LP Signature Percussion

Raul Rekow And Giovanni Hidalgo

By Brad Ranola Originally published in the December 2006 issue of DRUM!

It’s no secret that LP works with some of the best players in the industry, so whenever the company releases new signature products, I’m always intrigued (and, to be honest with you, I’m also hoping my UPS guy will show up with a box or two … or three). The latest bunch of signature bangables from the LP folks includes a set of Raul Rekow drums, Giovanni Hidalgo’s Compact bongos with stand, and a new mounting system for their larger siblings, the Compact congas.

Rekow’s Congas and Bongos

If you’re at all familiar with Raul Rekow, you know that he’s not only an incredible player but also an incredible showman. And the perfect match for his energetic performance style is the not-so-subtle finish on his new set of drums. The three congas and set of bongos come wrapped in a Tiger Print finish with gold glitter accents; even the lugs and rims are outfitted in gold. Sound bold to you? Well, as I pulled the drums out, each individual piece drew some vastly mixed reactions and comments from my bandmates. It wasn’t until I got the complete set of drums next to each other and I stood back that it sunk in: These instruments definitely look good onstage. Up close, the finish can be a bit much for those used to seeing plain-Jane, natural-wood congas. But from a distance, the finish really becomes fetching. And dare I say that the tiger stripes even manage to enhance the sexy shape of a conga shell? (Yeah, you know congas are sexy.)

The shape and construction of the congas appear to be the same as what we all know as the LP Classic series drum. The 30" tall, 3-ply wood shells come with Comfort Curve II rims, hand-selected rawhide heads, heavy-duty 5/16" lugs, and the familiar LP triangular lug plates. A carrying handle and a special badge sporting Raul Rekow’s name top off the drums. The conga sizes in this series are standard – 11" quinto, 11.75" conga, and 12.5" tumba. The bongo diameters measure in at 7-1/4" and 8-5/8" with a depth of about 6.5". These drums also had the same high-quality lugs, heads, and Comfort Curve II hoops as the congas, and I give bonus points for the nearly invisible shell protectors that keep these tigers’ coats scratch-free.

The sound of the drums is very identifiable and totally LP – the perfect blend of crisp highs and deep bass tones. The congas had plenty of volume and sustain to keep up with any live performance situation, and the bongos were all poppin’ as expected.

Giovanni’s Compact Bongos

I know what you’re thinking, “Compact bongos? Do we really need to make bongos any more compact?” That’s what I thought too at first, but playing these great little guys made me a believer.

First off, these drums are just about impossible to play seated without a stand, so they come with the top half of a mounting system that can be clamped to almost any existing piece of drum hardware (a complete stand is optional and sold separately). As a regular-old set of bongos, they are still valid instruments, producing all the sounds of a traditional set, except with a little less body on the hembra [the large head] when played with your hands. But that doesn’t matter when you’re playing them with sticks! They have synthetic heads that you won’t mind whacking with wood, and because the bongos are only about 2" deep and stand mounted, even a prog player can find room for a pair in a cramped 15-piece kit.

I brought the bongos to a gig, and I found that the shallow depth allowed me to mount them just below my main crash and overlapping my first rack tom. The music on the gig was timba fused with Latin funk, and as a drum set is an integral part of this style of music, I planned on playing the bongos just a little to fill in parts behind piano solos and in percussion breaks. I actually surprised myself, though, with the musical mileage I got out of the lil’ guys. In the second tune, there was a drum-set solo that nearly ended up becoming a Compact bongo solo. Just one stick smack on the Compacts, and I was hooked. They sounded great, and they were frickin’ loud! I was poppin’ slaps (otherwise known as “rimshots” for you stick people) that I thought must have done some damage to the drums, but after the gig, aside from some stick marks on the heads, there was no evidence of them having been beaten with a set of 5As.

So are the Compact bongos any more compact than regular bongos? Well, not in a literal sense, but being able to throw the mount in with your hardware and throw the bongos in your cymbal bag is pretty dang cool. Plus, these bongos are tuned with a standard drum key. That means no extra tools to bring to a gig.

The Solution

If you’ve read my past review of the Giovanni Compact congas (see the April/May 2004 issue), you already know how much I love them. But when LP asked players just to mount both drums on snare stands, I wondered if lugging that setup to gigs was really any more convenient than carrying full-sized congas. But now LP has developed a mount to cradle both the 11" and the 11.75" drums, and all I can say is, “Thank you!” The whole assembly consists of a very sturdy clamp mount that attaches to an existing stand and two three-armed baskets with rubber tips to cradle your drums. The piece bolts together and has two mounting options – one for tilted and one for flat playing positions. It takes a few minutes to put together, but hey, you only have to do it once. The unit doesn’t fold for storage or transport, but that’s okay because it’s just as flat as the drums.

VERDICT

A lot of new percussion products are introduced every year, but with eye-grabbing finishes like Tiger Print and innovative offerings like the Giovanni Compact congas and bongos, LP still stands out from the crowd.

DETAILS

LP Raul Rekow SignatureSeries Congas & Bongos

Sizes/Prices

11" Quinto $529

11.75" Conga $539

12.5" Tumba $558

7-1/4" & 8-5/8" Bongos $299

Features

Tiger Print finish, 5/16" lugs
3-ply wooden shells
Comfort Curve II rims
Hand-selected rawhide heads

LP Giovanni Compact Bongos and Compact Conga Mounting System

Type/Prices

Giovanni Compact Bongos

(w/ Top Post) $349

Compact Bongo Stand $99

Compact Conga Mounting System $149

LP 160 Belmont Ave., Garfield, NJ 07026. 973-478-6903. http://www.lpmusic.com

Going Toe to Toe with Joey

By Andrew Lentz Published March 12, 2010

Think you've got the chops to keep up with Joey Kramer? Hit Hard, the new iTunes app from Aerosmith drummer Joey Kramer, gives you the chance to prove it.

Hit Hard gives you fifteen levels of Joey’s favorite beats to compete on as you rock for your spot at the top. Check out the interactive leader board for scores from iPhones and iPod Touches from around the globe.

Exciting prizes available to the person who holds the highest score for the Joey Kramer "Hit Hard" iPhone App at the end of each month. For March, the prize will be an autographed 16" Zildjian Crash Cymbal / Joey Kramer Signature Series Drumsticks. Put your beats to the test as you go up against other entrants for the spot at the top!

Incidentally, Hit Hard is also the name of Kramer's gripping tell-all biography released last year by HarperOne books.

Check out JoeyKramer.com for all the information about upcoming prizes and application updates! Apple is not a sponsor of, or responsible for conducting, the promotion.

See if you have the rhythm to match the Kramedog.

Tommy Bales' Kit

Published November 14, 2008

Drums

26" x 16" Ludwig Bass Drum
14" x 6.5" Premier Snare
12" x 8" Slingerland Tom
16" x 16" Slingerland Floor Tom

Cymbals

14" Zildjian New Beat Hi-Hats
20" Zildjian K Custom Crash
24" Paiste Ride
20" Zildjian Crash

Tommy Bales also uses DW pedals, Vic Firth sticks, Aquarian heads, and a jingle ring on his hi-hat.

Los Cabos Introduces New 8As

By Radim McCue Published March 10, 2010

Los Cabos Drumsticks of Fredericton, New Brunswick, has announced the latest addition to their growing catalog. Their new Los Cabos 8A is available in white hickory, red hickory, and maple. With a mid-range diameter of .580” and a round tip, the 8A is designed to provide a great combination of attack and rebound. According to the company, it is the perfect stick for players looking for enhanced cymbal definition.

“We’ve been listening to our customer and many of them have requested a model with a round tip,” said Los Cabos president Larry Guay. “Our product line is based on practicality. We strive to keep our line as simple as possible while meeting the demands of our players. We want to provide drummers with the models they are looking for and believe the 8A is a worthy addition to our product line.”

The Los Cabos 8A will be officially launched at Musikmesse Frankfurt in late March. Contact http://www.loscabosdrumsticks.com for more information.

Tama Starworks Drum Set

SEXY BIRCH

By Brad Schlueter Originally published in DRUM! Magazine’s March 2010 Issue

In 2007 Tama changed the Starclassic Performer shell composition from 100 percent birch to a warmer-sounding blend of birch and bubinga, but found its remaining drum lines lacking any 100 percent birch drum sets. Many speculated that Tama would upgrade its Superstar shells to 100 percent birch. It did. But then Tama went one better by introducing a completely new line with this popular shell composition, dubbed Starworks.

Maple is considered by many to be the best shell material for drums sets, since it boasts a nice blend of warmth and sustain. But I suspect much of its reputation has a bit to do with marketing. Don’t get me wrong, maple is great. But 20 years ago, Yamaha’s Recording Custom kits, popularized by a stable of top endorsers like Steve Gadd, made 100 percent birch kits very desirable among professional drummers. Birch may not reach quite as deeply as maple, bubinga, or walnut, but it does offer great attack and controlled decay, so your sound engineer may not have to immediately reach for his noise gate, which is one reason this material has become so popular in recording studios.

STARWORKS BREAKDOWN
Tama’s new Starworks line features 100 percent birch shells, black hardware, newly designed lugs, triple-flanged hoops, four distinct and memorable finishes, and a new suspended-tom mount, and it’s priced very similarly to the Superstar line. The shells should seem familiar to anyone who’s played the Starclassic Performer drums: 7-ply 7mm bass drums with 6-ply 6mm shells for toms and snare drums.

The kits come in just two configurations: a traditional two up/one down kit with a 22" x 18" bass drum, 10" and 12" mounted toms, a 16" floor tom, and a 5.5"-deep snare. The kit I received featured a one up/two down modern rock configuration with a 12" mounted tom, 14" and 16" floor toms, and a deeper kick (22" x 20") and rock snare (14" x 6.5"). They are available as a shell-pack or with all the hardware. Each configuration is priced the same and will cost a little more or less depending on whether or not you want the hardware.

FINISHES
The kits come in four wild finishes. Well, three wild ones and a pretty traditional Satin Cherry Burst stain. The wilder finishes are the Yellow Chaos, Silver Black Chaos, and Red Chaos finishes. I received the boldest of the three: the Yellow Chaos finish. (The other two seem downright subdued compared to this one.) All three Chaos finishes have a painted base color with black painted flecks spattered on top of it. I imagine these finishes are designed to appeal to younger drummers who might play in glam, emo, or punk bands. The marketing pushes the idea that this is for nonconformist, aggressive styles of music, though I imagine the Silver Black Chaos will be the one that attracts metalheads most. The Chaos finishes are clearly not for everyone, but they’re well done and will certainly get you noticed.

HARDWARE
As mentioned, the lugs, hoops, spurs and brackets, tom mounts, and clamps are all black. If you buy the kit with a full set of hardware, note that the cymbal stands and other hardware are not black, but include selections from Tama’s excellent Roadpro series. The drums sport a new tom-suspension mount, which allows the drums to resonate longer. It fits under the hoops like the original R.I.M.S. mount that most current suspension systems are based on. However, this one only spans three lugs, which enables you to position your toms closer together than some other mounting systems.

The black lugs are newly designed and have a star shape stamped into them along with other small details that make me wonder if they were created by the same designers responsible for the Warlord hardware. Both share a similar medieval metal/goth sword-carrying vibe. Both the snare and bass drum have eight lugs per head, which will make head changes go a little quicker.

The bass drum spurs fold against the shell during transport and the tips feature retractable spikes for slippery flooring. The tom mount uses Tama’s Omni-ball design for precise positioning. The hoops have a triple-flange design more like Tama Imperialstar drums than Superstar and Starclassic lines, which feature die-cast hoops. The bass drum claws have no gaskets, so you might need to touch up your hoops occasionally with a black marker if you change your heads very often.

THE SOUND
The drums come outfitted with single-ply hazy Tama PowerCraft 250 batter heads on the toms and bass drum, with a coated version on the snare.

The toms had a bright, cutting sound that I liked. Each tom offered ample attack, clearly defined pitches, and a pure tone. There was enough sustain to suit any style of music. Frankly, I thought the toms sounded great, just like the original Starclassic Performer toms. While maple may sustain longer, soundmen often have to remove excessive hang time out of your toms anyway, so anything beyond the duration these offer isn’t useful. The slightly larger drum sizes my kit came with allowed for deep tunings, but the sound was never muddy, always producing a high-quality tone. However, since these drums are marketed toward drummers who play louder styles of music, I’d suggest that Tama consider equipping the drums with two-ply heads more suitable to heavy hitters. The additional low-end fullness and durability two-ply heads offer would appeal to that market more. The single-ply heads supplied with the kit sounded great, but younger drummers with less tuning skills often find two-ply heads easier to tune and a bit more forgiving of uneven tensioning. They also tend to prefer the tone, too, since they sound closer to the toms they hear on recordings.

The bass drum comes outfitted with a black logo head featuring a bold graphic of a star with the Starworks and Tama logos emblazoned on it. The bass drumheads each feature an internal muffling ring around the circumference of each head. The logo head is not ported. The sound offered was a powerful and deep thud without excessive boom, just as I’d expect from a 22" x 20" drum. A drum that deep may not be compact-car or small-stage friendly, so the other configuration may work better for some.

THE SNARE
The snare was another winner. As mentioned, it has eight lugs per head and a simple yet high-quality Tama throw-off that seemed sturdy and should prove reliable for years. I was easily able to fine-tune the snare tension with the wires engaged since the nut turned smoothly and was rubber coated for better grip.

I usually like the sound of birch snares, which tend to be brighter and crisper than maple drums. It seems that maple is great for old-school vintage tones but birch is closer to the sonic line that separates the tonal differences between wood and metal snares.

I think birch snares are often better for aggressive styles of music as well. This drum was a good example of this. It was surprisingly crisp and sensitive considering its 6.5" depth. When I cranked the wires tightly, its articulation reminded me of a marching snare, which is great for drummers who have fast hands.

FINAL THOUGHT
The new Starworks line is priced very similarly to Tama’s revamped Superstar line, which suggests the two are meant to compete with each other. Currently, the Superstar offers additional configurations, finishes, and die-cast hoops, which are upgrades from the Starworks line. But I wonder why Tama wouldn’t offer a cheaper blended shell with these wild finishes and charge even less, while saving the more traditional Superstar finishes for that line’s new 100 percent birch shells and attaching a higher price tag. These finishes will no doubt appeal more to younger drummers who might not care as much about things like shell composition as they do appearances. Maybe I’m just jealous, because as it stands, there’s a whole lot of kit quietly hiding out under that loud finish. I just hope the kids appreciate what they’re getting as much as us old timers would.

Details
SHELLS 100 percent premium birch drum shells with 7-ply 7mm bass drum shells and 6-ply 6mm tom and snare shells.

CONFIGURATION
A. (Reviewed) 12" x 9" tom, 14" x 12" and 16" x 14" floor toms, 22" x 20" bass drum, and a 14" x 6.5" matching wood snare drum.
B. 10" x 8" and 12" x 9" toms, 16" x 14" floor tom, 22" x 18" bass drum, and a 14" x 5.5" matching wood snare drum.
FINISH Yellow Chaos (Reviewed), Silver Black Chaos, Red Chaos, and Satin Cherry Burst
FEATURES New suspended tom mount; new lug design; Omni-ball tom holder: black shell hardware and tom mounts; unique finishes; graphic bass drum head.

LIST PRICE Shell pack, $1,462.99; with hardware, $1,868.99
CONTACT
Tama Drums
tama.com
800-669-4226

Verdict
Tama’s new Starworks line offers a great sound and quality materials at a reasonable price. It’s good to see Tama offering a 100 percent birch set again, and if the finishes appeal to you, this kit is win-win all the way.

New Billy Ward Autograph Series From Pro-Mark

By Jordan Liffengren Published March 9, 2010

In making the announcement, Pro-Mark’s Director of Sales Worldwide, Pat Brown, said, “Billy Ward is one of the preeminent clinicians on the scene today. His clinics are inspiring and his playing is always amazingly creative. In addition, he maintains a busy recording schedule and has worked with an eclectic mix of artists from B.B. King to Robbie Robertson to Joan Osborne. His movie work includes soundtracks from ‘That Thing You Do’, ‘Sister Act’, ‘The Siege’ and more.”

Brown noted, “We’re welcoming Billy to Pro-Mark with the addition of a new Autograph Series model that bears his name. It’s the Billy Ward TX526W, nicknamed ‘The Bulb’. It’s made of American hickory with a modified barrel shaped wood tip and 16 1/8” long. At .551”, it is similar to a 5A, and has a large ‘bulb’ in the area of the fulcrum.”

The suggested retail price of the Billy Ward TX526W is $15.25 per pair is in stock and available for immediate delivery.

Alesis Announces DM-10 Kit Hits Stores

By Radim McCue Published March 8, 2010

Alesis has announced that shipments of the DM-10 Studio Kit are on their way to music stores. Hailed as one of the first of a new generation of better-looking electronic drum kits, the DM-10 also features the new DM10 drum module, the DM10 Studio Kit features Alesis' RealHead drum pads, DMPad Cymbals and StealthRack mounting system.

DM10 Drum Sound Module

The DM10 sound module builds on Alesis' tradition of great-sounding drum modules. The DM10 features an extensive factory sound set with breathtakingly natural sounds and the ability to load entirely new sound sets via USB from a Mac or PC.

Drummers will immediately notice the DM10 module is a step up from earlier versions both in terms of flexibility and expansiveness. This new drum sound module contains true drum, cymbal and percussion sounds built from uncompressed samples of classic studio drums and prized cymbals. Drummers will find some of the most in-demand acoustic drum sounds from legendary drum brands, a huge arsenal of top producers' go-to snare drums, real American, Canadian, Chinese, and Turkish cymbals, and electronic beat-machine sounds that have fueled the biggest hit records.

You'll also notice that each sound is actually a series of different samples: multiple dynamic-level samples and articulations are all built in so as the drummer plays harder and softer, the drum or cymbal changes its timbre, not just its dynamics. This engineered realism is known as Dynamic Articulation™, an Alesis exclusive. Drummers can play with or without reverb for different room sounds and enjoy a wide variety of rimshots, rim clicks and different stick-placement sounds on the cymbals. For example, a hi-hat's sound depends on a number of factors: how open or closed the pedal is, how hard it is struck, and other variables resulting in 40 different sounds – plus foot chick and heel splash.

The big breakthrough is that this is also the world's first drum module that enables players to load new sound sets via USB. This means that owners' sounds will always stay fresh, current and cutting edge. Drummers can also use the DM10 as a trigger-to-MIDI interface for performing and tracking with software drum modules such as BFD, Toontrack and Reason. Drummers can play along with the tracks in the DM10's internal sequencer. They can mix in an iPod or other MP3 player and jam.

The DM10 module has 12 inputs, 10 of which are dual-zone compatible or can be split into two inputs using a standard Y-cable. This enables DM10 drummers to create custom configurations with up to 22 single-zone triggers or pads. The DM10 works with virtually all manufacturers' pads and triggers, and its input section can be further expanded with the optional Trigger|iO module.

The DM10's top-panel mixer allows drummers to easily create custom mixes without having to page through menus of parameters to achieve volume changes. These hands-on faders apply globally so as the drummer changes kits, the mix remains.

Realhead Drum Pads and DMPad Cymbals

The DM10 Studio Kit has acoustic-feeling RealHead drum pads. The dual-zone pads feature real mylar drumheads and real triple-flanged counterhoops for the feel professional drummers demand. The ten-inch snare and four eight-inch tom pads are dual zone, enabling players to perform rimshots, rim clicks or assign other sounds such as wind chimes, cymbals, gongs and cowbells on the tom rims.

The DM10 Studio Kit comes with DMPad Cymbals with low-noise rubber playing surfaces. The kit comes with a DMPad 12" Hi-Hat, a DMPad 12" Crash, a DMPad 12" Cymbal and a triple-zone DMPad 14" Ride Cymbal. The Ride and Crash feature large choke triggers on the undersides for accurate cymbal control. The Ride also features multiple-zone triggering on the bell, face and edge. The Hi-Hat Cymbal is continuously controllable using the kit's RealHat Pedal. Stealthrack mounting system The DM10 Studio Kit's ergonomically curved StealthRack features a small footprint and understated appearance that is perfect for studios. The aluminum StealthRack is fully adjustable and sturdy. It employs standard one and one-half-inch tubing for compatibility with virtually all drum manufacturers' rack hardware. Drummer-friendly wing-screws are present on all important rack clamps and pads for ease of adjustment without reaching for a drum key. The drum pads mount on standard 10.5mm L-rods with low-slip, knurled mounting surfaces.

"The DM10 Studio Kit brings the sounds, flexibility and capabilities of the DM10 to a whole new audience. The 6-piece configuration lets drummers get creative with their setups!" said Adam Cohen, Director of Business Development, Alesis.

The DM10 Studio Kit is available from musical instrument and professional audio retailers. It has a U.S. retail price of $1,499.00 and an estimated street price of $999.00.

No Ordinary Congas

By Andrew Lentz Published March 5, 2010

After years of being in the pipeline, Drumskull has finally launched its line of Solid-Wood Congas. True to the Santa Cruz, California company’s tradition, the new line of congas blends the best of old world and new world techniques to create one beautiful set of hand drums.

But great looks are only the beginning - wait till you hear the DrumSkull Congas — all individually built and featuring hand-carved shells, hand-made hardware, hand-picked skins ... hand-mounted at the DrumSkull home base.

• Solid One-Piece Shells: Unlike common congas, all DrumSkull congas are made of solid wood. No staved construction here! These solid-piece shells are made out of hard wood carved in West Africa by expert craftsmen, the same carvers with whom we've been working for over a decade. Furtheremore, the woods are gorgeous, exotic African hardwoods such as Lenge (Lingué) and Hare' (Guéni), traditional woods that produce exceptional tone due to their density.

• Hardware of Unparraled Quality: Our hardware is all hand-made to the specific drum. No factory production one-size-fits-all stuff here. The result is perfectly fitted rings for each specific shell. We take extra pride in offering sleak hardware that sits tightly to the drum and does not create extra bulk. For added comfort, our Traditional Hardware Series comes with a 3/4" half-round top ring system. All hardware is made from high-tensile corrosion-resistant stainless steel. It will avoid tarnishing and will hold up to the elements.

• More Lugs: Our hardware also features more lugs than standard congas: Seven lugs for the Conga and Tumba, and six for the Quinto. More points of tension leads to better and more consistent tuning. More lugs also prevent against the common problem of the plates digging into the wood over years of tuning.

• Straight Lugs: The lugs are straight, not bent or curved. We put extra effort in creating a hardware design that offers immediate response when tuning. Our design offers the most efficient tuning and also offers and original look.

• Girthy: Our hardware is beefy without being bulky. It will hold up to heavier tension and eliminate any risk of bending or breaking over time.

• Real Cow Skin: No plastic-sounding processed skins! The skins we use are natural hair-on skins from Guinea, West Africa. The natural skins retain their original oils which contribute to both the feel and sound. This results in superior tone, resounding with warmth, and a natural feel that is pleasing to the touch. We manually shave the hair off each skin, but if you look closely you can still see some hair on the edge of the skin (not the playing surface).

• Rubber Bottoms: Every one of our congas is custom-fitted with a rubber bottom that is hand-tailored from high-grade hard rubber. This protects the shell from scrapes and cracks, but also gives the player a comfort in knowing they can put the drum on the ground without damaging the shell. The rubber bottom is also adhered with a super-high quality adhesive that melds the rubber to the wood with absolutely no chance of separation nor peeling. Lastly, the rubber bottom is shaved and cut to fit the exact contours of the shell.

Lawrence Scott's Tama Rockstar Custom in Caramel Fade

By Jordan Liffengren Published March 4, 2010

Lawrence Scott's Tama Rockstar Custom in Caramel Fade is a work of art.

Bass Drums
22" x 18"
Toms
8" x 8"
9" x 10"
10" x 12"
Suspended floor toms
12" x 14"
14" x 16"
Snare drums
14" x 6 1/2" Valley Drum Shop Maple
1969 Rogers Dyna-sonic
Cymbals
14" Full Crash
16" Full Crash
16" Fast Crash
22" Dry Heavy Ride
17" Crash
18" Crash
16" Crash/Ride
18" China
Pedals/Stands
DW 5000 X-celerator
DW 8000 hihat stand

"The kit is mounted on a Yamaha Super Rack with 1 1/4" tubing as opposed to the 1 1/2" tube that everyone else uses. The kit is still under construction with more additions coming. I am adding custom fabricated rack legs to the kit in the next few weeks. I need to finish building them and send them out to get chrome plated," Scott said.

Make Your Drums Famous!

Show off your kit at Drum Kit Of The Week. Send us your pics and specs and tell us a little about how you acquired and use your set,whether it's mild or wild. We'll send you a free drum t-shirt for your contribution..

Greg Irwin Makes Fingers Fly With Power Webs

By Radim McCue Published March 2, 2010

Greg Irwin is a finger fitness fanatic. If you've ever seen one of his videos on Youtube you'd know what I mean. Greg owns perhaps the world's most flexible fingers and is on a mission to teach drummers and others how to develop finger strength and dexterity. If you're interested in improving your fitness and stamina for drumming, then you might find a lot to like in his newest product, Power Webs. These plastic mesh rings allow you to easily work your fingers in multiple directions and dimensions, creating greater strength and independence.
Check out the video about Power Webs below. For more information visit http://www.handhealth.com.

Protection Racket Maks Easy Setup A Reality

By Radim McCue Published February 26, 2010

Tired of trying to make sure your kit is set up the exact same way each time you gig? Now, Protection Racket has introduced a simple and quick-to-use system which helps you do this time after time. Protection Rackets new drum mat markers require no tools, add no weight to your drum carpet and also allow quick minor adjustments.

The new drum mat markers have a Velcro backing and are numbered for easy memory marking, ensuring the same set-up every time. Each pack includes thirty stand feet markers numbered 1-10 with 3 sets of each, ten corresponding stand markers numbered 1-10 plus one each of the bass drum and h-hat markers.

Protection Rackets 123 set-up system is as straight forward as they come:
- Set your kit up as you normally would on your mat.
- Lift the stand legs up and place 3 x circle markers on mat, place corresponding stand marker on stand.
- Place bass drum & hi-hat markers on bass drum & Hi-hat pedal and now play.

Dream Cymbals

A Sonic Wake-Up Call

By David E. Libman Originally published in DRUM! Magazine’s January 2010 Issue

Dream Cymbals entered the global cymbal market in 2005, as a Canadian operation selling handmade cymbals from China. The brand may be relatively new, but its factory in China’s Wuhan region has produced world-class gongs for generations.

The company offers several Western-style lines of cymbals based on specs provided by its Canadian designers. The craftsmen at Dream’s Chinese factory apply generations of experience working with B20 bronze (the 80 percent copper/20 percent tin alloy used for many manufacturers’ top cymbal lines) in their creation of Dream’s Western-style Vintage Bliss, Bliss, Contact, and Energy lines. At the same time, Dream offers Chinese-style cymbals in its Lion/China Series, Han Series, and Jing Series.

I didn’t know much about Dream before receiving a selection of its cymbals, so I was able to evaluate the models I received without preconceptions.

DREAM ANALYSIS
Dream sent me 24" Contact rides, 24" Bliss rides, 22" Vintage Bliss crash/rides, 22" Bliss paper thin crash/rides, 20" Vintage Bliss crash/rides, and 20" Bliss crash/rides. I also received 13" and 15" Bliss hi-hats. When I cracked open the boxes, my first impression was that the cymbals look like they were teleported — brand new — from the 1940s or ’50s. Dream forges, hammers, and lathes its cymbals all by hand. The human element comes through in their appearance. The surface areas of the Vintage Bliss and Bliss lines sport ultra-thin stripes created by micro-lathing. The Contact line has wider lathing and striping. Under shiny yet non-brilliant surfaces, various indentations and hammering marks emphasize the Dream cymbals’ handmade look. Attractive black logos, but generic-looking identifying text (such as 22" crash/ride), complete the cymbals’ decidedly old-school appearance.

The Vintage Bliss and Bliss lines are very thin. The Contact line is thicker, but not much. As a result, despite some large diameters, these cymbals don’t feel particularly heavy. I was able to suspend the 24" rides on a lightweight stand without any balancing problems. When played, the Dreams wobble from bell to edge like vintage cymbals. Nonetheless, when played hard, these cymbals feel flexible and sturdy. I didn’t sense that they would easily crack or dent.

The completely handmade aspect of these cymbals shows through in some of their imperfections. When placed on an angled cymbal stand, most of the 20–24" models settle to a resting place caused by a slightly heavier sweet spot. Some of the cymbals’ edges are not quite straight or slightly sharp to the touch. I’ve never been bothered much by such cosmetic irregularities in cymbals. To me, the most important thing is the cymbal’s sound and feel. However, if you’re looking for a perfect-looking cymbal, some of the Dreams may not live up to your expectations.

A DREAM COME TRUE
At first, it struck me as a bit over-the-top that Dream sent me two of each model, but it made more sense once I started playing these platters. None of them sound alike — not even two identical models. For example, I didn’t like one of the 22" Bliss crash/rides, but the other one may be one of the best-sounding cymbals I’ve played. In fact, among the batch of cymbals I received, some are real gems. The fact that each cymbal has a unique voice allowed me to sound more unique when I played them.

Despite their individual differences, Dream cymbals on the whole produce a decidedly jazzy sound — in part, due to long sustain, and a remarkably wide overtone series that heavily emphasizes darker, lower tones. (I didn’t receive any of the Energy line cymbals, but I understand they’re for harder hitters and would suspect they have a less jazzy sound.)

The Dreams’ lower frequencies sing warmly and more delicately than the barking roars that sometimes come from Chinese-style cymbals. All of the cymbals’ bells — from the 20" to the 24" models — sound clear, un-choked, tuned, and distinct from the rest of the cymbal without being piercing. These cymbals speak with an aged quality and a distinct overtone series that differentiates them from other Western, European, or Turkish cymbal brands that I’ve played. Keep in mind that I received two of each model, so my description in each case focuses on my favorite of the pair.

24" Contact & Bliss Rides
Both provide excellent, woody stick definition with the ping of a flat ride, no doubt due to their relatively flat bow. The 24" Contact ride offers more aggressive stick articulation and an underlying dark swell, while the 24" Bliss is more delicate and glassy, with a small yet distinctive-sounding bell. I enjoyed both 24" models, but the subtlety of the 24" Bliss appeals more to my jazz sensibilities. Despite its large size, the 24" Bliss ride possesses a controllable dynamic range that allows it to work well as a main ride cymbal for many styles of music.

22" Vintage Bliss Ride
This was my favorite cymbal of the bunch. When played lightly with stick tips, it projects a warm, woody articulation surrounded by a swell of low, sizzling overtones. At louder volumes it retains stick articulation, which is never overpowered by the underlying overtone spread. When crashed, this cymbal roars and then decays quickly enough to begin a ride pattern again almost immediately. It also exemplifies how cosmetic imperfections do not necessarily negatively affect a cymbal’s sound. Despite an obvious dent on its edge, I found this cymbal’s sound and forgiving feel to be utterly fantastic.

22" Bliss Paper Thin Crash/Ride
Thin enough to invert by hand, but flexible enough that I don’t think it would crack easily, this cymbal explodes with a trashy wall of sound indicative of a small tam-tam. Despite its “crash/ride" label, it works best as a crash, although you may not crash it throughout a song. Still, it’s an excellent effects cymbal for more selective use.

20" Vintage Bliss Crash/Ride This fine-sounding crash maintains decent stick articulation when played as a ride, but has a dominant low pitch that’s a bit much for my taste. While I wouldn’t want this as a main ride, I would certainly use it as a crash/ride along with one of the 24" or 22" models as a primary ride.

20" Bliss Crash/Ride
Again, Dream could drop the “ride" part of the label, because this cymbal plays much more like a crash, bursting with a powerful wash of lows and personality. But while it provides acceptable stick articulation, it had slightly too much pitch and swell to work as a main ride.

13" And 15" Bliss Hi-Hats
These hats lack air holes, flat or wavy bottoms, rivets, un-lathed bells, or any of the other features found on many modern hi-hats. But these cymbals didn’t need gimmicks to consistently give clear and crisp foot chicks without air pockets, splashy open foot sounds, and a truly comfortable foot feel. Even the 15" set is relatively light in weight.

When played with sticks, the hi-hats provide an articulate and wide dynamic range that emphasizes the spizz-aspect of the sound. As one would expect, the 15" hats have a lower pitch and more chunk to their sound, while the 13" hats sound lighter and crisper. I generally prefer smaller hi-hats, so I favored the 13" set. However, if you’re a fan of 15" hats, you should definitely give these a try because they’re excellent.

Details
Bliss & Vintage Bliss Cymbals

Alloy B20 bronze

Features Hand hammered; thin hand-applied micro-lathe lines; light weight; smaller bell profile.

Sizes & Prices:
20" Vintage Bliss Crash/Ride ($204),
20" Bliss Crash/Ride ($183),
22" Bliss Ride ($269),
22" Bliss Paper Thin Crash/Ride ($249),
13" Bliss Hi-Hats ($199),
15" Bliss Hi-Hats ($239).
Contact Cymbals

Alloy B20 bronze

Features Hand hammered; wide hand-applied lathe lines; medium-light weight; larger bell profile.

Sizes & Prices: 24" Ride ($529)

Contact
Dream Cymbals
dreamcymbals.com
1-877-933-7629

Verdict
I was able to select a set of Dream cymbals that I truly enjoyed (24" Bliss ride, 22" Vintage Bliss crash/ride, two 20" Bliss crash/rides, and 13" hats) because of their comfortable feel, incredible sound quality, and overall uniqueness. Considering the wide variations in each model’s sound, this is a cymbal brand that I would recommend trying first at the store rather than ordering online without a test ride. They project a jazzy sound, yet have a wide-enough dynamic range to use for many styles. However, because the Dreams sound quite different from a typical machine-hammered cymbal, they might be intimidating at first if you’re looking for a more homogenous sound. But Dream's offerings as well as their affordable price point will probably pleasantly surprise those willing to take the risk.

Eight Great Reasons

By Andrew Lentz Published January 19, 2009

The Roland wing in the Anaheim convention center at the this year's NAMM was impressive but the Octapad SPD-30 digital percussion pad threw us for a loop.

Featuring eight trigger pads, built-in sounds, multi-effects, and external trigger inputs, the Octapad SPD-30 is the perfect portable electronic percussion instrument for any playing application.

Using the latest trigger technology from Roland’s industry-leading V-Drums®, the pads on the Octapad SPD-30 feature an extremely natural and responsive playing feel. The eight separate trigger surfaces provide superior dynamic response, trigger consistency over a pad’s entire surface, and the elimination of crosstalk.

The Octapad SPD-30 includes 50 kits and hundreds of cutting-edge drum and percussion sounds. Powerful onboard effects include 30 types of multi-effects that can be used on individual kits, and Ambience with an Equalizer and Limiter that can be applied to the overall Octapad SPD-30 sound.

The Phrase Loop recording feature allows the player to loop record sounds in real time, and then overdub additional parts or sounds. With the ability to record three parts per phrase, Phrase Loop is a powerful creative tool for live performance and recording.

With its large backlit LCD and intuitive interface, navigating menus and editing parameters on the Octapad SPD-30 is extremely easy. The pads also feature illuminated LEDs, helpful for performing in low-light settings.

The external trigger/control inputs allow players to connect additional pads, and a hi-hat controller to create a powerful yet portable mini-electronic kit. The Octapad SPD-30 is also compatible with Roland RT-Series acoustic drum triggers, creating additional options for drummers who want to add electronics to their acoustic drum set.

In addition, the Octapad SPD-30 has USB connectivity for both data backup and MIDI allowing players to expand their recording capabilities with personal computers. Standard MIDI connections are also included, allowing connection to external sound modules, samplers and other MIDI devices.

Mapex: Meridian Birch

A Sound Replacement

Originally published in DRUM! Magazine’s November 2009 Issue

Mapex fans on a budget were forced to swallow a bitter pill earlier this year when the company discontinued two of its most popular entry-level drum lines, M Birch and Pro M. But a spoonful of sugar soon followed in the form of those lines’ replacements, the new Meridian Birch and Meridian Maple lines. It could be argued, of course, that nothing was missing from the originals. But Mapex not only found a way to make some significant improvements with the Meridians, it managed to keep the price down as well.

If you’ve always liked the sound of the M Birch and Pro M lines, you can take heart in the fact that the shells haven’t changed much — not at all in the case of the Meridian Maple, which are the same 7-ply maple shells used in the Pro M. The Meridian Birch has just lost the M Birch’s outer ply of maple in favor of a true, 100 percent birch shell. What have changed significantly are the finishes, lugs, and hardware. And those changes are worthy of a closer look.

OUT OF THE BOX
Mapex sent me a 5-piece Meridian Birch kit. And for those terribly impatient types I can tell you up front that I like all the changes to the line. I’m quite familiar with the M Birch kits, having both reviewed them and spent the last several years teaching and shedding on them. After this assignment I hope the shop where I teach will upgrade the teaching kits to Meridians.

The kit I received was in the SRO configuration: 22" x 18" bass drum, 14" x 5.5" snare, 10" x 8" and 12" x 9" toms, and a 16" x 16" floor tom. These sizes are a great choice for most rock gigs. The larger diameter floor tom yields a noticeably lower pitch than a 14" tom would, making it perfect for jungle-tom grooves. There are four other setups available, plus a “Go Large” add-on package with a second bass drum, 10" and 18" toms, and extra mounting hardware — perfect for metal drummers.

Incidentally, the Go Large add-on works best with the “standard” configuration (12" and 13" toms), because with any other you’d end up with two 10" toms. Meridian Birch is available as a shell-pack only, and with both lines you have the option of ordering any of the individual drums à la carte.

FINISH
I thought Mapex’ M Birch line offered appealing, smooth lacquer finishes when it was first introduced, and some solid colors remain in the Meridian Birch line. But all the M Birch’s burst finishes (darker at the top and bottom and lighter in the middle) are gone, or were just moved upstairs for the pricier Meridian Maples. But the new fade finishes for the Meridian Birch are still quite nice. Fortunately, they still have the smooth-as-glass look and feel from eight coats of hand-polished lacquer.

Mapex sent me the new Cherry Mist finish, which is a very subtle deep-cherry-to-paler-red fade. Only Mapex doesn’t call it a fade, possibly because the effect is more understated compared to the other “true” fades. Either way, I loved this finish. It was perfectly done, worthy of a kit priced at least a thousand dollars more. In fact, some very big companies offer much coarser finishes until you start (pardon the pun) shelling out around four figures more.

HARDWARE
The snare drum features a new-and-improved throw-off, a welcome upgrade from the one that came with the M Birch kit I’d previously reviewed, which had a plastic knob that had broken during shipment. This new strainer is all metal and of higher quality.

The drums now have 2.3mm Powerhoops instead of the 1.6mm hoops that came on the M Birch. These are more rigid, but more importantly they produce a louder rim-click on the snare drum. The lugs have shrunk, and the new ones are both more aesthetically appealing and should help minimize some vibration-robbing contact with the shells. The bass drum claws are still stamped steel, though at a glance you might be fooled into thinking they’re die-cast. Better still, they now have a rubber gasket to protect the beautiful wood hoops from metal-to-wood gouging. To my eye, the styling of the new lugs and bass drum claws is reminiscent of something found on pricier Tama Starclassic drums. The tom mount also has been redesigned, and this too works well with a smaller footprint. The overall effect is pure class.

Mapex also includes a new line of double-braced hardware with this kit, and it’s a middleweight champion. I received a three-tier hideaway boom and a straight cymbal stand that feature new clamping memory locks, ergonomic wing screws, and slip-proof rubber feet. At first glance, you might mistake them for DW stands. Mapex has adopted a similar synthetic black handle, dubbed “Accu-Lock,” for its cymbal tilter.

If you’ve ever felt a tendon slide across a bone while twisting a wing screw at an odd angle, you’ll appreciate these handles. There’s a locking screw at the bottom of the tilter (that’s easy to miss) that will lock your desired angle from gig to gig.

Mapex also includes its new hybrid felt/rubber “Multi-Sustain” cymbal felts, which combine a thin felt glued to half of a Cymbal Accentuator, which is the rubber ball Mapex uses in place of a felt on most of its hardware. With the Multi-Sustains, the idea is that the side that rests against the cymbal determines the cymbal’s sustain. That may be true on a splash or other small cymbal, but unless you clamp the felts tightly, I doubt they have much noticeable effect. I’m not a fan of the Cymbal Accentuators, so I view this as a small upgrade.

The hi-hat stand features a ten-step tension adjustment, rotating legs, and slip-proof feet. It felt very nice to play, with plenty of smoothness and response. The simple and solid snare stand has a memory lock, uses a ratcheting design, and works perfectly. Nuff said.

The P700 bass drum pedal is a basic but thoroughly well-built piece of hardware. It has a stabilizer plate underneath with a convenient drum-key holder attached to it. It uses just a single chain, though I noticed that the double-pedal version has been upgraded to a double chain. I wish the pedal didn’t use a wing screw under the footboard to clamp the pedal to the hoop, but all Mapex pedals suffer from that minor inconvenience. I think the company should have taken the opportunity to move the wing screw to the side of the pedal where it’s easier to reach, and use a lever similar to those used on many other pedals. That quibble aside, the pedal felt fine, and its three-sided beater (felt, wood, or plastic) offers plenty of impact options.

SOUND
The snare and toms come outfitted with Remo UT single-ply batter heads, while the bass drum has a clear batter with a muffling ring around its circumference for taming boominess. The tom heads and bass-drum batter are clear, the bass drum resonant/logo head is a solid black model, and the snare batter is coated for better brush playing.

To my ears, the drums sound very good, virtually indistinguishable from the M Birch line, which would be expected since both lines use the same shells. The decay characteristics of birch shells are one of the reasons they make such good drums for recording. The 20-lug bass drum offered a deep wallop with a good amount of attack. It had plenty of boom, so if I owned these drums I’d probably replace the batter head with a more muffled one and port the logo head for easier microphone placement. Ports tend to shorten a bass drum’s decay and deaden the action, which I like more than a closed, bouncy-feeling drum.

The toms were clear and articulate, though there was a dramatic pitch drop from the 12" rack down to the 16" floor tom. The toms didn’t ring too long, as you’d expect from a birch kit.

I’m a big fan of birch snares. They tend to be brighter than maple and have a controlled decay without the excessive ring that can plague other wood as well as metal snare drums. This nicely crisp eight-lug model did not disappoint.

A CAVEAT
Earlier I stated that Mapex had made all these improvements without raising the price, and while that is mostly true, it isn’t the whole story. Previously, Mapex offered an extra tom with the M Birch kits, depending on how many drums you chose. Though always a “limited-time offer,” it had gone on for so long that some of us had come to expect it. Alas, those freebies are finally over. The savings have allowed Mapex to improve the line without charging the customer for it. Seems fair, especially in this economy.

Details
SHELLS 100-percent birch, 6-ply, 7.2mm shells.
CONFIGURATION 10" x 8", 12" x 9" toms, a 16" x 16" floor tom, a 22" x 18" bass drum, and a 14" x 5.5" matching birch snare drum.
FINISH Cherry Mist (reviewed) plus seven other lacquer finishes.
FEATURES 2.3mm Mapex Powerhoops; newly designed tom mounts, lugs, and cushioned bass drum claws; a variety of configurations available; a selection of eight very attractive finishes; side-throw snare strainer: hardware package is included in price.
LIST PRICE 5-piece Meridian Birch kit with hardware, $1229.99 (as reviewed); 6-piece with hardware, $1539.99; shell-pack only, $899.99

CONTACT>
Mapex Drums
usa.mapexdrums.com
615-713-2050>

Verdict
Mapex Meridian Birch drums are as good as anything you can find in this price category and remain a smart choice even if you have more to spend. For surprisingly little money you get an all-birch kit with a selection of beautiful lacquer finishes that both sounds and looks great. With new lugs and mounts, 2.3mm hoops, and a full complement of quality hardware, you really can’t go wrong. Frankly, I can’t think of another company offering so much for so little.

Paiste Bangs Out New Brilliant Alphas

By Radim McCue Published December 15, 2009

Jeremy Spencer of Five Finger Death Punch is not letting go of his brilliant Alphas.

Nottwil/Switzerland – This January look for Paiste to launch of a new Brilliant version of the Alpha Series at the Winter NAMM show, where they will be extending the line with new Metal and Rock models. Alpha cymbals were first launched by Paiste in 1992 and were an immediate hit. Today, the cymbals are known for dependability and great sound.

The new brilliant look for the Alphas is accomplished by hand-polishing the cymbals to a mirror finish. The Alpha models go through both hi-tech lathing and shaping processes as well as traditional hand-hammering. The combination has produced a unique sound that makes Alpha popular with rock and metal artists. New models that will be introduced at the show include a humongous 24" Rock Ride; Metal Crashes in sizes 17”, 18”, 19” and 20”; and 14” Metal Edge Hats that feature Sound Edge waves on the bottom cymbal, one of Paiste's numerous cymbal innovations. Alpha cymbals today are endorsed by numerous working drummers all over the world, such as Jeremy Spencer of Five Finger Death Punch, Jason Sutter with Chris Cornell, Dave Witte of Municipal Waste, Tommy Portimo of Sonata Arctica and Steven Spence of Black Tide.

http://www.paiste.com.

Hammerax: Liquicy Cymbals

WADE INTO THE WEIRD

By John Nyman Published in DRUM! Magazine’s February 2010 Issue

Let’s talk about art, cymbals, and personal struggles with GAS. Gear Acquisition Syndrome (or GAS) affects 100 percent of drummers. This well-documented affliction forces us to run out and buy all sorts of shiny new things, with cymbals being one of the most irresistible triggers. That’s because cymbals have always offered the sounds of adventure and bliss in a small, (relatively) affordable package. But the last decade has also seen the growth of cymbals as pieces of visual art. Beyond the aural satisfaction, drummers are now subject to the allure of stunning aesthetic beauty as well. We GAS sufferers simply don’t stand a chance.

But hey, that just means more things to hit. And if lusting after Hammerax cymbals makes me an addict, I don’t want to be cured.

Hammerax is a smallish company with a keen eye for making cool stuff. The company’s newest line, Liquicy, joins a family of art cymbals that already includes exotic goodies to hang up and hit with intriguing names like Bash, Boomywang, Crash Course, Culebra, Dustbowl, Flyhat, Glass, Indigo, Lash, Meanie, Skyhat, Splashvine, and Whipcrash.

The Liquicy cymbals look at first glance a lot like “regular,” albeit heavily textured, cymbals. In fact, they’re something else entirely. Liquicys are made of a proprietary copper-heavy alloy, rolled and beaten into very thin discs with small bells. They are alive with wobble, have been rained with pockmarks, and are dramatically flexible in hand. There are five sizes available: 24", 22", 19", 16", and 14". A close inspection shows just how different these cymbals are.

Liquicy cymbals seem to jump around in your hands, wobbling like a cat trying to escape containment. There are no smooth surfaces to be found. Every square centimeter has been hammered and etched. The face of each Liquicy is a moonscape of small canyons and sinkholes. There’s plenty of shiny coppery color that peers out through the dark-brown matte background. The underside is more bare and gray, and is signed by the Hammerax artisan that made the cymbal. Oh, and each cymbal has three holes drilled in it for optional rivets.

HELLO BIG MAMMA
First up for inspection was the 24" Liquicy cymbal. 24" is big, even bigger than most cymbal bags. I call this one the Mulder-and-Scully cymbal. You know, the X Files characters that were always running into aliens. Aliens came to mind a lot as I was perusing the Liquicys.

Played like a ride cymbal, the 24" gives back a watery, ghostly wah-wah sound for every note played. The entire cymbal wobbles on the stand like an agitated alien bird flapping its wings. The fluttering, long tremolo sounds a bit like cinematic helicopter blades churning during a scene from Apocalypse Now. And the disc is so thin you can easily play it with your hand and activate that freaky bird-creature wobble anytime. It’s weird. Weird and very cool.

Of course, you can’t play ride patterns on it with your hand, but you can ride it with a stick, and it’s good. Quite a bit different than your trusty 21" rock ride, but equally good. It sounds like a controlled trash-can lid — ambient concrete garage included. You can also crash it, which elicits a short, dark, intense crash with long, fluttering, alien bird-wobble decay. I had fun doing weird things to the Liquicy pies to get exotic new tones. Slapping, scraping with stick tip, dragging over the face with car keys — these were just a few of my favorite things to do to the Liquicy.

A BAG-SIZED BIGGUN
The 22" Liquicy crashes short and dark like the 24", but the wobble after-effect is increased. By the way, the profile shape of these cymbals tends toward tall, and that makes the wobble even weirder. It’s not like shaking a flat disc of metal. The 22" rides well, with a nice, high-and-dirty ting atop heavy trash-can-lid wash. And the metallic roar and flutter is very reminiscent of the sheets of tin that Foley artists use to make “thunder” for soundtracks. And I would really like to know how Hammerax gets that “ambience” into a cymbal. They should be advertised as, “Cymbal For Sale. Ambient Room Included.”

A GOOD SIZE — FOR A WEIRDO
The 19” Liquicy has a higher pitch that takes it out of contention for the job of dark ride cymbal. Besides, the “weird factor” of this one is pretty high on the scale. Using the tip of the stick on the cymbal’s face produces a delicate, dry, coarse ping that floats above abundant, loud-and-fast tremolo/wah-wah sound. If this were part of a movie soundtrack, the scene would be “Martians hover over target.” Crash the cymbal and you get “Martians fire on target.” But for extra weirdness points, you can spank rapidly on the face of the cymbal with your hand. The sound is wow and flutter like the synthesizer patch from Edgar Winter’s classic oldie, “Frankenstein.”

SMALLER BUT VERSATILE
The 16" Liquicy has quite a high pitch, and a thin, dry bark of a crash. Boy, was I glad I didn’t stop there. In playing around with it, I found numerous exotic sounds available. The bell is quite dry, and very different in character from the face. The edge of the cymbal also gives off a different character, so the rather pedestrian move of bell/face/edge produced widely ranging tones.

I had the most fun when, by accident, I flexed the cymbal while hitting it. Woah! They will flex in your hand, allowing a whole new slew of Flexi-Tone sounds. Placing the cymbal on a stand, I leaned one edge into my abdomen (I was standing up) and played the cymbal like a talking drum. Cool wah-wah metal hand drum oozing Martian secret sauce! Should be a lot of fun for drummers who are recording effects and percussion. And of course I realized that all the Liquicy cymbals could be flexed for further pitch-bending weirdness. Soon I was dancing around the room, flexing Liquicy cymbals while playing interstellar dumbek rhythms with my knuckles, sticks, mallets, whatever came to hand. My favorite was the 19" Liquicy played with a black Sharpie. Hmm … what would a silver Sharpie sound like?

DAINTY BUT DARING
The 14" Liquicy cymbal has a wisp of a tone, very much like a smaller, maybe 10" splash cymbal when crashed conventionally. It exhibited the least amount of weirdness of the bunch when played on a stand with a stick. But it was the easiest and perhaps most versatile one when played in the hands. I held it like a steering wheel and shook it for that flapping vibrato sound of shaking your cheeks with your fingers — Martian style. I stuck it on a finger, instead of a stand, and played a roll on it with my free hand. It sounded like an enormous gong warming up, but in miniature.

Details

MODELS & SIZES LIST PRICE
Hammerax Liquicy Cymbals
24" $862
22" $692
19" $635
16" $542
14" $453

FEATURES
Alternative, tremolo-rich cymbals that can be played and manipulated in a variety of ways; flexible and durable in construction; very attractive, exotic, and wonderfully weird.

CONTACT
John Stannard, President, Hammerax
727-442-5050
hammerax.com

Verdict
Liquicy cymbals are weird and wonderful. (Frankly, I have never used the word “weird” so many times in one review — in a good way.) I only wish I had more gigs that could use them. These are fun new sounds for unwritten music. They are pleasing, adventurous, and exotic. For so many of us who suffer from GAS, that alone is more than enough to warrant a purchase that will keep the symptoms at bay for at least a short while. See Liquicy in person, or check out the very decent short video clips on the Hammerax web site. And just between us, don’t be surprised if you find these beauties selling in the real world for for substantially less than the prices listed to the left.

Ford: Organic Catalpa Drum Set

A SHOWROOM-READY CUSTOM CHERRY

By Brad Schlueter Published in DRUM! Magazine’s February 2010 Issue

Ford Drums is one custom drum maker that simply refuses to cut corners. The company’s origins as a repair shop gave owners Jimmy Ford and Jay Gaylen plenty of opportunity to grow disillusioned over how many highly regarded drum companies did, in fact, cut corners to increase profit. As a result, they decided to make a better drum using only the best materials and techniques available.

Ford drums often feature thicker shells than you’re used to seeing. That’s because the company insists that the heftier shells sound better, project more, and offer a greater tuning range than their thin-shelled brethren. While the physics of drum making may be beyond the scope of this review, I can say Ford drums definitely deliver on the promises of look and sound.

Ford offers custom drums in more than 40 different species of wood, far more than almost any other boutique manufacturer. The Organic line features steam-bent shells, while the Ply series uses ten plies of maple or birch. And for those looking for a more affordable kit, Ford offers the practically indestructible Maverick series drums, covered in the proprietary BTS elastomer (a thick, textured coating impregnated with Kevlar). The company also makes a range of drum thrones, instrument cases, and hardware, so you can get everything you need under one badge.

Ford sent me a 5-piece kit sans hardware, a set of DrumVee cases, and one of its Smart Ass thrones. The first thing I noticed is the unique and hip styling of all the company’s products. There’s a refreshingly anti-corporate attitude at Ford that often shines through in products imbibed with a healthy dose of wry humor. The Smart Ass (and Phat One) thrones and “Fubarproof” DrumVee cases are good examples. But all joking aside, beneath the hip exteriors lie carefully designed, very high-quality pieces of gear.

IN CASE YOU’RE INTERESTED
To keep dealer inventories simpler and consumer costs down, the DrumVee cases come in select sizes with removable padded inserts that can be used to fit different depth drums. So, a 12" case can accommodate toms with 8" to 10" depths. Very handy if you want to use the same cases for different kits.

The cases are made to offer the most protection you can find in a bag, with lots of thick padding and super-strong nylon webbing. They are even water-resistant, with a lip that covers each big zipper in case you ever have to haul your drums through a downpour. They also have nice comfy handles. The snare case isn’t perfectly round. Instead, it sticks out to leave room for your throw-off and butt plate. Very clever! The best part is, all Ford Organic series and Ply series kits come parked in DrumVee cases.

THE DRUMS
The kit I received was from the Organic line, and it featured steam-bent solid shells made from catalpa wood from Michigan. It consisted of 10" x 8", 12" x 9", and 16" x 16" toms, a 22" x 18" bass drum, and a 14" x 6.5" snare drum.

Ford’s preference for thicker shells even extends to the steam-bent Organic series, which are 0.375" thick. By way of comparison, that’s about 50 percent thicker than Craviotto’s steam-bent shells. Since these shells are made from a steam-bent board, reinforcing rings (0.25" thick) are used on both ends of the shell. Even with all this extra wood, the catalpa drums I received weren’t very heavy, which gigging drummers will surely appreciate. Note that other wood species may weigh more or less. The bearing edges are cut to 45 degrees, with more gradually rounded edges used on the larger drums, similar to Pearl’s Reference series.

THE FINISH
The drums had a natural to cognac fade under a perfect high gloss, with a very light dusting of Root Beer metal flake that was really only noticeable upon close examination. It was an absolutely flawless finish. It should be, considering what a laborious and expensive process it is to create it. The $300-a-gallon lacquer on the outside of the drums is very strong and has a glasslike appearance. Ford claims it used more than $1,000 worth of lacquer on this kit. If that seems like a lot, note that there are several coats of sealer, followed by several coats of pure polyester, finished off with as many urethane clear coats as needed to create that crystal-clear shine. The shell interiors have also been carefully sanded many times and finished with nitrocellulose lacquer.

HEAVY METAL
The lugs, badge, and “f” logo all have a look that strikes me as retro, cool, and utterly unique. The standard hoops are 2.3mm triple-flanged hoops, which I prefer on toms. The lugs are made from solid aircraft-grade aluminum (or solid brass), with a floating insert for true axial alignment and smoother tuning. By comparison, most companies use stamped steel or die-cast pot metal lugs, which are far cheaper to produce. Ford even uses stainless-steel screws to attach the lugs to the shell.

Before getting into the hardware’s effect on the sound, I should mention the drums came outfitted with Aquarian single-ply coated-over-clear heads with a Superkick and logo resonant head on the bass drum.

The toms have a suspension mount and were easy to tune and had a rich tone, with ample highs and lows. All three toms sounded very good. There was a punchy initial bite from each drum with a deep tone lingering afterwards. Each drum had just the right amount of sustain, and none required any additional muffling. Even though there was a larger drop in pitch from the 12" to the 16" floor tom, the drums blended well together. Very nice!

The ten-lug 14" x 6.5" snare came equipped with 2.3mm hoops, the always wonderful Dunnett/Gibraltar throw-off (that rotates to accommodate lefties or righties), a solid butt plate, and cloth snare tape appropriately labeled “Ford Timing Belt.”

THE EARS HAVE IT
The snare had a warm, woody tone due in part to depth, but also thanks to the catalpa wood. The drum retained this warmth at even higher tunings, and I’d classify it as a good all-purpose wood drum. Rim-clicks were loud and clear, and rimshots were bright enough for me, but not painfully so. However, the drum had too much ring and would require some external muffling for most gigs or recording. I’d suggest Ford consider a more rounded bearing edge bead, or at least a more muffled head.

I find snare drums that require additional muffling to be a bit of a P.I.T.A., after all, who wants Moongel on their snare head if they suddenly have to play brushes? I can’t help but wonder whatever happened to internal mufflers? Sure, I know the logical reasons given for their abandonment, but they were so practical and simple to use. Okay, end of rant.

The bass drum emitted a deep and punchy timbre that had everything you’d need to anchor the low end at rock and pop gigs. The hoop protector for the pedal clamp is actually the same material used for the finish on Ford’s Maverick line, proving how durable this material is. After a couple of months of use, I noticed only minor marks on the protector. The bass-drum hoops are ash, which sounds similar to catalpa but is harder and more resistant to dings.

I was surprised and slightly disappointed that Ford’s bass-drum claws don’t use a rubber gasket to further help protect the hoops. This is surprising, since gaskets are found in between the metal and wood throughout the rest of the kit (under the lugs, etc.) I switch the resonant head on my bass drum every week to change logo heads between the different bands I work with and noticed the hoops had dulled where the claws contacted them. That small feature could make a lot of difference in keeping the hoops looking new.

Details
SHELLS Organic series: 0.375"-thick solid steam-bent catalpa wood shells with maple reinforcing rings (toms and bass), catalpa reinforcing rings (snare), and ash bass-drum hoops.
CONFIGURATION (Reviewed) 10" x 8", 12" x 9", and 16" x 16" toms, a 22" x 18" bass drum, and a 14" x 6.5" snare drum. (Pictured with additional 14" x 14" tom.)
FINISH (Reviewed) Natural to Cognac fade with Root Beer metal flake; hundreds of other finishes available.
FEATURES Tom suspension mounts; a selection of more than 40 wood species; unlimited finishes and options; solid aircraft-aluminum lugs with true axial alignment; solid steam-bent shells; die-cast grommets; Gibraltar/Dunnett swiveling snare throw-off or Ford/Trick Multi-Step throw-off; DrumVee cases included with all Organic and Ply series kits.
LIST PRICE (Reviewed kit) $9,380; (as pictured) $11,010; Smart Ass Pack (case, base, seat) $522; back rest $149; DrumVee cases for shell pack $855.

CONTACT
Ford Drum
forddrums.com
714-744-2467

Verdict
Ford’s Organic series kit is an all-around winner, with exemplary workmanship that’s well worth the price of ownership. Frankly, these drums were capable of a more modern sound than I expected from a solid-shell kit, having both a warm tone and punch. And, since each kit is custom, Ford can even put your signature on the badges. Bonus!

Crafting A Neil Peart Prototype

By Radim McCue Published January 10, 2009

Do artists really influence the designs of the cymbals that bear their names? And, if they do, by what process does a drummer design a cymbal?

We sat down recently with Sabian's west coast artist relations director Chris Stankee to discuss the design of a new Chinese cymbal with Neil Peart. You'll see how over the course of two years Neil and Chris worked together, They would receive new prototypes, test the, take them on the road, and then ask the factory for changes. With each generation of the design, this cymbal got closer and closer to what Neil heard in his head.

You can see the whole story of Paragon cymbals on youtube at http://www.youtube.com/sabianparagonlounge.

All Good Things Come In Threes

By Andrew Lentz Published January 8, 2009

Boston-based stick maker Vater Percussion has three smashing new American Hickory models to suit a wide range of playing styles. Pick up a pair of 52nd Street Jazz, Swing, or Traditional 7A sticks and right away the premium-grade domestic timber feels great in your hands.

As always, Vater’s painstaking quality control is performed on each and every stick right in the Vater brothers’ South Boston facility. Go ahead and experience Vater’s new 2010 American Hickory models for yourself.

52ND St. Jazz

Replicated after one of the early hand-turned Jack’s Drum Shop, this design is straight out of the great Jazz and Big Band era. Named after the legendary street in Manhattan, 52ND St. is historic in jazz history as the spot that hosted virtually every jazz great from the 1930’s-1950’s.

The long and flat oval tip produces warm and broad ride cymbal tones with full-bodied drum sounds. The quick taper gives it a great feel and response.

Length: 16”, diameter: .530”. List price: $13.99

Swing

Designed in collaboration with renowned educator Steve Fidyk, the Swing model measures just under a 7A in the grip. This model has a “double taper”, meaning that it is slightly thicker towards the middle of the stick than in the grip and then finishes with a very quick and thin taper. This produces a stick that possesses great sensitivity and exceptionally fast rebound.

Length: 16”, diameter: .535” List prices: wood tip $13.99, nylon tip: $14.49

Traditional 7A

Dubbed “traditional” because Vater’s 7A is longer and has a different tip shape than standard 7A’s in the industry. This classic style 7A has a great feel for lighter playing. The small acorn tip delivers full cymbal and drum sounds without being overbearing.

Length: 15 ½”, diameter: .540” List prices: wood tip $13.99, nylon tip $14.49

Bob Shoesmith Plays It Just Like Bonham

By Phil Hood Published January 8, 2010

Bob Shoesmith is a Bonham fan who has been playing on a beautiful Bonham replica Vistalite kit for the past couple of years. According to Bob, this is the kit he aspired to ever since "The Song Remains The Same" came out. He says, "It's a monster but has beautiful tone and versatility and a cannon of a bass drum." Bob is currently using the kit with his band Run Leia Run.

Make your drums famous. Send us pictures, specs and a brief story about your drums. If we feature you in Drum Kit Of The Week, you'll earn a free DRUM! t-shirt, and the gratitude of millions. Mail to DRUM!

What's Old Is New

By Andrew Lentz Published January 6, 2010

Encino, CA–based cymbal maker Soultone has just announced the addition of Old School™ Edition cymbals to its Vintage Series line of cymbals.

Developed in cooperation with Soultone’ roster of top drummers, percussionists and their own Turkish master craftsman, this new line is based on the classic cymbals of the 1950’s and 60’s. They offer a richer, darker signature sound, and a new EarthStroke™ natural finish with deeper lathing to provide a sweeter open tone for nearly any style of music.

In addition, the company worked with Jimmy Ford, Owner of Ford Drum Company, to help identify and recognize some specific tonal properties and timbre for this special addition to an already successful series. Soultone Cymbals developed their own multi-stage treatment bath to produce the unique finish and for the Old School Edition as well.

“Our mission continues to be about creating the finest quality cymbals in the world, whatever it takes, and this very special new line sounds incredible – they really feel great to play, too,” reports Iki Levy, founder and CEO of Soultone. “Our artists give us lots of input and my wish was to incorporate their ideas throughout our products. They are a major part of the process for us. Drummers and percussionists know what they want.”

Dealers and buyers will have special opportunities for purchase available during the 2010 Winter NAMM show at the Soultone Cymbals booth, 2979 in hall D.

You Gotta Hand It to Igoe

By Andrew Lentz Published January 5, 2010

Great Hands For A Lifetime, Tommy Igoe’s new DVD from Hudson Music takes you into the rhythmic world of the world-renowned drummer, educator and star of the Groove Essentials™ series of educational DVDs, books and play-along CDs.

While Groove Essentials has become the new standard for mastering a variety of musical styles and drumset patterns, Great Hands… focuses on developing and maintaining the physical tools that are essential for every drummer and drumming application: their hands.

“Solid technique is never about winning a speed contest or mastering any particular trick, it’s about having the foundation to play whatever you want and stay healthy doing it,” explains Igoe. “Behind the drumset, we all have different musical goals and I want to give everyone the tools they need to realize their individual dreams. Great Hands… doesn’t use a ‘method’, but rather shows the practical concepts I use myself and have refined over 25 years of private instruction. This approach allows everyone to find what works best for them rather than forcing anyone to follow a particular set of ‘rules’.”

Created by one of today’s most successful and progressive drum educators, Great Hands For A Lifetime brings the inspiring approach of Groove Essentials to hand technique and offers a realistic, practical approach developed to improve the strength, speed, stamina, comfort and control of every drummer.

The “Lifetime Warmup™” is a challenging routine that weaves it’s way though standard drum rudiments and original exercises and is designed to be a friendly companion to a regular practice session or a task-master that will challenge even the most advanced drummer.

The four-hour DVD includes individual and group demonstrations of matched and traditional grip, fulcrum concepts, rebound strokes, singles and doubles, check patterns and the five families of rudiments. Included are a free, color-coordinated, wall sized “Lifetime Warmup” poster and a compact fold-out guide (courtesy of Evans Drumheads) as well as a printable eBook. $24.95.

Looks That Kill

By Andrew Lentz Published January 4, 2010

With a unique design for that added bit of flash CustomStix ensure that more than just your playing will set you apart when sitting behind the kit.

Having played the drums for 25 years, Jeff Jones created Blown Away Productions to fill a lot of marketplace needs. In this case: high quality, full color, personalized custom printed drumsticks.

Blown Away Innovations specializes in providing the only 2 pair minimum, full color graphic, personalized drumsticks on the market. They provide a custom look that is designed to reflect your own unique style.

Having provided custom sticks for musicians like Casting Crowns, Toby Mac, MercyMe and others, Jones knew that his product was a huge seller among fans at live shows. He realized that there was a constant desire among the fans for their own personalized drumsticks. With a two pair minimum, this product is no longer a dream, but a reality.

Like what you see? Get a real-time experience at the Blown Away website, where the 3D drumstick viewer allows you to actually see your personal message on the sticks — so you to know exactly what you're getting before you make a purchase. http://www.Customstix.com for more details.

Kickport Gets Thumbs Up From Retailers

By Radim McCue Published November 11, 2009

Back in August, DRUM! said the Kickport would be the most in-demand accessory of 2009 and now retailers are saying that it's a hit. Used by the world's top drummers, and named "Best In Show" at the 2009 Summer NAMM show, the KickPort is a revolutionary innovation designed to instantly improve the sound of any bass drum. The versatile, affordable KickPort allows optimum tone control, tuning, head selection and mic placement in any playing situation and is quick and easy to install. It is destined to become an essential and standard part of the modern drumset.

According to legendary touring and studio drummer Kenny Aronoff, "The Kickport adds punch, power and low end." Steve Ferrone (Tom Petty, Eric Clapton) adds, "Warm, powerful and musical; the Kickport gives me the tone I love to hear."

"The KickPort sells itself," says Don Frank (Gelb Music, Redwood City, California). "Every time a drummer, engineer, or producer sees it they say, 'What is that and where can I get one!?'"

Donn Bennett (Donn Bennett Drum Studio, Bellevue, Washington) explains, "The KickPort knocked me out! I can't say enough about it. It's my best-selling percussion accessory."

Shane Kinney (Drum Center of Portsmouth, New Hampshire) concludes, "The KickPort is an absolute must-have for any drummer serious about their bass drum sound."

The KickPort's patented design combines multiple engineering breakthroughs to create a deeper, fatter yet more focused bass drum sound. In addition to traditional venting that allows the movement of the air in and out of the drum, the KickPort actually slows the air exiting the drum by restricting and compressing the flow of air through its tube, and then allows the rapid expansion or relaxation of the air through its flared opening. At the same time, The KickPort enhances the low frequencies and dampens the vibration of the head; reducing the need for inconsistent and often ineffective internal muffling or dampening materials. The cumulative effect of this natural tone control and sonic enhancement is a cleaner, more powerful sound with a lower fundamental frequency that can be felt and heard both by the listening audience and the drummer behind the kit. The drummer experiences a more comfortable response from the batter head, as well.

See and hear the Kickport at your local drum dealer. For further information visit http://www.kickport.com.

Hammerax Makes A Louder Whipcrash

By Radim McCue Published January 3, 2009

Hammerax has announced updates to its Whipcrash line,offering some of the biggest crashes in the industry. Whipcrash® features an S-Shaped array of Microcups on the surface, which can be raked for one-handed rolls. By starting out at the tip of your stick and raking back and forth, then moving gradually to the shank, the sound deepens and increases in loudness. The 18", 21" and 24" feature 10 microcups. The 24" Whipcrash® Ultra features a total of 36 microcups to make one handed raking easy from any angle and increase volume.

According to John Stannard, President of Hammerax offers a sound combination not available in other cymbals. "Most loud cymbals achieve volume by focusing on one range of sounds," he says, "usually highs. Whipcrash® spreads the volume over a wider range. Whipcrash® cymbals can reach extreme loudness but also shimmering color. Hammerax uses an especially strong bronze alloy that, when combined with unique hammering techniques, yields an extreme range of sonic colors and volumes from a mellow roar to a screaming wall of sound. Removable sizzles are included with each cymbal. Whipcrash® also sounds even richer when heard at distances of 15 to 30 feet. Whipcrash® leans toward the dark spectrum but has beautiful mids. The 24" is deeply dark and can function as a true crash or a crashride. The center cup on Whipcrash® is dark and integrated rather than being a bright bell sound. These microcups are not attached sizzles but true miniature cups which are forged in the cymbal."

Whipcrash Ultra, featuring 36 microcups.

Whipcrash® cymbals are benefitting from a new hammer system at Hammerax, which can refine metallic grain and add flexibility through hammering. They are hammered thousands of times and are made of a special alloy heat treated in a unique process. The result is a cymbal with durability and volume. "These are the loudest cymbals we have heard," says Stannard. "We collect hundreds of loud cymbals from many sources and nothing compares in terms of total blast of crash sound. They are especially rich and loud in the dark and middle spectrum. We recently measured the 24" Whipcrash® Ultra at 119 db. That is very loud, but Whipcrash® sounds absolutely stunning when combined with bright cymbals. The total wall of sound is impressive." Hammerax cymbals come with a 4-year Limited Warranty. Patents Pending.

Meinl Soundcaster Fusion Cymbals

By John Nyman Originally published om DRUM! Magazine’s October 2009 Issue

Innovation and expansion rule the cymbal world today, and Meinl is no slouch. The new Soundcaster Fusion cymbals are but the latest confirmation. Bold to behold with ear and eye, they have a two-tone look, with the outside portion lathed and hammered and the inner diameter hammered, not lathed at all, and polished to a gleam. Though this is not exactly a new design, it is a good one that works well in Meinl’s hands. The Soundcaster Fusion cymbals are successful within a range that will appeal to many drummers. Here’s how the bash session with them went.

MEET THE FAMILY
The eight new Soundcaster Fusion cymbals include the 20" Medium ride, the 20" Powerful ride, and the jumbo 22" Powerful ride. There are two crashes, 16" and 18". The Soundcaster Fusion China cymbal population stands at one, an 18", and a notable one at that. There are also a pair of 14" hats and a 10" splash to round things out. These are cast-sheet cymbals, cut from large sheets of alloy and then pressed, hammered, lathed, polished, blessed, kissed for luck, and all the other secret things cymbal manufacturers do. Meinl describes the alloy as B12, meaning 12 percent tin and 88 percent copper, give or take a secret formula item or two. This is Meinl’s twist on the two popular formulas of B8 and B20.

These are clean, bright, focused cymbals, suitable for rock and pop, including the various sub-genres. The clean focus of their tone left me itching to take them on a loud gig, where they could challenge the Marshall stacks.

The two-tone “fusion” look is cool, though there is a reason for it beyond mere aesthetics. As with other cymbals (including other brands) that employ this two-tone effect, the Meinl Soundcaster Fusion cymbals have a solid attack, a pronounced, beefy core of sound, all surrounded by a shimmer of high frequencies.

CRASHING IN
The two Soundcaster Fusion crash cymbals are great. If they are of a price you like, and if you like the generally clean sound of cast-sheet cymbals, I would recommend you put these on your “to-listen” list. But the two-tone design does alter the sound. The cymbals have an emphasis on the middle-high frequencies — the whump factor — and they give less high, shimmer-y spread than “regular” sheet cymbals of fine alloy.

The 18" crash, for example, doesn’t just raise its hand in the air when you hit it. It pokes you in the chest a bit and waves some high-frequency bling in your face. For rock, I think this could be a plus, helping to keep the high volumes from washing out the attack of the cymbal.

The 16" crash, like its larger stable mate, does not give up a full spectrum when struck lightly. But a gentle touch on the 16" does show the lower high frequencies that dominate its spectrum and give it such good muscle when crashed fully. With cymbals, there seems to be a necessary compromise between soft dynamic response and loud dynamic response. I haven’t met a cymbal yet that is wonderful across the entire gamut from soft brushwork to nuclear holocaust. This 16", even more so than the 18", gives good response at levels ranging from geezer rock in the afternoon to late-night metal with your pals.

The Soundcaster Fusion crashes have a cymbal personality that succeeds and fails in different applications. They don’t have the smooth, even frequency spread for jazz or Broadway, for example. But for rock, well — they rock!

RIDING HOME IN THREE DIRECTIONS
Two out of three of the Soundcaster Fusion rides are really cool, and one is cool but bugged my ear. The 20" Medium ride has a surprisingly high-pitched ping. With the sonic mid-range punch of the Soundcaster Fusion crashes being as they are, I expected a low, manly ping. But no, the 20" Medium has a clear, bright ping, medium-full wash, several dominant overtones (as opposed to an even, broad spectrum of overtones), and a great bell. I love this bell. Crisp, bright, and clean, it is a terrific rock bell. It would also be good for Latin tunes. This is a very “medium” ride cymbal, with a clear, high-pitched ping.

The 20" Powerful ride cymbal, heavyweight cousin to the Medium, is really thick and really heavy. You’ll use two hands putting this sucker on the stand. It, too, has a surprisingly high-pitched ping, but it is quite definite and present. This ping will cut through lots of guitar volume. The question is merely whether or not the pitch of the attack appeals to you. And its bell is on par with the 20" Medium’s bell, but even more macho. It’s a solid, slightly anvil-like, crisp bell, and I think it would be great for rock and roll articulations. The Achilles’ heel of this cymbal is the dominant pitch of its wash, which is a constant thrum of a tone. It bugged me. Your mileage may vary.

The enjoyable clarity and strength of the 20" Powerful ride is cranked up a full notch for the 22" Powerful ride. It’s a draft horse of a rock ride, a clear, medium-pitched, round, and full ride that would cut through most any music. And being as it is also very heavy, I think that if you dropped it on your shoe it would cut through the leather too. This is a “rock-only” cymbal, but a good one. I predict great popularity for its clarity among the metal players.

All three of these rides have dual surfaces, and they do emit different sounds from each surface, lathed and unlathed. But I suspect that such sonic versatility is not as musically poignant in a rock setting as it might be in other settings. I don’t believe Meinl is selling a rock and a jazz cymbal in one, no. These are good rock rides with some versatility available, but not much.

ENJOYING SOME ASIAN FUSION
The Soundcaster Fusion 18" China is a cool cymbal, but I’m not too sure about the name. It has a flat outer perimeter and a vaguely China-style profile, but it is not shaped like most China cymbals. And it doesn’t work well upside down. I like to think of it more as a trash crash, or effects crash, or doomsday crash, or whatever, and I’d compare it to other effects cymbals with holes, or slots, or weird dents. It sounds great, roaring and punching with a delicious, tinny, garbage-can explosion that fills the frequencies nicely, and can be used as punctuation or as a great, aggressive crash/ride with a bad attitude. I recommend it highly.

PUNCTUATING THE SMALL STUFF

I’m quite happy to report that the Soundcaster Fusion 10" splash is crisp, clean, robust, and short. It does require a bit of muscle to get it moving, but once in action it sounds like a good splash from a reggae song, or at the punch line of a joke. I like it. It is too robust for light work, but strong enough for loud environs, and still thin enough to avoid sounding like a small crash. Thumbs up.

CHIPPING AWAY AT THE GLUE
Holding the entire collection together (and the band, too, naturally) is the fine pair of 14" Soundcaster Fusion Medium hi-hats. Hi-hat rhythms are the “glue” that holds beats together, and these hats speak very crisply, with a dominant mid-high frequency, lots of good body, and modest high-end frequencies that increase when you open the cymbals. The foot chick is firm, if a bit old-school in its understated clarity. I enjoyed the responsiveness of these hats, getting a good Bonham impersonation out of them when bashing them half-opened, but without the extra-crisp closing sound of ripple-bottomed hats.

Details

MODELS, SIZES & LIST PRICES

Soundcaster Fusion Crashes
16" $370
18" $440

20" Medium $510
20" Powerful $510
22" Powerful $640

Splash
10" $204

China
18" $440

MODELS, SIZES & LIST PRICES

Hi-Hats
14" $570

FEATURES
Two-tone, mirror-bright finish; strong attack is good for rock; rides have strong, articulate bells; volume is full across the series.

CONTACT

Meinl USA
meinlcymbals.com
615-227-5090

Verdict

The Meinl Soundcaster Fusion cymbal line is a winner with very few bugs. The particular frequency emphasis they all share makes them especially punchy and good for loud rock. They look cool and the ubershiny finish could be a great way to store your fingerprints for posterity.

A Comfortable Perch

By Andrew Lentz Published January 1, 2010

The engineers at Pork Pie Drums know that constant gigging can be a pain in the butt — literally. The company’s new Gel Throne should help with that.

This handsome piece of hardware sports a top layer of ultra heavy-duty therapeutic liquid Gel over the standard high-grade memory foam for optimum comfort and support. The beauty of gel is its resilience. Long periods of compression won’t cause it to lose shape or elasticity. Combined with the seats foam memory, you’ve got a shock-absorbing combo your back and buns will love.

Not only will you have greater comfort while playing bu this formula in seat design significantly reduces the fatigue experienced after playing. The Gel Throne is supported by Pork Pie's heavy-duty double-braced base. $200.

Cympad Expands With Optimized Washers

By Radim McCue Published January 1, 2009

Cympad has announced the expansion of its popular product line with the introduction of several new drummer-friendly innovations for 2010. Cympad foam cymbal washers are designed to replace conventional felt cymbal washers — providing greater consistency, durability and cymbal protection while allowing drummers to improve their sound and playing comfort.

Cympad's top-selling "Optimizer" series 40mm washers are now available in 8, 12 and 15mm heights. Previously available only in the 40x15mm model, the expanded choice of sizes offers increased versatility for all types and brands of hardware and combinations of regular and stacked cymbals.

In response to many requests from drummers, Cympad is also introducing specially designed, high-density foam washers for hi-hat clutches and bottom cymbal seats. The new Cympad hi-hat washers enhance the sound and performance of all hi-hat cymbals and fit most major manufacturer's stands and clutches.

In addition, the cymbal accessory specialists have expanded their exclusive range of cymbal washers with a new 100mm "Moderator" model. Recommended for live and studio rehearsal and performance as well as teaching and practice applications, the Moderator series now includes 50, 60, 70, 80, 90 and 100mm Cympads that can be used to incrementally focus and control cymbal sound. The 100mm Moderators are available as part of the new 6???piece combination box set that comes with one each of the 50-100mm Moderators. Both the 6 and 10-piece double box sets (2 each of the 50-90mm Moderators) feature Cympad's attractive, integrated, full-color graphic packaging.

Played and endorsed by the world's leading drummers and percussionists, Cympad is an incredible, affordable and easy to use system for optimizing the sound and performance of virtually all cymbal sizes, types and brands. Cympad foam cymbal washers have been developed to outperform and outlast conventional felt washers while offering drummers a host of additional advantages. For more information visit your favorite drumshop, log on to the Cympad webpage.

NAMM Booth #2764

Hammerax Goes Big With 23" Indigo

By Radim McCuev Published December 31, 2009

Hammerax has come out with a new 23" Indigo model. At just 1935 grams average, it weighs in as one of the lightest large cymbals ever created.

"There is a beautiful low range roar sweeping up to a dark silver crash. At 23" with a fair sized cup, this can also fill a room with volume. The ride sound is very flexible according to the type of sticks used. The cup is integrated and when struck tends to echo a complex sound into the whole cymbal" said John Stannard, Hammerax President. A beautiful hammer pattern of thousands of dents adds strength and complexity to the sound. The crest of each dent has been micro lathed and polished while the valleys of the dents are fired dark. The finish on hammerax cymbals is never painted or lacquered.

The cup is forged completely through hammering. "We know of no other cups in the cymbal industry being made this way. This adds strength and creates a unique tone. Hammerax brand cymbals are now stronger than ever due to the installation of a new hammer system at Hammerax that can refine metallic grain and add flexibility through hammering. Hammerax Indigo cymbals are hammered thousands of times and are made of a special alloy heat treated in a unique process. "Rolling happens while a cymbal is flat, but is only the beginning- this hammering method continues throughout the cymbal making process on a 3-D scale, adding strength, volume, and richness" says Stannard. Indigo cymbals show excellent crash durability and superior crack resistance.

Each cymbal has 3 holes for rivets. Removable rivets are provided with each cymbal.

Each Indigo 23" crashride will be signed and numbered. Only 199 will be made. Availability is immediate. Made in USA Patents Pending

I Name You Destroyer

By Andrew Lentz Published December 30, 2009

Boasting killer attack, insane volume, and feedback-piercing cut, the new Destroyer snare drum from Spaun lives up to its name.

The sleek black shell of 5x14 1/2" Thick Maple Ply Shell enable the destroyer to be played as loud as you can hit. Die Cast Hoops, quick-action, seamless throw-off, and bullet-proof barbell lugs are just a few of the nice appointment that make this baby such a thrill to thrash.

Co-designed by Gus Rios of Malevolent Creation, one of death-metal’s most brutal bands, you can rest assured the Destroyer will the blasting power your band needs. $600

Bass Drum In A Box

By Andrew Lentz Published December 29, 2009

With the Kicktronic unit from Flotechnic, you can now get great bass drum sounds in a compact, convenient foot-activated package.

The Kicktronic (6.3" x 4.9" x 2") works just like a bass drum pedal. Employing an unbalanced signal with a max line output of +2 dBu, you can create backing rhythms, kick drum pattern, or basic bass line with the tap of your foot against this unit’s sensitive metal surface.

Weighing in at just over a pound, the Kicktronic deal for small ensemble settings or anywhere space constraints prohibit the use of an acoustic drum. The kicktronic works excellently in a variety of musical settings from jam bands to jazz trios and has lately been adopted by talents such as Mark Kirley, and Parisian handrummer François Collombón.

The best way to know what Kicktronic will sound like in your setup is to hear it through your own sound gear (amp, sound monitor or PA). To do this, you can connect an audio player (portable media player or computer) to your gear and play this Kicktronic WAV file: http://www.mediafire.com/?f5jjtwzmdjw If possible, you can adjust the EQ to tailor the sound to your liking. You can even jam along for fun!

Kicktronic uses a ¼-inch (6.3mm) mono output connector. Required power source of four AA batteries not included.

UK drummers will soon have access to the entire Los Cabos line of drum sticks. The Canadian maker of maple, red hickory, and white hickory sticks has reached an exclusive distribution agreement with UK distributors Summerfield Musical Instruments Ltd. of Blaydon on Tyne, England. The agreement gives Summerfield Musical Instruments Ltd exclusive distribution rights for all Los Cabos Drumsticks products in the UK and Ireland.

LP Signature Percussion

Raul Rekow And Giovanni Hidalgo

Rekow’s Congas and Bongos

Giovanni’s Compact Bongos

The Solution

VERDICT

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SEXY BIRCH

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Alesis Announces DM-10 Kit Hits Stores

DM10 Drum Sound Module

Realhead Drum Pads and DMPad Cymbals

No Ordinary Congas

Lawrence Scott's Tama Rockstar Custom in Caramel Fade

Make Your Drums Famous!

Greg Irwin Makes Fingers Fly With Power Webs

Protection Racket Maks Easy Setup A Reality

Whole Lotta Hoops

Practice Pads to the Max

New Snare Drums By Peace

Percussion Rack for Youngsters

P.J. Clevenger's Chrome Monster

Make Your Drums Famous!

More Custom Coolness from SJC

Tom Meadows Amber Vistalite Bonham Deluxe

Make Your Drums Famous

Riding with the Devil

Catalina On A Budget By Poh Soon Teng

Drums

Cymbals

Hardware

It’s A Colorful World

Light Comes From Within: The Glow Kit

Calculating Infinity

Neil Peart Talks Paragon Brilliance

Some Guys Have All The Luck

Zildjian: Fresh Metal - New Products For 2010

DM-10 Gears Up For The Studio

KickPort In New Kolor

Drag ‘n’ Drop DJing

More Bounce to the Ounce

A Total Rush

Dream Cymbals

A Sonic Wake-Up Call

Eight Great Reasons

Mapex: Meridian Birch

A Sound Replacement

Paiste Bangs Out New Brilliant Alphas

Hammerax: Liquicy Cymbals

WADE INTO THE WEIRD

Ford: Organic Catalpa Drum Set

A SHOWROOM-READY CUSTOM CHERRY

Crafting A Neil Peart Prototype

All Good Things Come In Threes

Bob Shoesmith Plays It Just Like Bonham

What's Old Is New

You Gotta Hand It to Igoe

Looks That Kill

Kickport Gets Thumbs Up From Retailers

Hammerax Makes A Louder Whipcrash

Meinl Soundcaster Fusion Cymbals

A Comfortable Perch

Cympad Expands With Optimized Washers

Hammerax Goes Big With 23" Indigo

I Name You Destroyer

Bass Drum In A Box

Los Cabos Red Hickory Sticks Set For UK Launch

Matt O'Brien's 74th Street Dream

Righteous and Red: Cherry Bomb Snare

This Could Be Yours . . . Free!

Roundly Applauded

Time To Double Down

Coddle Your KAT

Santa Knows What Young Drummers Want

This Cymbal Has Spoken

Barb "Thee Animal" Wolkins Dangerous Ddrums

Now available:
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