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Originally Posted by slipperman  Ludwig made a split shell mahogany 14x10 that had individually adjustable snare strainers. Used it live like a madman from 1981-1986. Still got it somewhere. Maybe my Mom's house.
Premier made a drum called the "Project One(?)" with a big old hole for the mic on the side in a really bizarre "double shell" design. Had onna doze 2. Used it in studio on a record with Clarence Clemmons and some Singer-Songwriter cat from the Bahamas called "Capt. ???"(Can't remember/dreadful). Engineer was the ever grouchy/hilarious Bob Yauger. Who dubbed it a "Boat Anchor" to the concerted amusement of the assembled mob. I took it down in shame and put up the Radio King. Sold the drum about a week later to some drum shop in Syracuse. I thought it sounded decent on my side of the glass, but it really had gone down like a fart in church more than once in sessions.
SM. |
Weren't the Premier shells with that double shell design called "resonators"? ....hardly.....haha.
As for the larger holes in snares......it's basically a matter of venting. Remember late 50s Slings didn't even have the normal vent holes. This works on drums that are not hit as hard. It keeps every possible vibration and all energy inside the drum. Similar to studio construction, the sound waves look for the easiest way out....the drumhead. Therefore, more resonant and tone out of said drum.
But, what about when you really lay into it? The drum chokes itself out. So, the vent hole is needed. Now, the larger the holes, the less likely the drum is to choke out on harder hits. That means you can hit it harder and get more volume, right? Right, but at the expense of actual tone. That's why this concept works well for marching drummers where they're just looking for volume with their tree trunk sticks and kevlar heads and uber-tensioned drums. But, it's really overkill for most kit players.
later,
m