M
Matt Bo Eder
Guest
Alright, big rant incoming.
I think a lot of this debate boils down to a few things.
The first issue is values, that is, what is important to you the player. Is having a bunch of drums, cymbals, and other things to hit in front of you more important than the quality of those items? I know players who opted for a big shell pack and buy cheaper cymbals because they know it's the best way to put what they feel they need in front of them. On the other end I've known players who will spend 2000 on three drums because having the best quality instrument is more important to them than having a bunch of things to hit. There isn't a problem with either way, it's just that both parties had to decide what was more important to them when they went to buy gear.
The next issue is the semantics, mainly the definition of what "high end" or "pro" really means. Honestly I consider anything that cost more than 1000 for three drums to be, at the very least, acceptable in virtually any circumstance. That being said, there are still benefits to spending more money, although some of the benefits may not matter in the context of a given player's values. So by that measure alone, most of us fall in the "Gear Matters" camp by virtue of using high/higher end equipment.
It is true that a well founded argument could made about the diminishing returns as you go higher up the price scale, but the reality of the matter is that all of the little benefits start to add up, especially if you are a working drummer. While a Gretsch Renown is perfectly fine for recording and playing out live, rigorous gigging, and tour, it's still a product mass produced in an overseas facility and it looks, sounds, and plays like every other drum off that line. There isn' much of an issue with that, but at a certain point many dedicated and professional players begin to want that "something special". The unique finishes, sizes, manufacturing techniques, and shell specifications produced by artisan drum makers from first world countries is a lot more than just some commodity piece you pick up from GC after work one day.
At the high end of the price scale, its not necessarily that the drums sound or play "better", rather it is that they become a unique piece of art unto themselves. They represent more than just a drum kit, they are the manifestation of years of dedication and sacrifice of time and money into the thing you love. Its the sort of purchase made by players who treat drumming and music as a lifestyle. If you're going to be spending between 2-8 hours a day 5 days-a-week behind the drums, better to make sure every aspect of that kit is comfortable and enjoyable than let anything frustrating seep in to your playing from the gear end.
Well, perhaps.
I know artists want something special and unique, which justifies the aesthetics of a kit, but in the end my point was about build quality. And I know, a lot of you in the "the gear doesn't matter" camp, aren't working as much as you'd like. Once you get to the point where you're out in it three or four nights a week, years could go by before anything breaks on that top-flight DW kit you spent $6000 for. But if you go out with a $1500 Pearl Vision, you may find bits and pieces falling apart a lot sooner. I know when I'm working my regular job, and then playing out three nights in a week, I do not have time to be dealing with a stripped part or having to replace something.
Also, you may not be the one moving and taking care of your gear. As a sound engineer, I've seen plenty of drumsets just show up at a venue and we'll set it up, or at least get close. When you have a bunch of stage techs doing construction work, it's kind of a shame when the drums are considered part of the construction backdrop, and those stagehands may or may not be the most delicate on musical instruments, but that's how it works for us. Even dealing with provided backline instruments, those are not treated well either. Throw 'em on a stage that can get as hot as 100-degrees under the stage lights, and then the temperature change when the lights go out and the drums are sitting there waiting to be struck, wreaks havoc in the short term.
So, if you're moving your own stuff around and can keep up with whatever issues it may be developing, that's cool. I've been doing local gigs for over 30 years now and I never let 'stuff breaking down' be an excuse as to why something's not happening. It just helps me be professional.