What’s up with the sudden “explosion“ of bop and safari drum kits? And who uses the them? Do we really want/need them?
And emerge as SUPERMAN?!!I'm not sure if there's an explosion. Some gigs, I'm guessing just don't require a "full size" kit. I think a few of the companies re-designed the bop kits they already had on the market, so you're seeing an influx of new models. But they've been there.
Space saving for sure. I picked up a used Ludwig Breakbeats a few months back. I think I could set that up in a phone booth.
I got a steal of a deal on a Sonor Safari about 4 years ago ($150, new in boxes). I had planned on flipping it but the band had a couple private gigs come up where I needed a smaller footprint PLUS transporting my regular kit was going to be a challenge, I ended up keeping it and used it on those 2 gigs.
The configuration is a 10" tom, 14" floor and 16" kick. I ditched the stock heads, put thick 2-ply heads for batters and Remo Ambassadors on the reso's to fatten up the sound. I'm probably one of the few bop kit owners that doesn't want a "bop kit sound."
The reason why kits used during the Bop Period became smaller in size had absolutely nothing to do with the music. It was pure logistics. Bop groups (normally quartets or quintets) travelled by car rather than by buses used by big bands. So everybody PLUS their instruments had to fit in one or two cars (that was the normal number of vehicles used). Cars back then were pretty big with extremely sizeable trunks (boots for our British friends). Even so, something had to give, so, since the size of the acoustic bass couldn't be changed, drummers got smaller sized drums.
Take a look a some of the images here in DW of Max Roach, Art Blakey, and Kenny Clarke earlier in the Bop Period. They all had "normal sized" drums.
There is a sizeable market for compact kits these days. Lots of small stages and/or low volume gigs that require a small drum kit. And the portability factor is huge for some people too.
One thing I think is overlooked by most is that drum shell construction has improved so much in the past 25 years. Back in the day, a tiny kit would've sounded bad. Almost like a toy. But these days tiny kits sound bigger than they actually are.
well saidThere is a sizeable market for compact kits these days. Lots of small stages and/or low volume gigs that require a small drum kit. And the portability factor is huge for some people too.
One thing I think is overlooked by most is that drum shell construction has improved so much in the past 25 years. Back in the day, a tiny kit would've sounded bad. Almost like a toy. But these days tiny kits sound bigger than they actually are.
I've gigged these 'micro' kits for years now, currently driving a pearl midtown (10t,13t,16b,13s) and it's hands down my favorite kit I've ever owned. I used clear hydraulics over mesh reso's on the toms, UV1 over clear 300 w/ puresound blasters on the snare, and clear emad with small ring over stock reso with 4" port and no pillow/laundry/additional muffling. Most would assume my drums would sound dead based off those sizes and head combos but it's far from it. Every drum has a surprising amount of sustain with a solid punch, plenty of projection, and great sensitivity. Every where I go I get compliments on that kit. It sounds equally good in a large boomy room as it does in a small dampened room, works great live both mic'ed and acoustic, and records like a dream.
I play everything with this set up. Hip hop, spaghetti western, surf rock, jazz fusion, prog, and it's covering the 3 album portfolio of the band I'm currently filling in for perfectly.
Fact, at least in my little corner of the world... smaller drums “look” quieter to venue managers/owners. 95% of the gigs I do (did, pre-COVID) are in restaurants and/or wine bars. The expectation is the band play quietly. Most of the venues I work don’t even normally allow drummers, but I’ve gained a reputation in town as the quiet guy. I certainly don’t jeopardize that reputation by bringing in the Howitzer’s. I bring in bop-sized drums that look cute to the venue people. I even go so far as to only bring subdued-finished drums, to appear even quieter. In theory, it’s pretty silly. In practice, it works and works well.
I don't doubt that account. To those who have no familiarity with drumming, looks are deceiving, but the skilled drummer knows that volume is in the hands, not in the shells. A player with dynamic mastery can manipulate a cranked-up marching snare at a whisper. Quietude is the offspring of technique, not of construction.