Great can always get better. After decades of helping some of the world’s most iconic drummers achieve their sound, Aquarian was faced with a tough decision: stay the course or commit to a line-wide revamp that addressed endorser requests for a brighter, more tonally rich head. It chose the latter.
In an effort to create a drumhead better suited to modern microphones, electronics, and recording techniques, Aquarian changed its Mylar supplier and developed a completely new film. The resulting product received such an overwhelmingly positive response from endorsers and artists, Aquarian felt the new film warranted its own name: Nu-Brite.
Aquarian sent over a wide selection of these updated heads for this review. Let’s take a look at each set by application.
The good people at Aquarian were nice enough to ship a full set of Classic Clears for use as resonant heads. Before I did anything else, I put the single-ply, 10-mil CCs on tom and snare bottoms without changing my batter-side heads. The result was remarkable.
The Classic Clear resos immediately perked up my thin-shelled maple toms, adding loads of rich, robust tone. They sang just a little longer, and spoke clearly at all volumes. This was most noticeable on a particularly pesky 12" tom, which sounded more comfortable than ever across a full dynamic range after the switch.
Similarly, my maple and walnut snare drum that received the Classic Clear makeover was immediately more crisp and, well, clear. Quite the difference for having only replaced the bottom heads.
In an attempt to showcase the wide tonal variety afforded by its Nu-Brite Mylar film, Aquarian sent three separate sets of tom heads for this review. First up, the company included a second pair of Classic Clears for use as tom batters. As soon as I got them tuned up, I was met with a quick, rich attack followed by lots of clean tone – the Nu-Brite name immediately made sense to me.
I spoke with legendary drummer and Aquarian founder Roy Burns about creating the Nu-Brite film. In that conversation, he told me about the company’s desire to design a head that produced the same musical tonality that helped establish Aquarian’s reputation, but with a modern, bright attack capable of cutting through heavily amplified instruments. The Classic Clears were the perfect embodiment of that goal, with each emitting an enormous, deep sound even at a medium tension.
Cranked up high, the CCs spoke with a sharp bark and a pointed sweetness that was begging for a nimble jazz combo. Then, with a medium tuning, they took on a whole new persona, producing an almost hyperbolic tom sound that was simultaneously punchy and round from top to bottom. For me, the Classic Clears simply nailed that perfectly even, iconic tom sound suitable for everything from fusion to pop to medium-volume rock.
With a slightly more focused and deeper sound, the clear Response 2’s made an excellent option for drummers in search of something a little more durable that doesn’t sacrifice too much tone. Featuring two 7-mil plies superbly sealed with Aquarian’s unique Vacuum Process, the Response 2’s had much of the same clarity and projection as the Classic Clears, but with a little extra low end and added warmth. Kind of splitting the difference between vintage roundness and popping attack, these heads would be perfect in modern rock or funk settings.
Finally, I slapped on the last set of heads from Aquarian’s tom spread: the Force 10s. With two 10-mil clear plies, the Force Tens just looked heavy on the drum. Fortunately, they didn’t play so thick, offering a comfortable feel that really worked best at a medium tension. The Force 10s had so much built-in low end that a middle tuning delivered that big, thumping heavy rock sound and more than enough body to back it up.
I used all the heads in this review on different rehearsals and gigs, but the Force 10s proved some of the most surprising. At a session that covered everything from jingling post-rock to sloppy funk to insanely loud sludge, they put up big tone with enough control to avoid stepping on other instruments. The extra weight cut down on the attack just a bit, and they couldn’t handle extremely low or high tunings as easily as their lighter cousins, but they just killed all throughout the middle range.
With my toms freshly reheaded, it was time to move on to the bass drum. First up, I received one of Aquarian’s black, 10-mil, single-ply Regulator heads for the resonant side. The head featured a 4.75" pre-cut hole at just a little past the 3 o’clock position, as well as the company’s patented Floating Muffling System in the middle.
The FMS proved one of the most intriguing elements of all the heads I checked out. Using a 2" wide, 10.5"-diameter foam ring centered on the inside of the head, the Regulator mostly eliminates the need for internal muffling. The foam ring really seemed to focus and highlight low frequencies without muddying up the tone or reducing attack. No matter which head I paired the Regulator with, I was treated to an ultra-bassy yet controlled note that was consistent at all volumes.