Swiss Matthias
Platinum Member
For sure it's not about the drums.At the end of the day, is there really a drum out there so superior to what vinny was playing that he had to leave? I doubt it.
For sure it's not about the drums.At the end of the day, is there really a drum out there so superior to what vinny was playing that he had to leave? I doubt it.
Ummm, what money?? Surely you don't believe that Ludwig, DW, or any other legit companies pay any of their artists....
Its never about the principle, its always about the money.
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I think a lack of cash payment direct to artists is a given. But a logistics and support network would come from the company purse, wouldn't it? I'm guessing some artist requirements take up more of that purse than others.....and some artists require things that the purse just can't provide? Or am I way off base here?Ummm, what money?? Surely you don't believe that Ludwig, DW, or any other legit companies pay any of their artists.
I agree with the sound observation. None of the LUDWIG kits I've heard him play do anything for me in the sound dept, can't say its despicable, just not inspiring and certainly not as good sounding as the GRETSCH kits he's played over the years. The way he tunes and plays does have something to do with it.I, for one, believe that for Vinnie it is about the drums. His ludwigs sounded like crap when I saw him recently. Like a gretsch set on a really bad day. I've heard from roundabout (but reliable) sources that he's not going to endorse anything for the time being. He's looking around though...I think it'd be cool to see him on a different brand every night but that's not realistic logistically or for consistency.
Ive heard Vinnie make tuning choices that did not "show off" the gretsch sound. The Jeff Beck Live at Ronnie Scott's comes to mind. Just absolutely no tone coming from those drums and it's that's the way you tune, why play Gretsch? Of course that kind of thing had been going on for years....I don't even know how he could have technique on a drum tuned that low..I agree with the sound observation. None of the LUDWIG kits I've heard him play do anything for me in the sound dept, can't say its despicable, just not inspiring and certainly not as good sounding as the GRETSCH kits he's played over the years. The way he tunes and plays does have something to do with it.
By comparison you'd have to work hard at getting a GRETSCH kit to sound off, or at least Vinnie would have to work hard at it, put effort into it.
When you play a lot things can easily change over night. Its all about the feel IMO (or in my case), sound being subjective as it is... but even so GRETSCH kits sound more pleasing over a wider tuning range to me than do LUDWIGS.Ive heard Vinnie make tuning choices that did not "show off" the gretsch sound. The Jeff Beck Live at Ronnie Scott's comes to mind. Just absolutely no tone coming from those drums and it's that's the way you tune, why play Gretsch? Of course that kind of thing had been going on for years....I don't even know how he could have technique on a drum tuned that low..
I had to look it up.Vinnie signed w/GRETSCH in 93'... so 20 years, that 'is' a long time.
There are plenty of youtube clips out there where Vinne's Gretsch drums sound like crap - cardboard boxes with mics. The room, the tuning, the heads all play a big role. I like Gretsch drums, but I also like Ludwig drums, so I'mnot biased here. I tend to go off what I can make the drums sound like rather than what I heard a kit sound like in a big venue with tons of mics, compression, effects, etc...I agree with the sound observation. None of the LUDWIG kits I've heard him play do anything for me in the sound dept, can't say its despicable, just not inspiring and certainly not as good sounding as the GRETSCH kits he's played over the years. The way he tunes and plays does have something to do with it.
By comparison you'd have to work hard at getting a GRETSCH kit to sound off, or at least Vinnie would have to work hard at it, put effort into it. Consistency and ease of getting a good sound, not a lot of drums have that sonic attribute.
I can see Vinnie going to DW, look at the emphasis J Good puts on working hand in hand w/artists, Im sure he'd love to have Vinnie on board. DW is supporting A list drummers like those drummers envision being supported. The DW door opens wide to someone like Colaiuta, hard not to want to be a part of that.
Agreed!I think a lack of cash payment direct to artists is a given. But a logistics and support network would come from the company purse, wouldn't it? I'm guessing some artist requirements take up more of that purse than others.....and some artists require things that the purse just can't provide? Or am I way off base here?
Most companies do a product tour at stores to demonstrate new gear. They're presented by the local/regional reps, and/or someone from the company, and may also include artists as available.With PP, Bill Detamore had been out there at first, Johnny Craviatto has done a drum shop tour, Fred Gretsch has come out...
Even Hagi from Yamaha came out with Billy Cobham a few years ago. Ronn Dunnett has even done a bunch of stuff to promote his great kits & gear in the last couple years at shops.
Ludwig hasn't done any of that--even with all the new ATLAS gear (that is great stuff) that has come out in the last year or so.
Ah, I didn't know Eddie was with Ludwig now. I haven't seen him in years.At the end of August, I was inolved with an Atlas Road Show presentation at Bentley's, with Ludwig's Kevin Packard and rep Eddie Kramer (no, not the famous engineer/producer!) Ludwig also did the same at Pro Drum with So Cal rep Mike Brucher. So yes, Ludwig as a company is out there helping drummers - and dealers - become more familiar with their products.