wombat
Senior Member
In another thread Andy (keep it simple) made a reply which included the following observations (ive edited out parts of his comment not related to this thread)
How true Andy, I suspect that awareness is what sets your drum making apart.
As some will know I recently bought a Brady snare and I could immediately tell the difference between that and other snares I had played up until that point.
Differences such as ease of tuning to a variety of "ranges" and in those ranges still have a synchronicity with the rest of the kits tuning, whatever that may be. indeed in many ( not all) cases its tone enhanced as well as complimented the kit sound.
The snare also had (for me as a mug punter drummer) an amazing "ease" in obtaining subtlety of tone and loudness.
There are other manufacturers using Australian Hard woods, who also hand make their drums in Australia , many with largely "unheard of names" in the wider drum community.
With that in mind I recently bought 2 other Australian hardwood snares (14 by 6 ish) expecting similar dynamic range, nuance, ease of tuning etc. ( I wont mention the manufactirers name)
With both snares I was horribly dissapointed firstly by the look. For a 6 inch depth it had that much "metalwork" in the rims that from a casual look the snares looked like a piccalo snares, and indeed it played like one sound wise.
For someone who loves drum aesthetics I was dissapointed that so much lovely timber was covered by lumps of metal.
I also found the drums very finniky to tune, had snare buzz unless you tighten the heads till they scream for Mamma, and still sound like a "rata-a-tat" marching band snare.
With Australian hardwood I was hoping to have the option of extracting a deep warm tone with a stockmans whipcrack kind of "punch" and short sustain.
I can get such a sound as mentioned on the Brady...but also on my previous go to drum...a " cheaper " 6 ply maple Tama Artwood 14 by 6.5 and also my MUCH CHEAPER original Yamaha 'GIGMAKER" snare.
I get the feeling that the drummaker is a fine woodworker and indeed I have seen some lovely bits of kit by him (looks wise) but I dont think he gets Andys point of " all elements moving towards a clear sonic character objective."
I would love to show examples but I dont want to bag a manufacturer based on my experience, rather I wanted to share my experience to back up Andys statement and in an oblique way compliment his objectives and desire to make not just pieces of art, but apparently (according to those whove been lucky enough to play them) great sonic characteristics !!
Oh in case you think I have more money than sense
A / yes thats true except I have bugger all money and even less sense in spending it !!
and B/ I intended to keep the best of the bunch and perhaps a "backup" and move on the rest...
Yes, Andy here ( sentence deleted)
There really is a design lesson here, & the following observation is not aimed at any specific line of drums.
Just because the specification list looks impressive, doesn't even start to guarantee a good instrument. The very best instruments are designed without compromise, & with all elements moving towards a clear sonic character objective. Honestly, that's rare. The real stand out instruments are ones where the end result is clearly greater than the sum of it's parts. I've seen examples of such stand out instruments in the lower price tiers, & I've seen (especially recently) some terrible examples of poor performing drums in the very high price tiers.
Just because a drum has steam bent shells, or a certain wood species, or 5 plies - 3 plies - 30 degree edges, or whatever feature, in isolation, does not make, or even necessarily positively contribute towards, a great instrument. You can have the best shells in the world, but (depending on what you're trying to achieve) if you screw up the edges, or hang boat anchor hardware onto the shell, or even get the basics of thickness & depth skewed, it's all for nothing.
How true Andy, I suspect that awareness is what sets your drum making apart.
As some will know I recently bought a Brady snare and I could immediately tell the difference between that and other snares I had played up until that point.
Differences such as ease of tuning to a variety of "ranges" and in those ranges still have a synchronicity with the rest of the kits tuning, whatever that may be. indeed in many ( not all) cases its tone enhanced as well as complimented the kit sound.
The snare also had (for me as a mug punter drummer) an amazing "ease" in obtaining subtlety of tone and loudness.
There are other manufacturers using Australian Hard woods, who also hand make their drums in Australia , many with largely "unheard of names" in the wider drum community.
With that in mind I recently bought 2 other Australian hardwood snares (14 by 6 ish) expecting similar dynamic range, nuance, ease of tuning etc. ( I wont mention the manufactirers name)
With both snares I was horribly dissapointed firstly by the look. For a 6 inch depth it had that much "metalwork" in the rims that from a casual look the snares looked like a piccalo snares, and indeed it played like one sound wise.
For someone who loves drum aesthetics I was dissapointed that so much lovely timber was covered by lumps of metal.
I also found the drums very finniky to tune, had snare buzz unless you tighten the heads till they scream for Mamma, and still sound like a "rata-a-tat" marching band snare.
With Australian hardwood I was hoping to have the option of extracting a deep warm tone with a stockmans whipcrack kind of "punch" and short sustain.
I can get such a sound as mentioned on the Brady...but also on my previous go to drum...a " cheaper " 6 ply maple Tama Artwood 14 by 6.5 and also my MUCH CHEAPER original Yamaha 'GIGMAKER" snare.
I get the feeling that the drummaker is a fine woodworker and indeed I have seen some lovely bits of kit by him (looks wise) but I dont think he gets Andys point of " all elements moving towards a clear sonic character objective."
I would love to show examples but I dont want to bag a manufacturer based on my experience, rather I wanted to share my experience to back up Andys statement and in an oblique way compliment his objectives and desire to make not just pieces of art, but apparently (according to those whove been lucky enough to play them) great sonic characteristics !!
Oh in case you think I have more money than sense
A / yes thats true except I have bugger all money and even less sense in spending it !!
and B/ I intended to keep the best of the bunch and perhaps a "backup" and move on the rest...