M
Matt Bo Eder
Guest
Maybe I'm a bit conservative (this is not a political discussion). But I'd like to think I'm a bit "out there" too, just not so much. And I wonder if our choices in drum finishes reflects this.
In my case, having owned at least 20 kits by now, I think mine began in the 70s, when mom and dad got me my first kit (so I can blame them). It was a gold sparkle Slingerland kit from the 50s. I beat about on that from the age of 9 til' about 13, and then moved into another Slingerland kit in solid black, which I played until I was 18. So I think my blah blah finishes really laid the groundwork to really break out on my own when I started to get my own gear.
I recall thinking how much I hated sparkles, and solid colors after that. When I went to my first set of Tama Superstars, they were in that super red cherry wood stain, and I played that for a few years into college. Then I found Yamaha Recording Custom and got it in the then-new Wine Red wrap, then I had a Gretsch USA in orange stain. Wanted to be retro wilder and found a Ludwig clear Vistalite in a pawn shop, and although considered a classic finish, also had a set of Slingerlands re-wrapped in black oyster pearl.
When I look back on all the kits I've had, I've noticed that the ones I play the most have been the ho-hum finished ones. I played a Ludwig 5-piece in Maple Cortex built in 1973 for a very long time. Ludwigs in thermagloss maple have visited with me twice now, and I love those (so much so that the current set is in the shop getting holes plugged).
Although I've been trying these way-out colors and finishes, I think I'm more comfortable on kits don't that draw attention to themselves. The old blue sparkle Ludwigs worked out very well and for a good long time too. Maybe deep down inside, I know I don't need to have a kit that draws attention to me - which is probably why I always gravitate back towards regular ol' sparkles and wood finishes.
When I had the Ludwigs in the blue/olive oyster, I liked those, but had this feeling more people were distracted by their love or hate for the finish rather than noticing if I was playing well. Before this one a DW kit in that zebra FinishPly did the same thing - not exactly something that looked subdued on a bandstand at a wedding reception. I'm beginning to notice that the white 'n black oyster of my current kit is doing the same kind of thing. Take the black out of the equation, then it's just normal white marine pearl, and nobody has a reaction, and maybe they can enjoy the music better if their eyes weren't drawn to the drums in the center of the stage.
I remember when Ron Tutt said he got some Vistalite kit for his days with Elvis, and he noticed that the drums were throwing the King off. Although Elvis never said so, Ron saw that and brought back his green sparkle Ludwigs to finish off the tour.
So I wonder (if only too late at my age), if finish choice plays a role in whether or not you gig steadily, or become a fixture for a particular group of people. I had just gotten into tuning down to Eagle's tonality and have become interested in blending in with the music being made. Maybe doing it visually has a lot to do with that too. What do you think?
In my case, having owned at least 20 kits by now, I think mine began in the 70s, when mom and dad got me my first kit (so I can blame them). It was a gold sparkle Slingerland kit from the 50s. I beat about on that from the age of 9 til' about 13, and then moved into another Slingerland kit in solid black, which I played until I was 18. So I think my blah blah finishes really laid the groundwork to really break out on my own when I started to get my own gear.
I recall thinking how much I hated sparkles, and solid colors after that. When I went to my first set of Tama Superstars, they were in that super red cherry wood stain, and I played that for a few years into college. Then I found Yamaha Recording Custom and got it in the then-new Wine Red wrap, then I had a Gretsch USA in orange stain. Wanted to be retro wilder and found a Ludwig clear Vistalite in a pawn shop, and although considered a classic finish, also had a set of Slingerlands re-wrapped in black oyster pearl.
When I look back on all the kits I've had, I've noticed that the ones I play the most have been the ho-hum finished ones. I played a Ludwig 5-piece in Maple Cortex built in 1973 for a very long time. Ludwigs in thermagloss maple have visited with me twice now, and I love those (so much so that the current set is in the shop getting holes plugged).
Although I've been trying these way-out colors and finishes, I think I'm more comfortable on kits don't that draw attention to themselves. The old blue sparkle Ludwigs worked out very well and for a good long time too. Maybe deep down inside, I know I don't need to have a kit that draws attention to me - which is probably why I always gravitate back towards regular ol' sparkles and wood finishes.
When I had the Ludwigs in the blue/olive oyster, I liked those, but had this feeling more people were distracted by their love or hate for the finish rather than noticing if I was playing well. Before this one a DW kit in that zebra FinishPly did the same thing - not exactly something that looked subdued on a bandstand at a wedding reception. I'm beginning to notice that the white 'n black oyster of my current kit is doing the same kind of thing. Take the black out of the equation, then it's just normal white marine pearl, and nobody has a reaction, and maybe they can enjoy the music better if their eyes weren't drawn to the drums in the center of the stage.
I remember when Ron Tutt said he got some Vistalite kit for his days with Elvis, and he noticed that the drums were throwing the King off. Although Elvis never said so, Ron saw that and brought back his green sparkle Ludwigs to finish off the tour.
So I wonder (if only too late at my age), if finish choice plays a role in whether or not you gig steadily, or become a fixture for a particular group of people. I had just gotten into tuning down to Eagle's tonality and have become interested in blending in with the music being made. Maybe doing it visually has a lot to do with that too. What do you think?