/storage.

Chrome hoops canbe cleaned with finewire wool if necessary

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Run a blade aroundit carefully

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Apply maskingtape to badge for

protection

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Thinly apply ColronFinishing Wax to thebearing edges

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TIP NDUGU CHANCLER(MICHAEL JACKSON)

The best maintenance for yourequipment is to keep the gear storedand transported in cases that fit aswell as protect it from any abuse.

TIP SWISS CHRIS(JOHN LEGEND)

Moisture is a big enemy of thechrome parts of the kit. I clean thoseparts monthly or bi-monthly, but Ireally should do it weekly.

TIP CORA COLEMANDUNHAM (PRINCE)

Cora swears by cloth baby diapersand Windex (the ninth wonder of

the world) for drum cleaning jobs.




Tools and products used by Yard for Project 2:1. Multi-surface polish

2. Toothbrush3. Spare parts

4. Pliers

5. Wax

6. Rust remover

7. Soft paintbrush8. 3-in-1 oil

9. Window cleaner

10. Label remover

11. Silicone spray

12. GT85 lubricant13. Cream cleaner

14. Phillips/at screwdrivers

15. Vaseline

16. WD-40

17. Super Lube18. Cymbal cleaner

19. Methylated spirits

20. Washing-up liquid

MOT YOURDRUM KIT

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PHOTOS:JAMES CUMPSTY

Disclaimer:minors should only use these tools and products under the supervision of a parent or guardian.

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HOW TO MAINTAIN YOUR BELOVED GEAR: HEADS, CYMBALS AND HARDWARE

PROJECT 2




TIPDAVE MATTACKS

(SESSION LEGEND)

Regularly check the plastic sleeveat the top of the cymbal stand. If itsworn through it can lead to key-holing of the centre of the cymbal.

Once a head has been distorted it will be dulled and

impossible to tune evenly. However, heads are

expensive and drummers have always tried to prolong

their life. Some suggest that a hair drier or even a hot

air gun used carefully can mould the head back

into shape. Southampton drum dealer Steve White

(www.swdrums.fsnet.co.uk) explains: Tune it a little

higher than usual. Carefully play a hot air gun over it

and watch any dimples disappear. Always do this

outdoors. Keep the gun moving and take care not to

overheat the head. Then let the head cool down andwipe it over with solvent, dunk it into fairly hot water

and scrub with Cif and a sponge scourer pad. Dry the

head thoroughly before re-fitting.

When re-fitting your bass drum hoops, position

them with the claw hooks in the same place you took

them off to minimise wear. And always fit a rubber or

fabric hoop guard/protector to spare your wooden

hoop from your bass drum clamp jaws.

Do not re-use old headswhich are distorted

as they will not tuneproperly

Cymbals are perhaps the most controversial area of

maintenance, as many drummers refuse to clean them.

And many others would be horrified by the notion ofusing any type of scouring action or product on them.

Yard says, I never use cymbal company polishes, they

are too abrasive. Note that some cleaners can remove

logos. However, Yard says, We do give cymbals a quick

spray polish and buff with a circular motion to remove

thumbprints, etc. Any wax free-furniture polish is good,

like Mr Sheen or Johnsons Wax its not waxy, its just

the name! Being wax-free it doesnt leave a smear. It

also prevents oxidisation the blue powder stuff.

Spray furniturepolish onto thecymbal

Wax-freefurniture polish

is best for this

Buff the cymbalswith a circularmotion

This canalso prevent

oxidisation

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DRUM HEADS

CYMBALS


If a (removed) head bows or isfloppy in the middle, its life is over.The only way to get sound out is ifyou keep tightening and invariablyyou choke the drum.

So now youve gotyour drums backin fine fettle. Nowfor our second

drum MOT project, we willmove on to drum heads,cymbals and hardware.Once again we will turn toSteve Gadds long term, UK-based tech, Yard Gavrilovic,owner of Vintage DrumYardin Essex. We will also heartechniques, views and tips from

our broad team of experts

drummers, techs, dealersand restorers.We drummers are lucky in that our instrument

generally only needs the lightest of maintenance. A

swift dust-off with a soft cloth is all thats required

most of the time. And when it comes to cymbals there

are many drummers who not only never clean them,

but actively feel cleaning them is wrong. When we

asked Yard about this, he admitted: If Gadd turned up

and I had cleaned his cymbals hed say, Have you lost

your mind? Another session legend, Dave Mattacks, is

equally averse. He says, Dont use cleaners of any

sort on cymbals just look after them.

But then there are other drummers who like their

cymbals to be shining like new at all times. So the

first thing to be aware of is that opinions about

maintenance may differ quite sharply. In particular

some drummers are extremely wary of using any

product that is in any way abrasive on any part of

their kit. You will have to decide for yourself where

VintageDrumYardsYard Gavrilovic

you stand on this. But if you do try out a new

cleaning product, always do a small test patch on a

hidden area first. And always use the softest cotton

(not synthetic) cloths/rags for polishing and buffing.

Picking up from last month, Yard continues, You

can now reassemble the drum with new heads. I

never put old heads back on, because once they

have been seated and stretched there may be

strange quirks.




Use a paint brush toclean out fluff and dust

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Make sure all nutsand clamps are tight,

properly adjusted andsqueak free

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Use WD-40 with a finespray nozzle to direct the

spray into tight corners

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Be sure the heel platehinge is also secure

and squeak free

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BASS DRUM & HIHAT PEDALS

Yard says, Give pedals a wipe over and get a paint

brush in between the footplate and base to sweep out

any dust. If a pedal is gungey I clean it with WD-40spray with a nozzle which can get into the awkward

areas. I may give the chain a light oiling to ease it up a

bit, but its not crucial.

Preston Prince explains: I strip and degrease

pedals every year using meths. It cleans it all away

without any trace. Then I re-grease them and set them

up in front of a good movie or drumming DVD, when

its raining outside. Sad I know, but I flippin love it! I

just use a classic grease, I have a massive pot of the

stuff. Silicone spray also works for lubrication.

Preston doesnt use WD-40 on moving joints, claiming

everything will eventually come loose. He also offers

this tip on looking after hardware: Dont over-tighten

your hardware. Just tighten until the nuts feel firm.

CYMBALS CONT.

Yard: Always keep your cymbals clean and dry, then

they shouldnt get patches of blue/green oxidisation

on the surface. But if that does happen you would

have to rub the area gently with finest wire wool. This

works for minimal rust. If it gets serious, youd best

throw the cymbal away!

Tom Willhelm, drum tech for Nickelbacks Daniel

Adair says, If cymbals just have fingerprints I use

KickN Brass Cymbal Cleaner. Spray it on and wipe

clean with a soft cloth. Crazy Johns Brilliant Cymbal

Cleaner is great for cleaning pyro dust and stick

marks. It requires a decent amount of elbow grease,

but gets the cymbals back to a shiny state. Preston

Prince says, I use Fairy Liquid and a sponge, no

polishing. Let the cymbal dry completely then put it

back in its bag.

Many drummers use branded cymbal cleaners,

including Jeremy Peake, A J Nosek (tech for Andy

Hurley of Fallout Boy) and Swiss Chris (John Legend),who says, I love Sabian cymbal cleaner. Good

Charlottes Dean Butterworth uses Paiste cymbal

cleaner. Cora Coleman-Dunham says, Depending on

the finish I use Sabian or Zildjian cleaner and

sometimes Windex (original) and cloth baby diapers.

Ian Matthews of Kasabian is in the never clean em

camp. But Ians tech Laurie Jenkins admits that, Two

cymbals which have brilliant finishes get a light clean

occasionally to remove sweat marks or the odd drink

which has been known to fly!

For cleaning I only use Windex to get fingerprints

and marks off, confides Ndugu Chancler. But Ndugu

also protects his metals by keeping each cymbal in its

own individual Cymbag, which acts as protector,

separator and muffler.

Tiki Drums Preston Prince doesnt useWD-40 on moving joints, claimingeverything will eventually come loose

Small oxidisedpatch on cymbal

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Carefully ruboxidised patch with

finest wire wool

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Oxidisedpatch is

removed!

3

HARDWARE

REMOVING STICKY TAPE

TIPSTEVE WHITE

(DEALER/RESTORER)The type of bass pedal thatfolds down should not be stored/transported with other stands as thechains can get tangled and buckled.

TIPSWISS CHRIS

(JOHN LEGEND)

John Legend drummer Swiss Chrisadmits that when it comes tomaintaining his hardware he uses asmall towel and Vaseline for the basspedal and hi-hat chains.

Weve probably all been guilty of putting stickytape on heads, shells and even cymbals at some

time, and removing it can be a nightmare. Yard

suggests, To remove gaffer tape use white spirits.

Let it soak a while. The spirits will soak through


Do not clamp down on yourcymbals with wing nuts. These both

choke and can damage the cymbalhole. Check out Buddy Rich and hisopen sound on cymbals: no felts,no wing nuts, he just allowed hiscymbals to breath and sustain.

gaffer cloth tape. But cheaper PVC tape is a bit

harder, you have to cut into it to let the spirits in

then very carefully use a paint scraper or chisel.Its not a five-minute job. Get the residue off

afterwards with meths. WD-40 claims also to

safely remove tape. Some types of tape, gaffer for

example, will lift off with heat also.




STANDS

For all hardware I use Pledge Multi-Surface Cleaner,

as well as Windex or any glass or metal surface

cleaner, says Tom Willhelm. I use Silicon spray for

any surfaces that need lubrication and also to

lubricate snare strainers.

Ian Matthews says, Hardware might get a dose of

GT85 to loosen some sticky bolts here and there.

Ians tech, Laurie Jenkins, adds: All the hardware,

including the gong stand, is generally cleaned with

Label Remover. It instantly gets off sticky residues,

such as smoke oil, which seems to get everywhere.

Preston Prince says he may do a little re-greasingon the wing nuts and adjustable shafts of stands. He

continues: Wire wool is not an enemy if you get the

correct grade. It can transform chrome to its former

glory. Use Liberon Steel 0000 Ultra Fine.

Cora Coleman-Dunham agrees: Once my rack and

hardware are in place, Ill give them a wipe down with

lowest grade steel wool and then with my cloth baby

diaper. Steve White adds, Any surface rust on

chrome can be removed with a brass wire brush, not

steel bristles as they scratch. Be aware that chromium

is poisonous and can lead to blood poisoning if a

splinter or flake is not removed immediately after you

have caught your finger on it.

On cymbal stands and all hardware I use Windexand a small towel, says Swiss Chris, while Jeremy

Peake uses Mr Sheen to shine up cymbal stands and

other hardware with perhaps some liquid metal polish

beforehand. Dean Butterworth also uses chrome

polish on his hardware as does Ndugu Chancler.

SNARE STRAINERS

Yard cautions, If you try to take a strainer apart you

may not be able to to put it back together. Most

modern strainers are quite cheap, so its usually

better to buy a new one which you can put on in a

few minutes.

Preston Prince agrees: I de-grease them, or, if

battered, replace them. Dean Butterworth says he

also replaces strainers when they get old. Tom

Willhelm uses silicon spray to lubricate strainers, while

Jeremy Peake uses Mr Sheen and spray grease,

sparingly applied, if deemed necessary. A J Nosek is

thorough: I take off strainers and clean, re-lube and

re-attach them as often as needed. On tour thats once

a week minimum. I use WD-40 and/or light oil lube or

mechanical grease.

Steve White says, Any stiffness is usually solved

with a quick squirt of WD-40, but make sure you

wipe away the excess with a rag. I use cord for tying

on snare wires rather than (plastic) strips cut from

drum heads. Strips are smooth and can slip. I useplenty of cord in case of breakage, then you have

some spare. I clamp the loop in the cord in the butt

end then pass the two ends through the snare gate

and the holes in the wire plate, then tie the ends

together using a reef knot, then a half-hitch. Nothing

can slip as it is a complete circle. I do the same for

the throw-off side.

"If you try to take astrainer apart youmight not be able to

put it back togetherUse window cleaner to

clean your stands

A quick squirtof WD-40 can solve

any stiffness inthe strainer

TIPDAVE MATTACKS

Regularly check the string ortape that attaches your snare wires tothe snare release and butt end.




BUYERS GUIDEEvery month inRhythm, our expert reviewers cast

their eyes, ears, and stick-wielding hands over the

best new gear, and theyve been doing so since 1985.

So we reckon we know a thing or two about what to

look for when it comes to buying new gear. Gear canbe, of course, a very subjective choice for the player,

and ultimately you should be guided by your own

ears. We highly recommend taking time to get

yourselves to a bricks-and-mortar drum store. You

will nd these places staffed by the friendliest and

most knowledgeable folk, who can help you with

what youre looking for. Crucially, too, you will get

the opportunity to try gear out before splashing outyour hard-earned dosh. But here weve rounded up

the advice of our gear experts in a few key areas, to

give you some important pointers.

Advice from Rhythms experts on how to buy the gear thats right for you

DRUM KITSHOW TO BUY

An entry-level drum kitLook for a five-piece, full-sized kit, most probably

made in China. Many are virtually identical, just

bearing the different names of the variousimporters/retailers. Based originally on the first

Pearl Export kit from 1983, some have the original

Pearl-style double tom holder and oblong lugs,

others have modern oval or small square lugs.

The number of tuning lugs on each drum is

crucial. For accuracy and evenness of tuning, kicks,

snares and floor toms should ideally have eight per

side rather than six, and small toms five or six rather

than four or five. Shells are usually nine-ply

Philippines mahogany or similar. Premiers Olympic

marque has thinner, more resonant six-ply shells.

Matching wood snare drums look good but arent

necessarily better sounding than steel. Kits arrive

unassembled with a set-up instruction pamphlet. You

have to put the heads on the drums and tune them.

This is fairly straightforward, but its worth buyingfrom a good dealer who will give you sound advice.

Packages should include everything to get you

started: stool, sticks, snare and hi-hat stands, bass

drum pedal and at least one cymbal stand. Also, a

basic 16" cymbal and 14" hi-hats.

HOW TO BUY

A budget drum kitWhile beginner kits are mostly generic, budget kits

are the slightly more expensive entry-level kits from

the dedicated drum companies the designer

labels, if you like. They are mostly made in China or

Taiwan and with their distinctive design touches

lugs, tom mounts, badges and the like you can feel

like you own a proper Pearl, Tama or Gretsch. The

idea is to build brand loyalty from the bottom up.Shells are still cheaper semi-hardwoods, such as

poplar or basswood, but they are often a bit thinner

and better finished than the shells of beginner kits.

Look for a wider range of sizes including

contemporary 22"x18" bass drums plus a bigger

choice of coloured plastic wrap finishes which

should be fully glued to the whole shell, not patched

on with double-sided tape.

You should still get a decent hardware package,

often including a stool/throne. Small toms are usually

mounted off the bass drum, though some kits have

up-market isolation mounting brackets. Bass drums

should have enclosed, drum key-tightened tension

claws rather than old-fashioned T handle types. Andbass and snare drums should have a respectable eight

lugs per head, though floor toms may only have six.

HOW TO BUY

A mid-range drum kitThis is the biggest sector, with the greatest number

of kits all vying for your hard-earned coin. For 20

years, the semi-pro kit sector has been dominated by

the Pearl Export. However, as we compiled this

guide, the Export had been superseded by the

Vision. The Vision has proven itself a worthy

successor to its hugely successful forerunner, hence

its new position at the top spot of the semi-pro

category. Today, semi-pro kits are most often madein China, sometimes Taiwan or Mexico (Pacific), but

dont be put off; the quality is amazing for the price.

You should be able to get a hard gigging, reliable and

good-sounding kit for your money.

Look for a choice of shell packs, with or without

DW Design pro kit

has fantastic buildquality and alsorepresents goodvalue for money



IMPROVE YOUR GEAR:BUYERS GUIDE

SNARE DRUMS

hardware, such as stands and pedals. Dont expect to

get budget cymbals included youll need to choose

those separately. Extra toms are also often available

for extending your kit at a later date, should you

choose to, although choices will be quite limited.

Bass and snare drums should have eight or 10

lugs per head, commensurate with professional kits.

There will often still only be 12 lugs on floor toms,

though. Stands and pedals are better designed,

sturdier and usually double-braced. Hardware and

shell fittings, as well as the overall aesthetics, will

reflect the unique styles and idiosyncrasies of each

company, whether that be Sonor, Pearl or whoever.

HOW TO BUY...

A pro kitWhen you finally get your professional kit, you should

be confident that youre getting the best shells and

hardware that your company of choice is able to offer.

The shells will be premium-grade timber, which allows

them to be thinner for better resonance while

retaining their strength and roundness. They will most

often be North American or Canadian rock maple, or

Scandinavian birch. Theres often the choice of

straight-sided (unsupported), or supported shells with

internal reinforcing rings. The bearing edges should be

perfectly level and cut with extreme care. Drums will

most definitely be fitted with pro-standard heads.

There should be a good range of colours and

finishes (lacquers, waxes, quality wraps) and shell

sizes. Manufacturers usually offer standard shell packs

of the most common sizes at reduced prices, but you

should also be able to make up the exact kit you want,

without compromise, from any shell size on offer. The

company will encourage you to buy its top range ofhardware, but theres no obligation you may prefer

the pedals of a different company, want lighter stands

or prefer a rack. You will also, of course, have to

choose cymbals separately to accompany your kit.

HOW TO BUY

An electronic kitAt the cheaper end of the electronic kit spectrum,

actual playing experience is not going to be much

like that of an acoustic kit, so dont get too worked

up about the difference beween them. These kits

exist to give you tools to work with at home, helping

you sharpen your technique and try out new ideas.

At the higher end of the market, electronic kits

from Roland and Yamaha offer some very fine

sounds stuffed into their modules. If youre

interested in more serious studio applications then

these are definitely the ones to look at.

Getting into electronic drums has never been

cheaper, and even the least expensive of those

listed here has something specific to commend it.

Mesh heads typically make for more rewarding

playing, and if you should grow out of the soundof the stock module you can always upgrade it to

a better unit later on.

The quality of racks used in the entry-level section

tend to vary somewhat. The most basic racks will be

fine for bedroom practice. However, if jams with

mates or even performance is on the cards, youll

need to aim slightly higher to get a kit thatll take the

abuse. Things like quality of clamps, rack design and

ease of set-up become important factors here.

If youre considering an e-kit for live performance,

there are a few things to bear in mind. While mixing

acoustic with electronic (hybrid) is widespread,

particularly on bigger gigs, exclusive use of the e-kit

is largely consigned to home practice and studios forthe vast range of easily available sounds.

To sound good live, the e-kit needs serious

amplification to the point where the cost, weight and

complications of amplification can outweigh any

advantages, certainly on smaller gigs. Although PA

technology has come on in recent years, for most

local gigging bands with a small compact PA and tiny

monitors, adding an e-kit will severely test its limits.

Yamaha and Roland weigh in with robust drum

amps around the 400-500 mark. These work

pretty well for personal monitoring. But many

drummers go for PA-style wedge monitors.

If you are playing the sort of modern music that

requires more electronic or programmed sounds

then the e-kit can be preferable. And, if loud enough,an electronic kit gives you the option to change kits

and nail the feel of a particular record.

HOW TO BUY...

A wood snare drumMore and more drums are now made from maple

and the wood often comes from North America,

which ensures itll be of reasonably high quality.

Birch is also used and Yamaha even offers oak as

an option. Shells are ply construction, but you maynotice some of them are thicker, with more plies

than on cheaper drums. A heavier shell tends to

produce marginally more volume and a higher

fundamental pitch, both sound characteristics

generally regarded as positives when it comes to

snares. Shell material is also key. Maple is known for

its warmth, walnut is wickedly dark and mahogany

packs a deep tone. Birch, meanwhile, carries a tonne

of attack. The wood used isnt the only factor that will

shape the drums sound, though number of plies,construction methods, depth and plenty more details

will make a difference to the snares tone. Theres

something for everyone just get down to your local

drum store and use your ears!

Once you begin to look beyond the 100 price

point, every aspect of the snare drums on offer

should improve. Lugs and tension rods should

preferably have nylon-isolating washers and

gaskets, while hoops will usually be triple-flanged

steel sometimes with thicker 2.3mm gauge metal

rather than the bog-standard 1.6mm offering. Try

out the different snare strainers/throw-offs to see

which feels smooth and looks like it wont break

its the only mechanical part and it can see a lot ofaction. When it comes to mid-range snare drums,

the choice is vast. The snare drum is the most

important drum in the kit. While many drummers

will own just one kit, they may have a collection

of snare drums, if only because they take up a lot

less space. Accordingly, there is a baffling amount

of choice at the mid-level range, thanks to drum

manufacturers putting out snares in just about every

size and colour that they can.

HOW TO BUY...

A high-end wood snareWhy should you shell out a whole heap of cash for amore expensive snare? Wont your trusty old model

do? Well, heres a few pointers that may convince you

to spend the extra pennies.

Increasing the number of plies adds to the

expense and, at the same time, makes the snare

drum slightly louder and drier with a raised pitch.

These are qualities that many drummers find

attractive in a snare, more so than with the rest of

their kit perhaps, where sustain and depth of tone

are prized.

A thicker shell also allows for higher tension, with

the attendant extra stress on the shell, which is often

required of a snare drum. Conversely, for a darkersound go for a thinner shell (like Sonors Delite) that

has a deeper fundamental tone with a more

resonant and colourful timbre.

In the end, the most expensive snare drums do

not necessarily sound appreciably better than theLudwigs Brick wood snare has a birch shell, whichcarries plenty of attack

Roland offers agreat budget

e-kit in theTD-1K




more modest, professional level snare drums. The

main difference is that no expense has been spared

in producing them. When youre splashing out for a

special snare the build quality, finish and attention to

detail should be beyond reproach. The designer ethic

is also evident in high-priced wood snares, with a

myriad choice of finishes available, Rolls Royce-silent

snare strainers and top quality lugs and hoops.

Exotic woods may also be available from some

manufacturers, which will again push the price up.

HOW TO BUY...

A metal snare drumWhile you may own a favoured all-purpose

snare drum, it can be extremely useful to have a

selection for different gigs and styles, particularly

for recording.

Metal shells include those made from steel,

stainless steel, brass, bronze, aluminium and even

copper. Brass is historically prized in the world of

snares, but the brighter timbres of aluminium or

steel might suit you better.

Some shells are spun in a single piece rather

than having a vertical butt-weld. Beaded shells, like

the classic Ludwig Supraphonics, are actually two

spun halves joined at the centre bead. A spun shell

should resonate better than a welded shell, but its

a subtle difference.

CYMBALSHOW TO BUY

Budget cymbalsLets be honest, sweet-sounding hats, crashes and

rides cant yet be made for peanuts. The raw

materials and workmanship that goes into creating

cymbals doesnt come cheap. So, while even the

most miserly sum will buy you round metals, they

will definitely fall short of sounding like the real

thing. If youre even halfway serious about your kit

and youre confident in your commitment, save up

and buy the absolute best you can. If youre sure that

youll stick with drumming, dont skimp on your

cymbals youll only outgrow them in five minutes

and want to upgrade, making those bargain metals

a waste of money in the end.

Most entry-level cymbals come in a pretty limitedchoice of models. Therell be no 6" razor-thin ice

splash to get your hands on here itll be a case of

medium-weight gear in the most popular sizes.

However, thats more than enough to get you

started, so dont be too fussy. While the lure of gear

marketed with the aid of big-name endorsers is hard

to resist, at the entry level its important not to get

blinded by logos. Sure, your favourite Mr Bigshot

might be pictured with XYZ, but there might be a

better option for you at this price-point. With the

choice of instruments less extensive in this sector,

keep an open mind and do your research before

parting with your cash.

HOW TO BUY

Mid-range cymbalsThe mid-level cymbal market is, as with all such

sectors, a never-ending hotbed of activity. Its here

that advances in technology bring rewards in terms

of increasingly good kit for not much cash, and the

trickle-down effect of high-level instruments is to be

found. So while you can spend vast amounts more

on a set of metals, theres much good stuff to be

had from the cymbals at this price-point. If youre a

semi-regular gigger and an occasional studio user,

you can equip yourself very nicely without having to

take out a second mortgage.

While tin has little metallic allure elsewhere, as far

as cymbals go its important stuff and higher levels of

it in the base material mean extra sweetness (all elsebeing equal). In this bracket its interesting to note the

difference between materials on offer. Sabian has

done well to offer the XS20 line (made from high tin

B20 bronze) at the prices it does. Although your ears

should always be the judge, its an impressively

semi-pro foundation to be working from. Theres

more choice of individual cymbals in the various

ranges here than at the entry level. So if you

specifically need heavier rides, or lighter, fancier

hi-hats, youll have to look to spend money on gear in

this price bracket. Metal-friendly rides with big bells

and cool hats like Meinls Soundwave Amuns become

available at mid-level, and are well worth the dough.

HOW TO BUY

All-rounder cymbalsClassic all-rounder cymbals, such as Zildjian Avedis

and Paiste 2002s, provide the player with a good

combination of warmth and

brightness, and this makes them

extremely versatile. By no

coincidence, the classic

all-rounder ranges tend

to be the most popular

sellers for each

manufacturer and this

fact is reflected in the

enormous wealth ofchoice in the cymbals

available. Since classic

all-rounder cymbals

occupy the middle-

ground in terms of

frequency, they are drawn from a fairly wide tonal

band that sits somewhere close to warm cymbals atone end, and errs on the aggressive side at the other.

Its extremely important to remember when buying

cymbals that the sound they come with is their sound

for life. Unlike drums, you cant modify or tune a

cymbal (other than to its detriment by, say, cracking

one in order to make it deliberately discordant), so

what you hear is what you get. You should never rush

into buying a cymbal until youre absolutely sure that it

provides the sound you need. Most drum stores have

demo rooms where you can test instruments in peace

its a good idea to use one to test out the sound of

the cymbal. If the demo room is not free, make an

appointment to come back when it is and ask the store

to hold the cymbal until youve had a chance to try itout. Above all else, though, listen. In keeping with this,

dont assume that your cymbal set has to be sourced

from a single manufacturer. You should try to ignore

the logos and let your own ears decide.

Modern all-rounders, eg: Zildjian As, in general

have a more assertive top end that enables them to

cut through contemporary, highly-amplified

backlines without sounding one-dimensional. This

doesnt just mean loud modern ranges cater for a

wide variety of players, spanning genres as disparate

as jazz and metal. Such cymbals have only evolved

slightly from more traditional designs, so their

heritage is usually easy to trace. Individual cymbals

can also be mixed and matched with existing models.Youll often find name players extolling the brands

virtues, but its critical that you ignore such strong

persuasion and let your ears decide.

HOW TO BUY

Warm cymbalsIts worth doing your research before you invest in

warm cymbals as there is a lot of choice out there.

Warm cymbals, for example Zildjian Ks, Meinl Byzance

etc, deal in subtleties, (both tonal and dynamic) to a

far greater degree than brighter cymbals. And, while

they tend to be less capable of piercing volume than

their bright counterparts, you can guarantee that any

cymbal above 18" is going to be loud when hit with allyour might. Its more a question of frequencies and

warm cymbals operate in the darker area of the tonal

spectrum. There is no single type of warm cymbal

sound that is considered ideal; rather there are

qualities that should all be present in each cymbal, but

DW Design BlackNickel Over Brasssnare has a 1mmbrass shell, withnickel plate

Zildjian New KRides are classedas warm cymbals



IMPROVE YOUR GEAR:BUYERS GUIDE

PLUS

not necessarily in the same proportions. This balance

of warm musicality, trashy overtones and dark

undertow is commonly referred to as the cymbals

complexity. Rides usually give a woody rather than

glassy stick sound, hi-hats are more mellow and

silvery as opposed to cutting and crashes tend to be

rich and harmonious instead of penetrating.

Many, if not all, warm cymbals are handmade. This

guarantees a certain uniqueness to each cymbal.

However, dont assume that two models of a particular

cymbal will be the same because the chances are they

will differ. Always take your existing cymbals with you

when you are trying out a new cymbal so that you can

hear whether everything blends to your liking or not.

HOW TO BUY

Aggressive cymbalsAggressive cymbals do pretty much exactly what it

says on the tin that is provide cutting, powerful

sounds to slice through layers of guitar at high

volume. If this is where your gig is at,

then this type of cymbal is ideal.

When investing in a noisy set of

metals, however, make sure that the

rest of your kit matches the cymbals

in intensity, because if the cymbals are

too loud and wipe out the sound of the rest

of your drums, you wont be getting too many calls.

Be aware, though, that the trade-off for the sort of

extreme performance you get from an aggressive

cymbal is a shortening of versatility. Although that

heavy 24" monster ride might be just the ticket to cut

through a sizeable wall of Marshall stacks on a full

stage, in the pokey back room of the Red Lion it

could be a little overwhelming, particularly if its jazz/

funk night. You have been warned. These cymbals

have been designed to deliver brutal amounts of

volume and also withstand punishment. This means

that they are heavier than regular cymbals so quite

apart from the fact of lugging them around, they

also require a fairly physical action to actually play.

You would also be extremely unwise to expose

yourself to the volume levels that such cymbals

generate on a regular basis without investing in

some good hearing protection too.

HOW TO BUY

DrumsticksThe high-end sector is dominated by the popular big

name brands. However, with more manufacturers

producing pro-quality sticks than ever before, youve

never had such a choice. The quality comes in the

form of different woods (eg: hickory, maple, oak),

although the type of machining used in their

production, the forming of good quality, consistent tip

shapes and good matching in both pitch and weightare important across the board. Decide on a stick that

feels great in your hands dont just use what your

favourite drummer plays unless, of course, that feels

best for you. The weight and balance points can vary

greatly, so at first pick a 7A, 5A or 5B and then choose

a shorter, longer or heavier gauge stick from there.

However, if youre going to be playing heavier styles

of music and you dont opt for one of the fine synthetic

models out there, you will be shelling out money on

sticks on a fairly regular basis. There are many

lower-priced models on the market that exhibit some

high-end characteristics for a fraction of the price.

When selecting a good budget drumstick you must

above all else see how good they feel in your hands.The balance and grip of a stick can be just as good in

the budget models so if you dont mind the odd

blemish or slight sniff of a second then save yourself

some dosh! It would also be advisable if you tend to

shred your sticks rather too easily to consider stocking

up with a few budget sets and see if anyone notices

any difference. Itll be kind on your pocket and, you

never know, you might even find your perfect stick!

HOW TO BUY...

A bass drum pedalWhereas sticks are an extension of the hands and

wrists, a pedal provides a mechanical link between

your foot and kick drum. It is therefore essential thatyou are completely comfortable with your pedal.

Almost all manufacturers produce strap-driven

variants of pedals and direct-drive appears to be

coming back into vogue, echoing some of the classic

pedals of yesteryear such as Ludwigs Speed King. One

quality shared by all modern pedals is their quietness

of operation annoying squeaks are a thing of the

past. Remember: its just as important to develop good

technique as it is to have a state-of-the-art pedal.

Many classic recordings feature inspired bass drum

performances from drummers playing pedals which

are laughably flimsy by todays standards. The breadth

of choice in kick pedals is astonishing, and prevailing

musical trends mean most pedals are being designed

to be played harder and faster than ever.

HOW TO BUY...

Drum headsSingle-ply tom batters are usually of medium weight,

generally made from a single 10-mil film of Mylar. This

is sufficiently strong for the average player, while

retaining a responsive tone, plenty of character and

overtones, allowing a wide tuning range without

choking or flapping. Single-ply heads are brighter and

more open. Unlike snare batters, most of which are

coated for brush and stick response, tom batters are

just as often clear. For a faintly darker, warmer, less

ring-y sound, go for coated. If you want a livelier head,

ideal for much of todays music, go for the clear

version. These heads have greater resonance than

double-ply/reinforced heads, but if youre a heavy

hitter you may find they lose their vitality and punch

too quickly, in which case you should consider heavier,

twin-ply heads that can withstand a punishing stick

workout particularly on the snare. If single-ply heads

provide the right sound but arent quite strong

enough, try reinforcement. This usually takes the form

of a circle/dot of Mylar stuck to the centre of the head.This strengthens the area thats hit most often and

hardest while interfering least with the sound. This is

because the centre is the dead spot of the head

whereas the perimeter is where you get most ring. For

a harder-wearing, attacking sound, double-ply heads

are best. Theres a trade-off though: you get more

attack but less resonance and faster decay.

In recent years weve seen the emergence of

dedicated bass drum heads with in-built dampening.

This may be a perimeter flap of Mylar or more

substantial rings of felt or foam. Such heads cancel out

some of the edge resonance and higher overtones to

focus on the deeper and more attacking thud suited

to modern music. Often these heads are paired withresonant front heads, which are also dampened, and

may have a porthole. A plain black/white logo head

often works fine, though. Such head systems may be

enough on their own to subdue the bass drum for

miking, and certainly for un-miked situations.

Whatever batter head you prefer, the choice of

resonant head will also make a big difference to the

overall sound. The thinner the head, the more resonant

and livelier the drum. Some drummers like to use

resonant heads that are one gauge lighter than their

batters, others prefer to have the same top and

bottom. Be aware, though, coupling heavy twin-ply

batters with extremely thin resonants can cause

tuning nightmares.Drummers who regularly change their batter heads

sometimes leave the same resonants on for years.

This is okay up to a point, but resonants do eventually

lose their sparkle and you may find that a change may

buck up your sound a substantial amount.

Aggressive metals such asT-Cymbals Metalshop Extremedeliver brutal volume

DW 9000 is a greatkick pedal, but youstill need goodtechnique!




21BUDGET KITHACKS

WORDS: TOM BRADLEY

Inject new life into your gear and playing

without handing over your lifes savings

Its fair to say that being a drummer doesnt come cheap and even getting close

to your dream set-up can be an expensive, long and frustrating quest. Perhaps if

we had been warned of this unquenchable thirst for expensive shiny things, we

would have thought twice about picking up our first pair of sticks? Were joking,

of course, but with the cost of living on the rise, holding off from replacing your

kit every time you fancy a change is a prudent move. But what can you do when

you grow tired of the same set-up and your playing becomes stagnant as a

result? Its completely possible to add a fresh spin to your seen-better-days gearwithout breaking the bank, and supercharge your playing in the process. Here

are a few simple tips, tweaks and hacks to open up extra dimensions in your

sound and playing without having to sell the family silver



IMPROVE YOUR GEAR:21 BUDGET GEAR HACKS

1REVITALISE YOUR HARDWAREMOT your gear! Keeping your hardware in good condition will

not only keep it looking good but also make it last longer. Replacing

worn tension rods, lugs and washers is important for both tuning and

playability. Youll feel like youre playing a brand new kit again. So what

are you waiting for? Get yourself a bottle of hardware cleaner, a squirt

of WD-40, a cloth and some good old-fashioned elbow-grease and get

to work! Why not try giving rusty parts a good soak in white vinegar to

bring them back to their former glory?

2EXPERIMENTWITH DIFFERENT HEADS

Replacing your drum heads will give a new lease of life to your

kit, making it sound fresh. There are a wealth of varieties that give us

an incredible amount of choice when it comes to tailoring our sound.

The main choices being single vs double ply and clear vs coated. As a

rule, the thicker the drum head, the shorter the sustain. Really thick

heads (like a Remo Pinstripe) are great for rock and metal. Whereas

a thinner head (like a Remo Ambassador) will give you a much more

open sound and as a result is often used for jazz. The bottom heads

(or resonant heads) are generally much thinner than the top (batter)

but it can be rewarding to try different combinations on both top and

bottom. You could even lose the bottom head entirely for a classic

70s-style concert-tom sound, Phil Collins style!

3TREAT YOURBEARING EDGES

The bearing edge is the part of the shell that comes

into contact with the head and upon which the head

is seated. These can be cut to different angles and

thicknesses to give a different tonality and/or

resonance to the drum. Its wise to have these re-cut

professionally to avoid damage to your precious

drum, although they can also be sanded back to

great effect. You could also try rubbing wax

(beeswax or paraffin wax is best) into the bearing

edge when changing the heads. This fills pores in

the wood and lubricates the contact between the

shell and drum head. This will help it seat more

evenly and should also make tuning easier.

4ADD SOMEPERCUSSION

TO YOUR SETUPAdding extra elements to your set-up

can make a huge difference to yourplaying in terms of inspiration and

orchestration of ideas. These elements

could include percussion instruments such as cowbells,

tambourines, woodblocks or even a side snare, mini timbale

set, roto toms, octobans or bongos. You name it! Percussion

brackets can be purchased (like the LP Gajate bracket) which

allow a bass pedal to connect to any percussion instrument of

your choosing. This can open up your limb independence to a

whole new level. Left-foot clave anyone?

5EXPERIMENTWITH ELECTRONICS

Since the popularity of Simmons electronic

drums in the 80s, trigger pads have been

commonplace in the industry, through many

genres. This trend of adding external triggers to

your existing set-up to create a hybrid kit has

now become a necessity for almost anyone

working as a pro drummer. The good news is, these

triggers are cheaper than you may expect and will

unlock a world of potential in both your kit and your

playing. No need to go out and buy a huge e-kit as there

are much smaller and cheaper modules available, designedspecifically for hybrid set-ups. Small triggers can be added to acoustic drums for

layered sounds or separate pads could give you extra percussion sounds,

sub-drops, loops, or absolutely anything you can think of.




6GET SOME HEARINGPROTECTION

The right hearing protection will not only reduce the risk of

tinnitus and other hearing problems but will also filter sound

frequencies to give you a more pleasing sound from your kit.

A good pair of closed-back headphones will

block out higher frequencies and

can even give the effect of

boosting bass frequencies

(try a pair of Beyer DT100s

or Vic Firth Stereo

Isolation Headphones).

Custom moulded ear

plugs or IEMs (in-ear

monitors) will also

bring the best out of

your drum sound but

for a higher cost.

9TAKE A LESSONSometimes its not the kit, but the player. A

couple of lessons from the right teacher could not only

inspire new musical ideas but also allow you to draw the

best sound from your drums. There are many facets of

both hand and foot technique that can be used to

achieve the most suitable sound for any given musical

situation. For instance, heel up vs heel down on the bass

pedal for dynamic range. Also, our grip can have a

noticeable affect on the weight of a note. Think also

about the position in which you strike the drum or

cymbal. Do you hit your snare dead centre? Slightly off

to one side? Are you playing a rim-shot? These choices

allow us to tailor our sound and create differenttonalities without even reaching for the tuning key.

7LEARN TO TUNEYOUR DRUMS WELL

Most drummers hate tuning. It can be difficult, but just like your playing

it takes practice and patience to master. Try not to get too hung up on it

and spend hours trying to make your kit sound like your favourite

drummers. What you hear when you listen to

them on record is a super-polished and

produced drum sound, impossible

to replicate to the naked ear.

For a medium tuning, take the

resonant head up quite high

(ensuring an even tuning

across the head), then

start with the batter head

finger-tight and tune up

evenly a very small

amount at a time until you

reach your desired pitch.

8PICK UP A SETOF DRUM MICS

A budget set of drum mics wont break the bank but will

give you the ability to alter the sound of your kit to a

whole new level. No need for a fancy studio, just a few

mics and a small mixer or PA will do. Using a pair of

headphones you will be able to EQ your drums and add

effects such as reverb and delay, providing hours of funand inspiration. And thats before youve even pressed

record! If you dont have the funds to pay for expensive

recording software such as Logic or Pro Tools, Audacity is

a free alternative that will have you recording to a click

track or your favourite songs in no time.




13BUY A NEW DRUM THRONEOften overlooked as an important component in your set-up, the

right throne will make you feel more comfortable at the kit, allowing youto spend more time behind it. Stool height is also incredibly important for

posture as well as the height of your drums and

cymbals (check out the interesting things Billy

Ward has to say about kit set-up in his DVD, Big

Time). Try to ensure youre not going

out of your way to reach any particular

part of your kit too. This can apply especially

to crash cymbals, floor toms and hi-hats. For

those of you that use a double pedal,

experiment with the

auxiliary pedal on the

outside of the hi-hat

pedal so that youre

not twisting yourselfinto unnatural

positions to play.

10TRADE YOUR GEARSwap an old snare for a mates old ride, or part-ex

that dusty old Pearl Export at your local music store. The

beauty with drums is, unless theyve really been neglected,

theyll sound as good now as they did out of the box. A bit of

TLC and some new heads and youre ready to go at a fraction

of the cost. Be careful when buying second-hand cymbals, as

they could easily be damaged or weakened from years ofabuse. Look very carefully over the whole cymbal for hairline

cracks and also check for key-holing in the centre. These

can quickly develop into dangerously large cracks.

11CHANGE THETONE OF YOUR DRUMS

Times have changed since throwing tea towels on your toms was all the rage.

There are many products on the market now to help us rein-in unwanted

overtones or even control the amount of sustain desired from a certain drum.

Popular options include RTOMs Moon Gel or Remo O-Rings. It is simple tocreate your own O-Rings by cutting up your old drum heads. And of course,

never underestimate the power of a good roll of gaffer tape. Tissue paper can

also be folded up tight and taped down to mimic the job of Moon Gel.

12REVIVEOLD CYMBALS

Cracked cymbals can be drilled to prevent

further damage and there are companies

like CymbalMagic.com that can create

splash or FX cymbals from beat-up

crashes. Or leave those cracked oldmetals as they are and experiment with

them. Due to their trashy nature, broken

cymbals lend themselves to creating

cymbal stacks. Save yourself money on a

new cymbal and test-run a few combinations

of your old and new cymbals.

14ADD SUSTAINTO YOUR DRUMS

If you have a drilled bass drum with mounted toms, try

using a snare stand for your rack tom as an alternative

( la Travis Barker) to give it more resonance. Not only will

this get the tom singing, it will also allow you to position it

much lower. For maximum resonance, clamp the edge of

the tom hoop within the tips of the snare basket, rather

than placing it completely within it. Floor toms can also

benefit from a similar treatment by adding cushioned

rubber feet. Products such as Booty Shakers can also

help to add more sustain.




15CHANGE YOURBASS DRUM BEATER

Different material types, shapes and sizes of beater

will affect the levels of attack or pitch your bass drum

produces. Felt/wood/vintage bomber styles are all

available. On a budget, try wrapping a sweat band or

sock around your beater to replicate the soft sound of

a calf skin vintage bomber. It is also important

to ensure that the height of the beater is

hitting as close to the centre of the drum

as possible. This will give the fattest tone

available and feel better under-foot. Two

or three-sided beaters are available that

will allow you to change your bass drum

sound in an instant. This can be particularly

useful in a live scenario where you dont

have time to mess around between songs

but would like to keep your options open.

16EXPERIMENT WITHYOUR SNARE STRAINER

The snare strainer determines how tight or loose your

snare wires sit against the resonant head of your

snare drum. This will not only affect sensitivity and

dynamic range but can also give the effect of changing

the pitch of the drum. It is very important not to

choke the drum by tightening the strainer too much.

Snare wires are also available in various sizes,

thicknesses and materials which can

allow you to further tailor the

sound of your snare. Heres

a tip: to replicate the

famous Steve Gadd

snare sound, tune

down the batter

head to a low pitch,

loosen the snare

strainer and

slacken off the four

tuning pegs nearest

the snare wires on

the resonant head.

17TRY SOMEDIFFERENT STICKS

Stick choice affects not only the feel of the kit but also the

tone. Thicker sticks give you a broader sound and a lower pitch.

The opposite applies for thinner sticks. Generally speaking,something like a 5B will work very well for a driving rock style

versus, for example, a 7A for a jazzier touch. Nylon tipped sticks

will also give a brighter stick definition, especially on cymbals.

Hold a stick up to your ear and give it a flick with your finger.

Now try this with your other stick and see if the pitch is higher

or lower. A pair of sticks should be pitch-matched during the

manufacturing process but this is not always the case. If you

have multiple pairs of sticks, try

to match them as closely as

you can to each other

to ensure continuity

in your sound.

18GET A NEWBASS DRUM PEDAL

It is always important to have the right tools for the job. There are

so many different products on the market now that it has become

much easier to find a pedal suitable for your playing style. Pedal feel

is very important to a drummer and you should take the time to find

a pedal that works for you or set up your existing pedal as best you

can for your preferences. For players that like speed, you shouldtighten up your springs and use light beaters. In contrast, less busy

players would probably prefer a weighted beater, set to a loose

spring setting.




19ADD SIZZLE

TO YOUR CYMBALSCymbals can be drilled and riveted for very little cost. This

can add a special characteristic to any cymbal and make

it sustain beautifully. Alternatively, when lots of rivets are

added, the sound becomes very short this works well for

smaller cymbals or trash-stacks. Once again, if you dont

fancy wielding the power tools anywhere near your precious

pies then take them to a cymbalsmith who will be happy to

oblige you for a small fee. For a less permanent solution,

simply use a bath chain or two and hang them over the

cymbal. These can be picked up from any hardware store

and usually come in different weights and sizes which can

help you to achieve different pitches and lengths of decay.

These come in really handy in the studio for a quick tonal

change. They work wonders on crashes for ballads or tojazz up your ride sound.

21PLAY WITH OTHER PEOPLE!Lets not forget that sometimes all you need to make your kit

sound better are a few other musicians. Practising at home or in the

studio can only get you so far. Even for the more seasoned players,

try your hand at a new style. Go to a jam night and play with people

that you dont know. Maybe join a big band? Or try your hand at

something with a Latin flavour? The key is to take yourself out of yourcomfort zone and constantly push your playing to the next level.

20REPLACE YOUR HOOPSChanging your hoops can be an easy and relatively

inexpensive way to alter the tone of your existing snare ortoms. There are a number of different weights, materials

and manufacturing processes that produce a range of drum

hoops; the most familiar being triple-flanged and die-cast.

Not only could the right rims help you find that sound

youve been searching for, but with a choice of steel, brass,

zinc or aluminium, plus various different plating options,

they can add an eye-catching aesthetic to your kit. It is also

important to note that old hoops can become warped and

may actually needreplacing. As with head selection,

combinations of top and bottom hoops can be

experimented with to achieve different tonalities.





RHYTHMS VINTAGE GEAR PAGES STARTED BACK IN 2006 AND WEVE SINCE

FEATURED OVER 160 OLDIES SOME RARE AND VALUABLE, MANY MORE

MODEST BUT EQUALLY TREASURED. SO JUST HOW HARD IS IT TO FIND AND

SAFELY LAND YOUR OWN VINTAGE PRIZE? OVER THE NEXT FEW PAGES,

PREVIOUS CONTRIBUTORS TO RHYTHMS VINTAGE GEAR PAGES SHARE

THEIR EXPERIENCES A ND KNOWHOW



IMPROVE YOUR GEAR:HOW TO BUY VINTAGE DRUMS

MIKE ELLIS: Online auction and sale sites [eBay, Gumtree,

Craigslist, Preloved.co.uk etc] are a good place to start. There are a

few Facebook trading pages as well where prices tend to be lower.

PRESTON PRINCE: Its still the USA where the bargains are.Craigslist is the big one. However, quite a few people have taken

chances and lost money due to scammers.

PETER FOSKETT: What used to be seen in second-hand shops

has been soaked up by eBay. Its a great source of gear and

information. Ive learned a lot about vintage gear in the last 10

years from simply reading peoples descriptions. Consider the

competition on eBay with other potential buyers. So when a kit is

described as Ludwig Super Classic 13", 16", 22", then you are

immediately up against all the Ludwig collectors. So look for gear

that has not been well described: Drum Kit, eg: by an owner who

is not sure what they have. That might throw up the odd bargain.

DAVE MCREADY: Try searching different spellings of well-known

brands on eBay, Facebook, and Gumtree.

ALAN BUCKLEY: The web is one of the last places I would look

because you cannot see what you are getting. On the web you have

to know what you are buying.

GARRY ALLCOCK: Some of the older drum shops still do part-

exchanges. and second-hand shops of any sort might have a drum

under the counter You have to ask.

PETER FOSKETT: Car boot fairs, charity shops, local auctions they are unlikely to know the true value and the auction is less

likely to attract competition and even your local rubbish tip and

skips! A couple of my best finds came from placing a wanted ad for

old or vintage drums in the local supermarket.

SIMON WAGSTAFF: Bargains can be found anywhere. A lot of it

is luck. I recently went into a local music shop and picked up a

Hayman Vibrasonic for 20! It needed a bit of TLC but sounds

great. The good stuff will normally be with existing collectors

though, so network!

RICHARD THOMAS: Attend both UK vintage drum shows - the

UK National Drum Fair (www.ukdrumfair.com) and Sir Alans

Vintage and Custom Drum Show (www.siralandrums.co.uk).

ANDY YOUELLFounder of Drumarchive.

com, the definitive source of

historic drum catalogues.

GARRY ALLCOCKBirmingham big band

legend, vintage drum

collector and player, Garry ischairman and treasurer of

the UK National Drum Fair

(www.ukdrumfair.com).

SIR ALAN BUCKLEYDoyen of British collectors, a

true English eccentric with

by far the biggest UK

collection. Curator of the

Classic Drum Museum andthe Vintage and Custom

Drum Show (www.

siralandrums.co.uk).

MIKE ELLISDrummer and techie, runs

Blenheim Drums specialising

in vintage and modernPremier hardware, spares

and parts, drum repairs

and restoration (www.

blenheimdrums.yolasite.com).

PETER FOSKETTFastidious rescuer and

renovator of modest

British-made drums from

the 1950s to the 1970s.

DAVE MCR EADYScottish drummer and

Olympic-Premier enthusiast,

founder of www.

vintageolympic.co.uk.

ROBIN MELVILLERespected Cumbriandrummer and long-time

Ludwig fan, collector

and player.

JEREM Y PEAKEThe Fen Tiger, great

enthusiast, drummer andclever renovator of modest

UK drums.

PRESTON PRINCEDrummer, drum maker and

teacher, owner of Tiki

Drums, Hove.

DAVE SEVILLEFounder of the Old

Drummers Club, the

essential newsletter for

vintage drum enthusiasts

and traders.

RICHARD THOMASDrum enthusiast, regular

player; with wife Jayne

trades gear and spare parts

as Boozey and Hawkeye.

SIMON WAGSTAFFUK National Drum Fair

committee member,

Slingerland nut and

tireless organiser of

NDF vintage vault.

AS REGARDS BUYING VINTAGE, OR SIMPLY OLD/INTERESTING GEAR, WHERE

WOULD YOU LOOK, ESPECIALLY FOR FIRSTTIM E BARGAINS?

1 . WHERE TO LOOK?

O N L I N E

O U R E X P E R T S

O F F L I N E

English Rogers kit in BlackPearl, circa 1961/1962




JERE MY PEAKE : Look for something that you have some

knowledge about.

DAVE MCREADY: Everything has a value, and stuff that looks

knackered can usually be restored.

RICHARD THOMAS: Clean vintage UK and USA drums.

Also some of the old Japanese gear is nice. Not re-wrapped

and no extra holes. Cymbals: vintage A and K Zildjians, Black Label

Paiste 2002s and old Paiste 602s. Dont buy cracked or keyholed

cymbals.

ANDY YOUELL: I always like to get a complete set. This often

involves searching around for matching hardware and other

matching items. At the moment Im trying to pull together a set of

(unplayed) Premier Donut heads for my early 1980s Resonator.

PETER FOSKETT: The easiest projects are where you find a

complete unmolested kit thats been wrapped up in someones loft

for years. All it needs is a good clean and maybe new heads. Luck

like that comes along rarely, and working on a limited budget Ive

focused on British-made drums Premier, Olympic, Beverley, John

Grey, Ajax, etc. They are accessible and if something is missing

theres a chance you will find a replacement part.

DAVE S EVILLE: Contemporary buyers have the benefit of some

excellent sources of information Mike Ellis, DrumArchive, Rhythm

etc. You wouldnt walk into an antique store and spend big money

without doing some research. Swot up from reliable sources or

repent at leisure. There will always be villains trying to charge topmoney for dubious drums, but many are okay and the rest, if not

saintly, are dumb rather than malicious!

MIKE ELLIS: This can be tricky especially with very old items, but

www.drumarchive.com is a great resource for ID issues.

DAVE MCREADY: Google it or ask someone in the know. There

are plenty of forums on the net. Beware, not all sources are what

they claim to be!

SIMON WAGSTAFF: Identifying drums can be tricky, especially

with badges/transition periods and no serial numbers.

PETER FOSKETT: Beware if youre making a decision from just a

photograph and description. On the whole, sellers are honest. Ivemade some great purchases on eBay. Its a good source for parts.

JERE MY PEAK E: Ask for more photos or go along and take a look.

Know your subject or do your research.

WHAT SHOULD YOU LOOK FOR?

HOW CAN YOU BE SURE TO IDENTIFY

ITEMS CORRECTLY?

2. THE KNOWLEDGE

3. AUTHENTICITY

ALAN BUCKLEY: Collect catalogues, they are the only reliable source of

information. Or sometimes the experts who have been collecting for

years. But even so-called specialists do not always know the dates. Even I

make mistakes.

ANDY YOUELL: On drumarchive.com weve got hundreds of catalogues

from all the major (and some not-so-major) brands. I might even say it is

the ultimate reference source for vintage drums. I dont do as much on the

web as I used to. I gave the Asba site (www.asbadrums.com) to a guy in

France. I shut down vistalites.com and gifted the domain to Ludwig.

JERE MY PEAKE: Forums and Facebook can be helpful, though

sometimes people are not as knowledgeable as they think they are.

Eventually you get to know key people who really know their stuff. Oftenthey have an encyclopaedic knowledge of a particular brand and love to

share that knowledge. The best resource for catalogues is undoubtedly

the irreplaceable www.drumarchive.com. I also enjoy Dave Sevilles Old

Drummers Club publications and the websites run by enthusiasts.

SIMON WAGSTAFF: There are plenty of books, some of the best being

the Slingerland, Gretsch and Rogers books, all written by Rob Cook (www.

rebeats.com). For advice on dating drums and what to look for, www.

vintagedrumforum.com is good. But the best advice is to talk to collectors.

PRESTON PRINCE: Knowledge takes time, you cant just dial it in. Get

Rob Cooks books. They are wonderful resources with plenty of insights.

Steve Maxwells archived listings of historical sets is also good (www.

maxwelldrums.com).

RICHARD THOMAS: Wikipedia, Geoff Nicholls drum books, also

Modern Drummerand Rhythmmagazines.

MIKE ELLIS: The Drum Bookby some no-hope chancer called Geoff

Nicholls is a great reference tool!

ROBIN MELVILLE: Books on US vintage stuff by Rob Cook and Harry

Cangany. Also, Ned Ingberman has an excellent website (www.

vintagedrum.com) with loads of information. Tam Rankin runs a website

(www.vintprem.moonfruit.com) devoted t

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