All Activity

This stream auto-updates   

  1. Yesterday
  2. Thanks Diehard on the kit comment! I'm thinking of doing an unboxing video when they arrive. I will not sleep well till they arrive here safe and sound! Really excited! This kit is some of the best drum porn I've ever seen! I was just using Dream as an example. Their website has a function that you can hear what they sound like. I was unaware that they have an issue with repeatability! I've only ever owned Zildjians but I've had the opportunity to play the Paiste 2002's ride and crash. They sound amazing! I'm looking new or mint condition used cymbals. I need hi-hats, crash and ride to start. I'm open minded and not exclusive to any one manufacturer. Although, I am looking for higher end cymbals! I'll give Sabians a good look! Love getting input from you guys! I value experience over popularity! Thanks for your comments! I also will be needing hardware too! Snare stand, tom stand, cymbal stands and hi-hat any thoughts? Manufacturers? Individual vs. bundles? New vs. used?
  3. Hi ! Thanks for sharing my videos ! Here's more up to date stuff. Thanks!
  4. Congrats on the new kit. C&C is a great company. If you hear a Dream you like and can get THAT exact cymbal, feel free. Unfortunately, the hand hammering and lathing they go through is just not very consistent so, you may be very disappointed to hear one on youtube, order that model and it sounds much lower or higher in pitch than you expect. I was warned. It is the same with Wuhan traditional cymbals. They are nice jazzier sounding cymbals for the money but, I have too often gotten models that sound quite a bit different than models I have seen played on yoube or elsewhere but, for the price, you just cannot complain. I stopped purchasing Zildjians years ago because of quality control issues. Too many dead instruments. I don't know why but, I began to get too many with cracks right from the factory, or dead units in various lines that just had no life to them. I'd rather get Sabians, and I just think they are a nicer company of people. That said, UFIP Class series are my favorites, followed by Paiste Signatures. UFIP's rotocasting process does make a difference. Their cymbals have a life to their sound and an ease of speaking with the lightest touch that is incredible. Paiste Sigs speak for themselves. It's a unique alloy, sounds magnificent, and Paiste makes very consistent cymbals model to model, regardless of alloy. Personally, owing to the difference in price, I would get Sabian CuSn8 (B8) alloy before Paiste use of it in 2002s or Alphas, etc but, that's my wallet. I have some Paiste B8 alloy cymbals and they don't sound any better than Sabians. Of course, this new 26" Giant Beat I got is B8 and it's just a marvelous cymbal, so Paiste does cool things with the alloy. I will say the new S series from Zildjian (B12 alloy) is pretty cool. I bought some hi-hat tops and was pretty pleased with them. I have not tried the Sabian XSR models (B20 but machined with less detail) but, they seem like a great deal. If money is an issue, consider Stagg cymbals. I've been really impressed with them, especially for the price. They are all B20 bronze and those I have purchased have not disappointed, both rides and crashes. Aside from all the Turkish companies, save for Istanbul, about the only companies I have not owned or heard up close and personal are Soultone and Meinl but, they have their fans, to be sure.
  5. Last week
  6. I'm not hating on you for following the music. I used to do it, and it's a legit way to play. I wouldn't say I've completely gone away from it, but I've added options to better fit some of the genres I end up playing. FWIW, I wouldn't say you are overplaying at all. I'd consider it to be fairly tame, but I know what you mean about getting those looks. It's part of why I got into different music after I started playing. I went from hearing, "Stop doing all that. Don't hit those things. You're playing too much." to hearing, "Add something here. Add some toms to what you're doing. Make this more complicated. Play this part faster. No, way faster than that." I was pushed to be better and be more creative instead of playing the same thing over and over for every song.
  7. Hey my friend! I know exactly what you mean. When I play live there's no way that I'd get away with some of the things I'm trying here. They would look at me with a WTF face. I guess I tend to overplay in these videos as I assume it is watched mainly by drummers. So I tend to take risks and show what I usually work on when I'm practising. And maybe get some cool feedback back. Even a criticism it's a good exchange of info. And don't believe the video, I love playing grooves and nothing else. I could play Sex Machine for hours... And there's nothing better than when a kick syncs perfectly with a bass in a groove... Hmmm In any case I always try to follow the music. Bass, guitar, voice... whatever attracts me the most rhythmically.
  8. Does anyone out there own a C & C Drum Kit? I just bought a C & C Drum kit! The Acrylic Coke bottle green 22/13/14/16/18! I've listened to YouTube videos and they sound and look awesome! I would like to hear from someone in this drum forum that personally owns one. I've looked for an acoustic kit for 6 months. I was going to purchase a new Pearl Crystal Beats kit but I really wanted something made in America! The Acrylic Pearls are made in Japan so that was a bit of a turn off although, they sound and look great! I'm patiently waiting for them to arrive! My cymbal selection is more that likely going to be Zildjians but it is up for discussions! I wouldn't mind some other opinions on other cymbal manufactures. There are so many wonderful companies that I would consider does anybody know about Dream Cymbals? Thanks for your input! Rock on!
  9. Wholly crap! That thing looks like a Spartan's shield! It sounds good for it's size. I expected a more gongy type sound. It's a 500 dollar cymbal? That's a hefty price tag! I like the sound! Not so much the price!
  10. Facebook tells me this video is popular. Usually I keep scrolling, but I had to watch this one. Figured I'd share it here for a good Friday laugh. Have a good weekend, everyone.
  11. good lawd man! 26"!!!! so freaking cool. I saw a Dream that was 26 once at NAMM and thought it was pretty rad idea just to have 26" of cymbal... but then thought of the practicality of gigging with it and my laziness won over my wonder and moved on. lol. But a Paiste 26? I wish to hear it!!! Congrats on an over the top awesome ride.
  12. It's fun hearing you play along to these, having not heard the originals, because you play along with the music a lot like I would have before I made a stylistic change. I'm referring more to the base beats and not the fills or transitions. I'm not saying I could play (or could have played) them as well as you, but the general style of bopping along with the bass/rhythm guitar is the same.
  13. It's ROCK time!!! My last rock tune was with Gregg Bissonette's "Submarine" and I had a blast! Round 2: Carmine Appice! What can I say? The man is a legend in the 70's rock scene. I say, Vanilla Fudge? The man played with Jeff Beck himself! Anyway, Stash! Feedback are appreciated Peace out fellow drummers!!
  14. To me, mirror is mirror - perfect finish, no defects, whatever reflects in it, reflects like a mirror, save for the obvious curvature of the drum. Anything less than that is high gloss and reflections will be there but, a little fuzzy in nature. I have a Mapex M tom in some kind of Amber dye or stain with a high gloss finish. Nice reflection but, not a mirror finish. Most drums out there are high gloss to one degree or another. High end kits by the manufacturers will generally have mirror finishes or very close. Some companies may go the extra mile for mirror finishes on lower level drums but, most have very nice high gloss finishes. The custom makers go the extra mile for their stuff, generally speaking. To me, this is what raises the price of a drum, not the shell material, because of the extra time it takes to get those high end finishes. Lugs may be better quality, too, of course, and that raises the price - thicker walls, perfect chrome plating, etc. Most wraps are mirror finishes simply because their outer layers are manufactured that way, like new clear mylar heads are mirror. Maybe some day I'll make a small set and go for the mirror. Wet sand with super fine grits and all, just to see if I can do it to my satisfaction with less than modern materials. If you are going with the spray equipment and all, you should be able to do a really great finish. I think the final buffing compounds make a big difference with micro scratch removers and all. Tools make the job. Never had them so, I don't stress. I see details in my face clearly and I'm happy.
  15. That's huge man. I picked up a vintage 24" Zildjian a while back and it dwarfs everything. I can only imagine how imposing that beast is. Good to hear you're digging it after dropping all that cash.
  16. Some people theorize that using single ply heads, in combination with the proper resonant combination, allows a smaller tom to resonate longer and make it sound more like its larger companions. That being said, it's more to do with tuning (as mentioned) and batter/reso head relations. You can make thick 2 ply heads resonate forever, and choke out thinner single ply heads. A lot of the gospel I've heard uses fairly choked up toms to allow for the more articulate, faster playing to be heard clearly. (Same for a lot of metal drummers.) Obviously that's not everyone's taste in the genre(s), but it if suits your style of playing, then having less sustain might not be a bad thing. Typically I used the same heads across all my toms. I think it's more of an OCD visual thing for me. There's a thread here about using different combinations throughout your set. Maybe pop in there if you end up doing something different and let us know what you found. You have the advantage of questioning 8" head selection, because they're relatively cheap heads. Buy a few and try out several combinations. That's the best way to find the exact sound you're looking for, and you'll have a basis to make better guesses on larger drums if you want something different from them later on.
  17. There seems to be a wide range of "shine" for each description of high gloss, gloss, mirror, high gloss mirror or whatever description I can find, and some of it depends on the chemical composition of the finish being applied, apparently. To clarify (pun not intended) what I'm going for, I'll say I want to match the quality of the factory finish currently on the drums, just in a different color. Whatever you call it, whatever the technical name is, whatever random people on the internet call it, that's what I'm going for. I will probably end up using automotive grade products since I'll have to buy the compressor, guns and clear for other automotive related projects. (Or I'll take it to a body shop.) Most of the newer automotive paints and clear coats are water based. I might even do a ceramic coat after all that is done. I don't know if I'll gig this kit. Maybe I will, maybe I won't. Maybe I will until my other one is finished, or maybe I'll take it out on occasion. I'll have bags/cases and I'll be the only one touching them, so I'm not worried about it. The other kit I'm hoping to play out more will have a much harder surface, with an automotive clear over that. I have bought wrapped sets with damage like this, and have seen it happen to other people.
  18. Whatever is on your 10 should work on the 8. Nothing really changes. Single ply clear or coated - bright w/sustain, dble ply clear - more muted w/less sustain. Choking isn't so much about head material as how much tension you put on the heads and the pitch you aim for, owing to sound waves in the shell freely moving or striking back at heads too stiff to move with them.
  19. Well, I pulled the trigger and purchased one. I now own "the Lion of Paiste," as I have dubbed it. Some immediate observations. I had a 26" Zildjian med-hvy Ping back in the 70s. It was nothing like this. The size of the cymbal is striking. The color of the cymbal is different. It is so loud it literally drowns out the rest of the set if you ride its edge. The instrument is so sensitive you can get a beautiful tone even using VF SD6 Echo's, which are maple, tiny tipped sticks for light jazz. I had the cymbal up around 4' and it just seemed like a jet engine in my face. I rearranged the cymbals and put it down around 3' and it changed things for the better, though if you strike the edge it is still extreme, just not as extreme and the rest of the set can breathe. But seriously, if you ride the edge and crash a 20" right next to it you can hardly hear it. The 18 is somewhat there. The 15 cuts through. Most of the time you have cymbals trying to cut through everything else around the set. In this case your cymbals are trying to cut through your cymbal. It's low pitch is still musical, and the bell. I use maple sticks, birch sticks, now the Boso bamboo, all softer than typical hickory sticks. I have some oak sticks I tried but, don't favor or use but, striking the bell with hickory or oak could conceivably hurt your ear drum, it is that loud and forceful. You hear this cymbal in videos and it just does not capture what this monster can do. I generally like cymbals that have a seemingly natural "hiss" or "sizzle" to their sound, which this has. It's pretty mesmerizing; a cymbal this big can be so sensitive. You can ride it at any velocity and the wash never rises to overpower the ping. I believe the greenish tint is applied somehow. I first thought the cymbal was nickel/silver with some trace element that gave it the different color. I noticed the edge has the typical CuSn8 color, the more reddish hue of B8 cymbals compared to B20 bronze. What is on the flat surface of Giant Beats, I don't know. Crashing the cymbal is not gongy sounding, and when Paiste markets these rides as multi-purose instruments they get that right. The deep pitch because of its size is not what you would call a crash cymbal but, it is a crash sound next to thicker rides that don't crash well. In a live setting this thing will make its presence known, for sure but, for me recording it will be the task and this cymbal has a sound quite different from all rides I have owned. It should really stand out. At first I liked it but, didn't love it. That is changing day by day. This will be the last ride I purchase (unless I can find another original Chester Thompson ride out there somewhere). It has a lot of character and its own personality. If ride cymbals tend to be the boss of a cymbal set up, this thing is king. Nothing could unseat it. Any other ride in a kit (I generally have 3) just bows to this regal instrument.
  20. Hey y'all! Just got my self a 8 inch tom for the stage custom birch kit. Wondering what heads you would use for an 8x7 inch tom? Single only or can I use clear double too? Don't want it to be too bright but also don't want to choke it out. This is for contemporary worship/ gospel music.
  21. I want to make sure I clarify and say there is a difference between a high gloss finish and a mirror finish. Every set I have made has had a high gloss finish, just not a mirror finish. Any decently applied gloss finish will reflect an image to greater or lesser degrees depending on coats and sanding grits. The work that goes into a mirror high gloss finish and the risks of that finish are what keep me from bothering with the time it takes, each time I have veneered a set. I have never had a wrap that dented when a drum key dropped on it, or other such drumming mishaps. Lacquer, on the other hand, definitely. Modern gloss finishes have chemicals in them that harden better and resist that kind of thing. My understanding is, that is why all the companies left off using lacquer. Much more difficult to work with and not as hardy. Of course, wraps are multi-layered affairs and the manufacturers are always coming up with more scratch-resistant layers. The demise of a high gloss mirror finish really does depend on the owner, as you say. On the other hand, piano black will not look as good as the high gloss finish on a wood, for obvious reasons, as time passes. Same might be said for solid color wraps versus sparkles, pearls and all the rest. The scuff, nicks, and scratches get camouflaged. And color comes into play, as well. Most jobbing drummers leave their good stuff home and use the lower end stuff for gigging, save for the major endorsed players, of course. Why take the risk? Like you said, you have to guard against all the possible mishaps.
  22. I get what you mean there, but thanks for clarifying. By edges I meant the bearing edges. Which I guess would be the sides of a wrap/veneer rather than the ends. I'm really not seeing your apprehension to a high gloss finish, durability wise. I have it on my current drums, and I've had it on older drums. I've also had wraps. If you're careless, both scratch just as easy. If you pay attention to what you're doing, a gloss finish stays perfectly fine. Either way I always try to keep a wax on them, always transport them in bags/cases, and limit who else is allowed to touch them. Typically, my wrapped sets sustained more damage because I was less careful. Small scratches buff out on both, but it's easier on a lacquer finish. Big accidents like nicks and dropping things happen on both and aren't really fixable on either without some heavy amounts of work.
  23. Earlier
  24. No, no. My bad. When I put veneer on the piece is always longer than needed and I leave off the glue on that last inch. You wrap the drum. When you come around your first seam piece is down and how to finish with the second? I use a razor and straight edge. Remember i mentioned I leave extra on both sides of the shell, especially if bearing edges are already cut? That extra length with no glue? Cut just a little off each side so you can see the veneer line underneath. Line up your straight edge on that line, clamp it to keep it secure, carefully slice, and the second seam piece should line up perfectly with the first seam piece. If you glue your actually length correctly everything will adhere and no glue will touch anywhere it shouldn't. Another way is to glue the entire length but, put some painter's masking tape over seam one once it's down. Then when you wrap around the extra length of veneer, even though glued, will not touch anything when you line up and cut it off. You would do the same thing veneering the inside of the shell. It's really pretty simple to do. As far as mirror finishes. It's the time. You have probably watched videos on youtube of how people do it. They'll use one of the newer chemical finishes you find out there that you won't find at home depot or lowes. They spray it on. Do their sanding from 220 dry to 1200 grit wet. Even 1600. Some do more than that. Then put the buffing agent on and put the shell to the buffing wheel. The shell shines like the sun. From there it is all soft cotton gloves for handling because bearing edges come (in your case they will already be on each drum). Then drilling (in your case already done. matter of fact remember to cover all those holes inside when you glue up). Then final assembly. Yeah, I have seen my rough hands totally screw up the mirror finish on copper. Even cars. Not me but, I know it has happened to people with their beloved autos. Some of the newer chemical finishes resist scratching. Nothing is scratch proof and unless you are going to put your drums in a glass case just to look at, for me, if I want that mirror finish I might as well find a wrap I like which have protective layers. Even then, nothing is scratch proof. I like wood grain, though. I used to hate wood grain when I was young. When I got older, especially when I began making my own drums and found out about more than maple and birch, I really swung the other way. I did wrap a big set in this iridescent white pearl that was very attractive. Had a changing look as you walked around the set. Otherwise, it's always wood. I have seen finishes that are gorgeous, liquid looking. Somehow that reminds me of a wood coffee table with a sheet of glass on top. Just not my thing, I guess. You can do the finishing. You can get the mirror finish with anything. It's just the time and patience it takes. I have the patience. I just don't care to take the time and then see it messed up anyway.
  25. I'm definitely going for a high gloss finish after the stain. Yes, that probably means going to an automotive shop if I haven't gotten enough tools/skills to do it myself. I don't like a textured wood grain finish on drums, and some other things. I think it looks half-assed and unfinished, on top of collecting a lot more dust in a lot less time. It depends on the object you're finishing. Sometimes a little grain looks neat. I've had several high gloss finished objects and it's always lasted. And forget dusting, micro-scratches start when you touch a highly polished finish, even metal. Having water in the room does help with dust, by not allowing ti to leave the floor. It also traps over spray. Everything that's still floating in the air can still get in your paint. The newer automotive paint booths have filtered water running below the floor, with fans to draw everything downward into the water. Dealing with contaminants is part of the painting process. It happens every time, no matter the set up. Yeah, getting the veneer on straight is going to be a pain with edges already cut. I've had that fun with wraps before too. I'll find a more patient helper for this project. Pearl. It's ugly as hell. My high school had a Ludwig kit with the "Jackson Pollock" interior finish.
  26. You mentioned that interior finish from Mapex. Ludwig used to put this finish inside concert toms that was, for all intents and purposes, Rustoleum Multi-colored Textured spray paint. I always wondered what that would look like on a drum exterior. Back then Ludwig had a blue and white mix. The stone-look colors Rustoleum has today look pretty cool on things I've used it on, like planters. I've always had a nostalgia feeling for flame wraps. Delmar has some really gorgeous stuff that drum companies nor DIY merchants have yet to offer. I guess because Delmar makes so many different things it cannot possibly all be stocked or offered. Not trying to push wraps or anything. Just began thinking about that spray Ludwig used to use. Hideous stuff as I recall. Slingerland may have used it as well back then. I've always played large sets and I always wanted to make a set of multi-woods, from light to dark, around the kit. Like figured Sycamore for a smallest tom down to Ebony for the largest floor tom. I'd have to travel to Michigan, to Oakwood's place to pick up scraps, though. It would be a king's ransom to get full sheets for just small pieces for each wood. Placing veneer on a shell is pretty easy, though. Put a square line down the shell, suspend the shell off the ground higher than the length of your veneer piece, line up the veneer with your scribe line and slowly affix the veneer. Just in case I go a little crooked I always allow for a half inch of extra veneer on each side. Trimming is easy with an exacto knife or any razor blade. It is trickier when you already have bearing edges. You have to be more careful. When I put tongue oil on, I generally end up using 8-12 coats to see my reflection as detailed as suits me. I am not one to bother with mirror finishes. They just don't last by the time dust, falling drum keys or sticks, pets, children, etc., etc, take their toll. Some of the newer products out there are tougher but, like I said, I've never had the spray set-up, nor buffing tools to use it. They look nice brand new. It doesn't last though. Micro scratches start as soon as you dust your drums. Personally, I'd rather see the actually grain character of each wood and not worry about mirrors. I've never particularly cared for satin finishes but, they are a lot easier to do than high gloss, that's for sure. I remember reading Sonor places 1/2" of water on the floor of the spraying room to keep dust down to nothing. Trying for mirror finishes is a real hassle because of dust in the air, etc.
  27. I see what you're saying about the additional issues with cutting diagonal, on top of getting it to line up. Straight cut sounds like the way to go. I'm still undecided on the interiors. I'll have to try it on one of the test drums first to see if I have the patience to do it properly. Any choice is going to be expensive. I'd rather go with the better finish. A wrap is a backup plan for me. Even then, I might just paint them a solid color I like before a wrap. I just picked up another cheap shell pack that I want to try another method/finish on. It will cost more than the finish wood veneer idea, and that's just for the raw finish material. If I can pull it off, it's going to look ridiculously good.
  28. I can't say I have ever seen veneer with a diagonal cut before, unless the veneer, itself, was put on diagonally. I've seen DW drums done that way. Looks interesting but, for my money, a lot of veneer is wasted that way. Normally, running the grain vertically, a straight seam is the best to keep grain patterns looking correct. A diagonal seam would really show. I just like it as invisible as possible. It wouldn't show as much running the grain horizontally around the shell. Veneering gets expensive today. Like everything else prices have gone up and if you use exotic veneers, and need two sheets, or more, depending on the number and sizes of shells, and you're looking at $6-$10 a sq' or more; add in finish products and it adds up quick. Plus, you want to do the shell interiors. Yikes. Even a nice domestic veneer will drain your wallet quick on a project like that.
  1. Load more activity