Can you believe how much it’s being played these days??! I mean… even Weezer doing a cover of it THIRTY-SIX YEARS after its initial release??! Wow!
You’ve got to give it up for any song that features drums right at the top of the song. And what a groove! Jeff Porcaro and Lenny Castro just killed it with that entrancing Serengeti tribal lope.
But what’s that little click-y sound being made in the opening loop?? Why, it’s Jeff doing a “side-stick” pattern on his snare.
Side stickin’ on my PDP snare!
Well, thanks to my new PDP Maple snare drum, I’ve been enjoying side-sticking more than ever these days, and rehearsing hard to even be a TENTH of the player Jeff was. Prayer is welcome!! LOL
This latest investment into my own personal world of beat-making. I’m diggin’ it so much, I just have to share… let’s rock!
The Wooooo of Natural Wood
As is often the case, the snare caught my EYE before my ear. I was visiting the drum shop at Guitar Center, buying a couple crash cymbals for my “Crash Cymbal Shootout!” (check that out HERE).
While talking to Veronica, my uber-knowledgable Sales Rep there, I saw this very classy-looking snare up on the shelf with a price that surprised me, it was so low.
Although it’s made mostly of Maple, it’s covered on the outside with a beautiful Walnut veneer with a Satin finish that is startlingly appealing.
Needless to say, within a half hour I left with, um, a little more than I’d planned on buying. lol
But it’s all good!! This snare has given me a sound quite different from all my other snares, and when you’ve assembled a diverse snare collection, that’s saying something!
Let’s break it down…
Spec Me, Baby, One More Time
Here’s whatcha get when you bring home one o’ these bad boyz to your set:
The PDP Limited Edition Maple/Walnut Snare
Model #: pdsx7514natc2
Size: 14″ x 7-1/2″
Shell material: Maple / Walnut
Shell construction: 10-ply
Shell thickness (mm): Info Not Available
Bearing edge: 45 degree bearing edges
Hardware material: Steel
Hoop type: Wood!
Throw-off: Tap-style from DW line!
Snares: Copper
Finish type: Satin Lacquer
Warranty: 1 year limited warranty.
Country of origin: China
A Tone That Brings the Tinglies!
Dave from Guitar Center does a great job showcasing the many sound facets of this snare. The mic really picks up well the difference in timbre and cut between soft and loud hitting.
Make sure you hone in on the difference in timbre he gets from having the head cranked high at the top of the video, compared to at 1:15 where he changes it and drops it down substantially for a more laid-back timbre. It’s BAM-alicious!
Check it out…
These Are a Few of My…
Teaj side-stickin’!
Favorite things about this snare??
For starters, it is, as I mentioned at the top, THE BOMB for creating a rich, warm side-stick sound. There are times when I’ll want that typical metallic snap-crack that we get on a metal rim, but now if I’m tracking a soft ballad I have a side stick that is far less ostentatious and sits unobtrusively in my mix wonderfully.
The DW MAG throw-off is also my favorite design out of all the snares I own. DW really knows how to do things right, and they obviously listen well to their drummer consumers and then engineer accordingly, to make our lives easier, better… more fun!
This throw-off design is quite clever – it uses a small magnet to make sure it doesn’t slip open. Plus, it’s not clumsily loud when you engage it, like some others I could mention, and it’s easy to fine tune the tightness even when you have it on.
The DW Throw-off!
OH, and the fact that this same throw-off is used on many much more expensive DW snares doesn’t hurt either. 😉
If I’m going to want to throw in any rimshots in a tune, this snare packs some pretty explosive power for that, mostly because of the thick matching wood counter hoop. I can’t get a louder rimshot sound from any of my other snares, and the timbre is round, full and, again, very wood-y.
But wait! Did I mention maybe the biggest reason this snare rocks?? It’s THE PRICE!! Considering the heft, tone, hardware and beauty of this snare drum, I still can’t believe I got it for under $300. It’s truly an exceptional addition to my kit at a cost that, based on my experience, is much lower than it deserves to be.
In a phrase, buying this snare as an addition to your kit is a “no-brain-er”.
Paradiddle Perfect!
Right outta the gate this snare was a pleasure to play. Pick a rudiment, any rudiment! You’ll enjoy the journey as I have on this roll-worthy percussion ride.
Like all snares, this one rings with significant overtones if you want it too. Dial up its heads to its strongest resonant frequency and you’ll have a ring sustain that floats like a king’s entrance trumpet fanfare!
It’s easily backed off though, either by changing the head tuning, adding a Moon Gel, or (as I know some of you still use!) slappin’ on some duct tape. I pretty much gel every snare when recording in the studio, unless it’s a very divergent, more “folk”-flavored tune. Regardless, you have lots of tone available at all times.
Most of that thick tone and lingering sustain comes from the six plies of maple coupled with the beautiful 2-ply outer walnut veneers of the shell. Tune it to your liking for whatever genre or song you’re prepping for and this wood combination will perform it brilliantly.
PDP’s combination in this snare of Maple wood, with that outer bit of Walnut, can sound forth a warmth, diversity and luxury sound that my other snares don’t have in spades like this one does. It’s a unique, adaptive and easily complements any number of genres. Just employ those dual-turret lugs to set the sound that works best for you and unlock the very best this snare has to offer.
Size Matters
Heads up on an issue that you might run into, as I did: fitting your snare stand.
Because the wooden hoops extend the width of this drum beyond what’s normal, I actually had to buy another snare stand to accommodate its width. The stand I had previously gave me no wiggle room or way to expand the cradle, so, yes… it was off to Musician’s Friend to save the day!
Now I have a larger, more industrial stand with an adjustable cradle both for width AND proximity to the drum throne. BIG win in the ergonomics department, for sure!
So be warned. If you have a standard snare stand that’s non-adjustable, you may have to get another stand.
The total width across this snare is one tick less than 16″. Plan accordingly. 😉
The Final Flam
If you’ve been wondering what Rim Shot & Cross Sticking heaven sounds like, congratulations – you’ve found it.
I swap out other snares for this one when I want warmth, a real wood-y tonality, or when I know I’m gonna be doing a significant number of rimshots or designated sections of side-sticking, in songs that would benefit from the slightly more subtle, wood-flavored bark that this PDP paragon delivers.
Wanna join me?! Add one o’ these puppies to your kit, and then let us know here at Seriousgas whatcha think. If you’re like me, you’ll find it a distinctive, significant asset to your tonal palate!
Klingon with a Batleth, from “A Klingon Christmas Carol” (Photo: Guy F. Wicke)
“Afzelia Xylay.”
“Chakte Viga.”
“Cocobolo.”
“TZALAM!”
Am I shouting to you a Bat’leth challenge in Klingon??!
I am not. (I shamedly say I have not yet earned the right to carry that curved blade of honor through ritual, adjudicated combat in the Klingon Training Academy. Plus… I’m past the Age of Ascension.)
But I digress…
Instead, the above names are way-off-the-beaten-path exotic tone woods used in making guitars. There are literally hundreds of interesting woods around the world that could form our instruments. And some… look simply a-MAAAA-zing!!
Enter my Ibanez acoustic guitar! I’ve been enamored with it for weeks now and just had to share with you my experiences with this ‘workhorse of a different color’.
How I love to ride!!
We Starts w’ th’ Parts!
Because of an INCREDIBLE deal I found on CraigsList, I now am the proud player of a member of the AEW series (though technically, when this guitar came out, it was only called the “EW” series).
The incomparable beauty of its top wood figuring pattern ignited my G.A.S. like a Molotov Cocktail torching up a Soviet tank in Finland during the great Winter War!
Look it up. It’s a pretty interesting story. 😉
Here’s the pertinent parts:
“EW20AS ENT1201” Model
Deep “Grand Auditorium” body style
Quilted Natural Ash veneer top, back, and sides over laminate
‘Sound Expand’ inner bracing
12th fret pearl inlay
Die-cast chrome tuners
High-gloss finish
Neck: Mahogany
Bridge: Rosewood
Fretboard: Rosewood
Binding: Cream
Inlay: Mother of Pearl Infinity symbol @ 12th fret.
Tuners : Ibanez Chrome Die-Cast
Bridge Pins: “Advantage”
Saddle: Ivorex II
Nut: 1 11/16″ width, Ivorex II
Scale length: 25 1/4″
Fretboard Radius: 9.842
Pickup: B-Band UST
Electronics: AEQ-SP2 preamp with onboard tuner, EQ
Outputs: Balanced 1/4″ and XLR
Finish: Natural high-gloss
Weight: 5 lbs 0 oz.
In case you’re wondering, the ‘Sound Expand‘ inner bracing that Ibanez uses in the body is an innovative design they’ve recently placed in some of their line. In short, it couples the bridge plate to the end block, which in the end achieves better resonance. This was a smart move for this guitar, since laminate top plates tend to suffer from a more ‘dead sound’.
So too, the Ivorex II saddle and nut are Ibanez’s answer to the ‘faux bone’ fad of the last decade. Are they better than plastic? Oh yea. Better than real bone? Gonna have to say “no” there.
The “Advantage” Bridge Pins are made with a different shape than usual. They don’t go as far into the body, are stopped by a little ball inside, and stay in place, supposedly, better than the usual suspects.
Don’t know if that’s true or not, but I can say they’ve given me no problems. Might be an issue though, if you ever want to swap out the pins for bone…
Whadda THEY Know About Acoustics??
The Japanese company Hoshino Gakki first got into the acoustic guitar business in 1935, when they distributed high-end Classical guitars built by a luthier named Salvador Ibáñez from Spain.
In 1939, after Salvador’s whole shop was destroyed in the Spanish Civil War (what a bummer, dude!), they bought the rights to the luthier’s name and started producing the guitars themselves, using the shortened moniker “Ibanez“.
With the advent of the “performing songwriter” and the fame associated with traveling bards singing folk music in the 60s (I’m looking at YOU, Bob!), the steel-stringed acoustics showed up in their catalogs. They were pretty much at that time not-as-well-made copies of Gibson acoustics, but they were much cheaper and sold well despite the lower quality.
Until they were sued by Gibson in ’76 and had to change their headstock & product names, that is. 😮
In they ensuing decades, Ibanez found that actually designing new, innovative & distinctive guitars, especially with a star player’s endorsement, really shot their sales higher.
Since then, they have continued to make electric and acoustic guitars with an emphasis on divergent aesthetics, rather than copying the big dogs and their toys…
Hey, Joe! Where You Going w’ That EW in Your Hand?!
Joe Walsh playing an Ibanez EW (Courtesy)
The Eagles came to Detroit this past month, bringing with them their penchant for extraordinarily well-crafted songs, impeccably-rehearsed vocals, and exceedingly top-of-the-line gear to bring it all to our appreciative ears.
Imagine my surprise, then, when I see Joe Walsh bring out MY EXACT SAME GUITAR, this EW with Ash top that I’m reviewing for you right now, and play it on a couple songs!!
Wow. Was my high opinion of this acoustic superbly vindicated, or WHAT?!!
I have to mention this, because there are some snooty, pretentious players commenting in some forums online about how “sub-par” these guitars are compared to other brands and models.
What do I say to them? Dudes – Please! There’s a reason why well over 90% of the reviewers that actually own this guitar have given it 5 stars and rave about it.
And besides that… if it’s good enough for Joe… then it’s good enough for anybody!
Don’t let the naysayers or the lower price point fool you… this is definitely a guitar you should play and hear before making any value judgments.
“Are All These Your Guitars…?!”
Ibanez currently has six acoustic guitar series available. They are:
The PF Series (Inexpensive “Performance” guitars)
The AEW Series (“Exotic Woods”)
The AE Series (“Acoustic-Electrics”)
The AEG Series (“Fishman”-electronics equipped)
The TALMAN Series (Merge of acoustic & electric guitar vibe)
The AV Series (“Thermo-Aged”)
They also have a couple other one-off guitars endorsed by Steve Vai and Joe Satriani, designed according to their specs, if you’re an avid fan of either, or just like spending way more money for “a name”.
For a complete look at their current line-up on the official Ibanez website, CLICK HERE.
Voice of a Different Color
One of the big reasons I like this guitar for my in-studio work is that it sounds different from any other acoustic I’ve ever owned.
It is sparse in high frequency content, so if you want a “warmer, darker” sound, this carries that flag. But, at the same time, it’s not muffled-sounding, which sometimes accompanies guitars that are too “warm” or have a laminate construction.
Also, the type of strings you put on it, as with any guitar, will make a big difference in the frequency content.
I prefer to use Gibson Masterbuilt Premiums on this guitar, as they bring out the top end more and off-set the darker “brown sound” with some shimmer.
Still, regardless of the string set you choose, to my ears this guitar has a real “story-telling” timbre to it that I just can’t get enough of.
If I need more starlight-kaleidoscope dancing high frequencies, then, fine, I’ll just strap on one of my other more expensive guitars. But for so many of my songs, this Ibanez beauty… enthralls my audiences splendidly!
For a great glimpse into the stellar and singular timbre of this acoustic, check out this video our friend Wade playing it over at “The Perfect Guitar” by CLICKING HERE!
Do Androids Dream of Electronic Guitars??
The SRTn electronics that come standard in this EW model are quite good. They enable you to get a much different sound from this axe than if you just mic’ed it, and of course make it louder for larger venues.
One thing that I love, love, LOVE about this guitar is that it gives me TWO output choices: a 1/4″ AND an XLR output!
Sound mixers love this because they can take a D.I. from the XLR straight into the board and work whatever magic they want with effects and such there.
I LIKE it because my 1/4″ output I can send to my on-stage rig and hear it how I want it, with the effects and EQ that I WANT.
And, if desired, the sound person can mic my cabinet or amp and have BOTH signals to mix with. Most excellent!
As I researched this guitar online, I only found three negatives mentioned:
the overall timbre of the guitar (obviously totally subjective),
the failure over time of some electronics parts, and
the imprecise nature of the tuner
As for the sound of the guitar, I find it to have a very pleasant, usable tonality.
Would I use it on everything? Nope. But I don’t think I own any guitar that I’d say that about.
It has given me a further compelling and complementary “color” to use when writing songs. I consider what my lyrics are saying, choose a guitar in my arsenal based on that mood, or attitude, and voila – I get the perfect combination.
With this EW acoustic, the recording results are warm, homogeneous, transfixing when finger-picked, and ultimately greater than the sum of its parts.
I have not had any failures with the electronics myself. The EQ knobs work as expected, with no hint of noise or crackle, & the notch button definitely cuts out a swath of frequencies to help you avoid feedback.
The Phase button also helps when I’m recording the guitar with mics and the D.I. I can switch it to blend a lot better instantly. That’s a cool drool tool, fool! lol
The tuner? Well, it’s not as precise as the Peterson rack tuner I use onstage, but, then… what IS??! Unless there’s a guitar with a Peterson built in one day, you’ll never catch me using a built-in tuner. I’m just too spoiled and picky now with regard to intonation.
Still, how they’ve packaged the electronics is simple, clean and immediately user-friendly. No need for a manual here, folks. And the non-slip surface texture of the knobs?? Every guitar with any knobs should use these – I love it!
En Guard!!
One distinctive difference of this EW guitar is that it has no pickguard. That might look a little odd to some, but I think that’s perfect for showcasing the intricate, mesmerizing figured exoticism of the Ash wood veneer.
I also don’t mind the missing guard because I usually finger pick with this guitar, mostly in alternate tunings. In fact, as soon as I saw this guitar in the ad, I knew it would be the ideal tool for finger-picked compositions that demand the entire fretboard to be worked.
Just LOOK at that Ash wood!!!
Because of this, I don’t think I’ve ever used this guitar for strumming. Ever. Not that it can’t be; it would sound fine for that, I’m sure. But it’s just such a finger-picking dream that, for me, not having a pickguard is no problemo.
If it is a necessity for you, well, that’s easily remedied. I have another guitar, an Ovation Balladeer, that also came with no pickguard (read it’s story HERE), but since I strum that one A LOT, I just bought one on Amazon for around $19 that looked super stylish and matched the overall vibe of the Balladeer perfectly. Problem solved.
Just Can’t Dis ’em Exoticism!
This Ibanez acoustic guitar is almost a ‘10‘, in my book, for what you get. And many others obviously agree, if you research online. One reviewer on HarmonyCentral even said about this EW, “For the money, if there were a higher rating than ’10’, I’d give it”!
When I play it, I find it hard to believe that it’s a “cheap factory guitar”. It feels sturdy & well-made (like most Ibanez products), it’s outfitted with parts that make it sound good, though unique, and, of course, it so immediately grabs your attention visually that I absolutely guarantee that somebody in your audiences is going to mention how cool it looks.
And it’s such an unbelievable value. Compare it with other brands at the same price or even up, say, $700, and you’ll see what I mean… there’s hardly any that give you so much quality and ‘wow factor’ than this… and it’s under $400!
But, hey, prove me wrong, please. And when you do, I’ll buy THAT incredible deal and write an article on it… and mention your name!! 😉
In the meantime, give the Ibanez acoustics a chance. They will continue to have a place in my “wall of gain” and in my ongoing recordings. After all… can a choir ever have too many voices?? If you’re as excited about the EW acoustic as I am now, follow this link to your bliss:
You’ve probably never heard any musician utter this sentence in your life, so prepare for a moment to remember…
You ready??
My Wishbass looks like an amoeba.
See. Told ya. 😉
As you can see by the pic on the left, my particular Wishbass is quite… well, different is one way to start the discussion.
Luckily, it doesn’t sound as peculiar as it looks.
I’ve named this unusual bass “Meeb“. Seemed fitting somehow…
So for those of you unacquainted with the Wishbass company, let’s expand our brains a bit, shall we?!
The Vacuole of G.A.S.!
Did you get to investigate amoebas in high school Biology like I did? Such weird, amorphous-looking creatures… so bizarre-looking!
I remember watching one in the little slide of liquid we were given. It was changing its shape at whim – twisting, turning, morphing, moving like bad-joojoo-Jello come to life. It was kinda fascinating, until…
… I watched it eat. Ohhhh…. the horror!!
It came upon an unsuspecting paramecium. Out crept it’s surreptitious arm-like psuedopods… slowly starting to envelop the leisurely critter without a sound.
Within seconds, the paramecium too late recognized the threat! It started to swim around fast and frenetic, slamming in panicked circles against its foe!! But the rubber arms of the “Mrs. Incredible” of single-celled organisms only tightened the embrace.
There was no way out. The “bubble of death” was complete.
The morphed mouth smothered.
The digestive enzymes invaded.
One strong, bangin’ pickup!
Then all was still… in the vacuole of death!!!
Funny, but when I first saw my Wishbass in pictures in an ad on Craigslist, all those moving amoeba memories came flooding back in to my conscious thought. It didn’t come across quite as grisly as that hungry amoeba in high school though.
Like lunch-luscious parameciums to an amoeba’s survival instinct… I knew when I saw this bass that it had to be mine!! It was the only way to escape the vacuole of G.A.S. that had enveloped my brain!
My Debt’s Less For Fretless!
When I saw this bass in the ad, obviously the shape and look of the body grabbed my attention and wouldn’t let go.
But it was also the COST listed in the ad that made me jump like Eddie Van Halen during the “1984” tour! It was listed for $150! Now, I’d been in the market for a fretless for some years, and this price was… well, a little to low to believe.
But I had to check it out. So, I went over to the guy’s pad and played it through his amp. Wow. Weird shape, but FULL sound. No buzzing, short-outs or pot crackle at all. Just solid bass whomp.
I was sold!
Of course, I talked him down to $130, ‘cuz… ya know… that’s just whatcha do, right?! lol
An Amoeba That’s Truly “Kewel”!
The only info on the bass was the label that you see in the picture to the right. Jumping on the Internet, I soon discovered that the Wishbass company was down in North Carolina, and looked to be a one-man operation.
I shot an email and picture of my bass off to the company, hoping to get some facts about it, learn about the company and, really, just kind of ask, “What were you THINKING??!”
Within a day (impressive response time!), I received this insightful reply:
“Hi, Teaj. That bass is called the “Kewel”. #749m. It’s some oddly variant bass made out of maple wood.
Here are the specs:
Body: Maple on Ash
4-string
Neck: Maple
Fretboard: Persimmon
1 Volume knob
1 Kent Armstrong soapbar pickup
Production: Sold on eBay on 5-9-07.
That was a good design – comfortable.
It was hard to ship though, and wasteful of wood.
Carry on.
-Steve”
The Whacked Master of Wish
So that was my first encounter with the wizard behind my head-turning bass. He’s the one daring design dude behind all the quirky, morphing bass bodies that come out of the Wishbass shop. His name: Stephen Wishnevsky.
In researching him and his company further, I’ve come to think of him as a cross between Uncle Si of “Duck Dynasty” and “Doc Brown” from “Back to the Future” – a curious, tinkering, jokester of a cuss that just can’t stop tryin’ different woods, electronics and hardware together in unexpected and, sometimes, outlandish combinations.
He started Wishbass.com in 2001. His business model there was to make inexpensive fretless electric bass guitars for working musicians. Guess he saw the need for good, solid, usable tone at a low price, for those among us gigging for peanuts
Before that, though, he had quite an apprentice era learning this craft. He studied with the Ovation company, as well as several other well-respected luthiers, to gather the skills needed to open his own shop.
These days he’s moved on beyond Wishbass, and now you can find him making all kinds of stringed instruments that, again, buck the trends of current accepted instrument design. Guitars, harps, mandolins, resonators and mixed hybrids you can now find on THIS WEBSITE.
The simple Wishbass bridge
Steve approaches instrument making with the same basic premise in mind: to keep them affordable by providing the basics that you need, with no frills, and maximizing the wood-to-strings relationship for tonal and response excellence. Here’s how he puts it:
“Our basses are designed to maximize the acoustic coupling between the strings and the neck/body wood.
This produces a fine woody tone and lots of sustain.
Our basses minimize the metal and electronics in between your hands and the amplifier, letting you control your tones instinctively, instantly, organically.”
I’d have to say that from what I hear of my own Wishbass axe, he’s hit the nail on the headstock.
The Fire
In February 2015 the Wishbass shop burned to the ground. Everything he had in the shop was destroyed… and even his TRUCK! Investigators concluded that it was a loose pipe or flue from a wood stove that caused the fire.
How awful. It goes without saying that it hit him financially, but it was worse than usual: The flames engulfed thirty guitars that he just handmade and was going to sell, AND he was, unfortunately, UNinsured. Because he made his instruments in the garage-turned-shop on his personal property, he couldn’t insure the business, since personal real estate is zoned for residential, not business.
Not the legalese you want to hear when you’ve just witnessed your business go up in flames, I’m sure!
And just think about all the other stuff he lost that had sentimental value. He’d created instruments in that shop for over 20 years! He found, for example, in the ashes the twisted remains of his dad’s old toolbox that he used to store tools. Things like that are just irreplaceable.
Steve surveying what’s left after the fire.
It really makes ya feel for the guy.
Steve has bounced back from this tragedy though. In typical Steve “forge ahead” fashion, he said, “I got no time for angst. That’s always been my motto. You can do anything if you don’t angst about it.”
Steve is once again up and running, having opened a workshop in the basement of a former furniture warehouse in downtown Salem, North Carolina.
Best of luck in your new digs, Steve! May hundreds more instruments find life through your hands!
The “Not-Yet-Ready-4-Prime-Time” Instruments
Not everyone is a fan of Steve’s work though. You can find plenty of naysayers about Wishbass basses. But then, the products of any instrument manufacturer is put down by somebody.
Roxie doesn’t seem to mind that there’s no truss rod.
One thing that is true of standard Wishbasses though is this: they have no truss rod in the neck.
For some, having no truss rod is unacceptable. Me personally?? I’ve never had a problem with my Wishbass neck. It’s been consistent and straight with no changes for years.
Here’s what Steve says about the whole truss rod thing:
“Let’s get the standard questions out of the way:
Yes, the neck is kind of fat.
No, there is no truss rod.
There is one reason for both of these quirks – I am convinced that putting metal in a guitar neck hurts the sound.
If you think I am wrong, buy something else!”
As you can tell, this is a guy that knows what his business stands for, and unapologetically adheres to the mission!
Notice the ‘rough cut’ of the control panel
Is it true that some Wishbasses have come to customers with some “rough edges”, compared to high-end and well-known guitar manufacturers? Yep.
But, again, consider what you get for the price point. A Wishbass may need some “finessing” to get it to your liking after purchase, but it’s always going to arrive sounding good from the get-go. Steve says he wants the instruments he makes to sound good, not necessarily look perfect.
Some Wishbass customers online say they’ve had to replace, refine or recarve some piece of their bass after they bought it from Steve to get it to look like they want. Okay. Personal preference. But the sound you get makes up for what’s lacking in fashion.
Here are some things customers have mentioned online that they’ve changed after getting a Wishbass:
Body contouring
Bridge intonation
Fretboard radius
Neck thickness
Finishing coat application
Interestingly, the customers that DID change these things still appear to be fans of Steve and often buy multiple basses from him. It’s like they realize that Wishbass gives them a good starting product, tho’ imperfect some of the time, for a price that’s just… well, stupid cheap.
In other words, when you’ve saved so much money on an instrument you can afford to shore up a few niggling shortcomings here and there, or add bells & whistles if you want.
Precise & easy to turn tuners!
I get the sense from Steve that he’s really more into exploration, forging new ground and making something new than being too particular about visual Q.C., so I’m not surprised that these issues come up from time to time.
This lines up with Steve’s M.O. – “I make affordable string instruments for the working musician.” He usually, for example, puts very little coating or lacquer on the wood at all. Sometimes none! Why not? Because it’s not necessary to get good TONE.
Also, you won’t find his instruments in the big box music store catalogs. Why? It helps keep costs down, the savings of which he can then pass along… to you.
Though I haven’t actually gone down and met Steve in North Carolina, the Internet shows that he spends a lot of time probing the boundaries of potential in his instrument making. Take, for example, THIS VIDEO. It shows just how interested and curious Steve is about expanding the possibilities in the marriage of music and electronics.
Now, I bet most luthiers who have been making instruments for more than 5 or 10 years are probably way more interested in making more products, to make more money, than investigating further how to make “a better mousetrap”. I give him kudos for maintaining a healthy inquisitiveness in the face of market pressures that say “just roll with what works and grab the cash!”
Let the Amoeba Music Begin…
I did a little recording for you of me messin’ around on ‘Meeb. It’ll give you good insight as to why I like it, and how solid of a sound it produces.
I recorded with one mic pointed at my Ampeg cab. Amp was my Bugera Veyron T. Didn’t have it up very loud. About halfway.
In playing this bass again for a few hours, I have to mention just how comfortable it is. The way Steve made the body it rests perfectly on my leg, and because the body isn’t too thin, like, say, a Stratocaster, my leg didn’t mind it being there for hours. Very easy to play and, though it admittedly looks strange, this bass is ergonomically the bomb!
Enjoy this glimpse into my ‘Meeb world!
When You Wish Upon A Bass…
Steve’s instruments aren’t for everybody. Some say they’re ugly. Some call ’em “unfinished”. Some label ’em sub-par. Others say they’re bizarre.
For those of us that play a Wishbass, however, we find them to be solid, dependable basses with deep, woody voice, admittedly basic, but full of great tone and substantial sustain.
My mantis Roxie really digs the Wishbass!!
For me, the tone and response I get from my fretless Wishbass is great. I haven’t had to change the bridge for intonation problems. I haven’t had to sand down any parts of the neck to get the radius consistent. I haven’t needed to change anything… ‘cuz it’s a solid workhorse as is.
Yes, it only has one sound. But that sound is solid and exemplary. Just what I need in the studio when a fretless bass part is needed. It records wonderfully.
And yes, it looks totally bizarre. But when I’m recording, that doesn’t matter. If the tracks sound good, I’m happy. And so far… Meeb gives me everything I need!
Wishing for an inexpensive way to get into a big-bottom bass?? Try Steve’s instruments. If their unique look isn’t your thing, that’s fine. Not all art speaks to everybody. But if you DO try one of these handmade, one-of-a-kind instruments, you just might end up a groovin’, satisfied customer.
Hey, all you pro audio aficionados!! Welcome back!
Whether you’re jammin’ in the streets, on a stage, in a studio, or just in your bedroom with your headphones on, we’re glad you’re here to chomp on some more sound salad and join us knee-deep in the audio hoopla!
As we announced in THIS ARTICLE last week, it’s a brand new year here at Seriousgas.com and to celebrate, I have some further great news…
… we’re now rockin’ it out with Musician’s Friend in our corner!!
That’s right – one of the biggest players in the pro audio market is now working with us to bring you the best gear at the best prices possible. We’ve been in dialogue with them about this for months, and the culmination finally landed in the mix yesterday.
Happy G.A.S. Birthday!!
Because of our new partnership, all those with Gear Acquisition Syndrome will be ecstatic to know we’re sticking somethin’ in your Christmas stocking early this year… BEFORE HALLOWEEN even!!
What is it? Well, to celebrate our first bodacious “Year of Gear”, how ’bout this: UP TO TWENTY PERCENT OFF at Musician’s Friend… RIGHT NOW?!!!
Being a long-time M. Friend customer myself, I can tell you that savings of up to 20% don’t come very often. This latest savings opportunity only lasts until October 29th, so click the link below while it’s hot and GO BUY SOMETHIN’!!!
The Choice is Always Yours!
For you Amazon Prime members who are wondering if we’re still going to be letting you link to Amazon, the answer is… YES!
Most of the time, you’ll probably see the same prices on Amazon and Musician’s Friend, since they are almost always set in stone by the manufacturers. When this occurs, it’s obviously a real benefit to use the “free shipping” benefit of Prime.
But Musician’s Friend sometimes gives out savings coupons, like they did to us FOR YOU today. When that happens, it’s time to save a bundle, baby… especially if you’re buying a big-ticket item!
Either way, you’ll find a doorway to both savings here at Seriousgas.
Pay Less, Play More!!
As always, thanks for sharing in our GEAR LOVE here and promoting our celebration of all things music equipment. We appreciate your presence, visits, clicks and comments!
We’ve got lots of new, exciting things planned for the new year, and this new partnership with Musician’s Friend is just the tip of a huge, rockin’ iceberg of fun, savings and audio insights that will propel us headlong up to new musical heights and studio adventures together.
Until then, use Musician’s Friend’s special savings link to bless yourself with what you’re jus’ burnin‘ for. Let us know what YOU bought, and we’ll do the same!
So many worlds and creatures and exotic situations in their minds… all set free like Noah’s Ark busting open, and a kaleidoscope of life stampeding ‘cross their interior movie screens.
So free in their simple enjoyment and focus on the moment. Very Zen, in a way.
No outrageous story is wrong. No bizarre combination of toys is forbidden. Few rules inhibit their exploratory path. And through it… their insights shape their intelligence… and their future.
As we strive to be a “gear-wise musician” and continue our quest for recording and music mastery, I believe we can benefit from a child’s approach. And, as we’ll see, there’s something innate in a kid that leads to ultimate proficiency… IF… we don’t smother it.
Kill the Cat
If you happened to read the latest articles this year in April’s edition of the “Pediatric Research” journal (and, I mean, who doesn’t?!), you might have seen the findings concerning the one surprising trait that seems to help all kids succeed in school, and then in life, no matter what their socioeconomic background. It is, simply, CURIOUSITY.
Those that have it, do well. Those that don’t, struggle.
Part of a child’s focus when they play is fueled by this exact trait. Because so much is brand new to them, they don’t know what will happen when they put that waffle you gave them for breakfast underneath mommy and daddy’s bed sheets. That’s part of the magic – it’s a whole new world of uncertain but epic adventure!
Trouble is, as we get older we forget and leave behind this entrancing power-pack called curiosity. We’ve been there, done that. We know exactly what will happen when we turn that knob, engage this plug-in… It’s all cut and dried now, dude.
Too bad. ‘Cause if we maintain our level of curiosity in our music and recording, we can continue to break new ground in our artistry, and shrug off “maintaining” success and instead search for the elusive “next step” in our potential artistic evolution.
Luckily, there are some things we can continually do to make sure this dynamic and influential force never dissipates from our recipe for success. What it really comes down to… is, in some ways, not growing up.
Life’s Short – GO PLAY!!
The most important way to become a Jedi Master of your audio universe is to simply spend time with your equipment playing for no reason except enjoyment. Outside of a job, play your instruments. Play with the outboard gear. Get your hands, fingers, lips… heck, any appropriate body part on that gear. Go for both quantity AND quality time.
In other words, as I like to say, go “date your gear“. Spend easy, non-demanding time with the lucky lady, asking her questions by turning, pushing and changing her controls, and seeing what answers she gives you.
You’ll probably be going out again soon with a smile. 😉
Ask yourself: when was the last time you sat down with your instruments, or your recording gear, and just practiced or fiddled around with NO GOAL WHATSOEVER? Probably been a while, right? It’s this “on the treadmill” approach to studio use that often keeps us from cool discoveries; we’re too busy to just examine and “try stuff” – we’ve got a deadline to meet!
All that’s part of modern life, I get it. But making it a priority to sit and play, with no agenda or job attached, is needful if we’re going to keep things fresh in our music, and in our mood.
Remember when you first started to play music? It was great, right? Back, as Jeff Lynne says on his most recent album, “…when there waaaaas, nooooo money!” Getting back to that simple enjoyment and curiosity about what you can achieve with each piece of music gear is what will keep you journeying to fresh, inspiring places in your methodology and your output.
The reason this approach works so well is because each piece of music equipment is unique. And how you interact with it is going to be unique. So the only way to really plumb the depths of possibility in each piece is to explore. Investigate. Tinker.
PLAY!!
Slow Down; You’re Movin’ Too Fast…
Have you ever noticed that kids aren’t rushed to play?? They’re oblivious to the clock. They are just wholly engrossed in where their imagination is leading them.
I’ve found, in the same way, that one great way to gain insight into your gear and open up new sound frontiers, is to maintain the time mindset of a child. That is, don’t consider it at all!
Now I know that we’ve got work to do, and that projects have deadlines that we need to meet. I’m not endorsing, by any means, not being responsible. I’m merely pointing out that we must find time in our hectic lifestyles to, at least once in a while, play in our studio when we’re not in a hurry.
When possible, that’s how we should explore our gear – NOT in a session. NOT for a specific goal, or scheduled recording. Just in leisurely, childlike R&D, when you don’t have to be anywhere for few hours. That’s when curiosity can really lead you places!
Rushing through the time you spend with your gear only means you’ll miss the good stuff: the unexpected surprises. The unforeseen coalescences. Unpredictable discoveries made possible by slow, focused attention to, and appreciation of, little details.
Do you want to be the master of your equipment? Do you wish to be skilled at all the pertinent methods and features available to you in the music industry and on your equipment?? Then stay curious in a NON-RUSHED environment.
I Know, But I Don’t Know
The next really helpful approach to instruments or pieces of outboard gear is to bring childlike creativity & faux ignorance to the mix.
What does that mean?? Well, I know, and you know, that YOU KNOW already how to use these things. You’ve used them many times before.
But pretend you don’t. Yup, that’s right; pretend you’re a kid with no former knowledge of this piece, no idea of what “the rules” are.
Turn knobs, push sliders, strum, strike or push things like you’ve never used them before… and see what happens. Go extreme. “But you should never push the threshold so high – it’ll make the signal stutter!” Yea, it will. And maaaaaybe, that might be a cool effect for the song you’re working on right now.
But you won’t know if you don’t try things that are “wrong”. Remember the robotic vocal effect from Antares Auto-Tune made famous by Cher’s tune “Believe”?? That song didn’t become hugely famous because someone played by the rules. It was their playfulness and willingness to try what was “not the way it should be used” that put their creativity on the map around the world.
When was the last time you used an instrument in the “wrong way”?? It just might be time to do just that!
This & That
The third way I find exciting & fresh sounds in my studio is to link up new combinationsof gear, just like kids do when they tire of the same ol’ sets of toys, and deliberately substitute other totally unrelated objects into the equation.
We bought my son a German castle with knights and kings, peasants and even a dragon when he was a toddler. I’d often go down to find maaaaany other creatures in this company: Star Wars figurines; shoe horns; alphabet blocks; his talking “Shrek”; bundled socks…
It’s just like what we did as children: igniting grand outdoor adventures with our G.I. Joes, Darth Vaders, miniature tanks, tie-down strings, bathtub sharks and LOTS and LOTS of firecrackers!
Well, at least… that’s what I DID. LOL
Or playing the game of “Mousetrap”, but not with the mouse it came with, but rather with plastic animals, orange Cheetos Puffs, live bugs from outside, stones from the lake vacation last week, or those other socks on the floor, or…
You get the picture. And kids get it too – life’s fun when there are no rules!
So… ever tried putting a distortion pedal on a cello signal? A flanger effect on the snare? Playing a bass track through a pocket guitar amp??
One of my favorite sounds on my upcoming album is a guitar solo I did using a combo I’d never heard of, but came from just trying different pieces of gear in a long, weird signal chain…
I started by finding a strange, almost mosquito-sounding amp patch on my guitar processor.
Then, I plugged in my wah pedal.
Next, I engaged my Ebow for sustaining, dynamic wash of meandering notes.
Finally, I slapped a delay on the whole shebang, and in the end… I’d created a magic, expressive guitar solo unlike any I’ve ever played or even heard before. To this day, it’s one of my most signature sounds in my sonic landscape.
When was the last time you tried a wacky combination?? A dysfunctional duo?? A misfit mashup??!
I think it’s time, don’t you? 😉
One o’ These Things… is Not Like the Other!
Finally, a great ploy for tricking your mind into genius discoveries is to this: don’t use parts of your gear that you normally would always use.
Ever see a kid playing a board game without all the parts? “Well, that won’t work!” some would say.
But it does. It just works in an unconventional way, not in the prescribed manner. Instead, it forces the mind to come up with new fixes, new workarounds, new possibilities not formerly laid out for us.
Hmmm. That sounds like what high school and college tries to train us to do… and kids are doing it already before they’ve even entered school!
Peter Gabriel (Photo: Steven Toole)
Peter Gabriel did some great “leaving out” on his third solo album (the one referred to as “Melt“).
What did he leave out?? Well, he decided right from the get-go that the drum tracks would include NO CYMBALS! All the drummers had to play that way, without a single cymbal on the kit. Even Phil Collins, who played on a few tracks.
The sound of that record is unique to the point of being legendary. So totally different. Mesmerizing, and most don’t know why.
It’s because of what he didn’t let you hear.
Sometimes leaving OUT things can be the next, hot “IN” thing. So be a trail-blazer, by contracting your parameters rather than expanding them. That’s the way to start letting your “legend” out!
“Bedtime, ‘Bekah.”
When a day’s ledger has at last been fully spread out before us, on the table of our time, what have we done with it? Have we made the most of each second?
Not by rushing, mind you; not by cramming in too much… but rather by really, deliberately living each moment and focusing on the possibilities each breath provides? That’s what kids do, and when they crawl into bed, they take with them a day in which they’ve really lived!
We don’t have to follow Buddha to know that quality & quantity time spent “playing” with our music gear will always lead to new insights and better mastery of our craft. Dashing & scrambling sometimes is needful, but rarely does it produce serendipitous surprises of fresh method and head-turning sounds. For that, we need slow, attentive interest and a “No Distraction” zone. Call it… your “toy box”.
I hope you’ll join me in giving yourself the gift of play in your recording environment. When you uncover new, unconventional settings, combinations and, ultimately, state-of-the-art music using this method, you’ll have that grinning kid within you to thank.
And don’t forget to leave us a Comment telling us all about it. Sharing our audio journey is what Seriousgas is all about, and we always are enriched to hear from you.
So, let’s do it. Let’s answer Cat Steven’s question of the 70s, “Where Do The Children Play?”, by simply saying…
In the year 2000 my life, and music, was improved significantly by the introduction of a new friend – Jim Lewis.
Jim Lewis, Ludwig drummer extraordinaire!
You ever meet someone and just instantly hit it off?? That’s how it was with Jim. His infectious smile and quiet, witty way of processing the world made ya wanna hang with him.
Jim makin’ those Ludwigs sing!
And he was a very good drummer. My favorite drummer, in fact.
I knew other “First Call” professional players, but I preferred Jim. His style and my songs just seemed to mesh. He was MY ‘First Call’ player.
And he played Ludwig drums!
We lost Jim in 2012. He was 39. It was a shock to us all, and was so out-of-the-blue that it’s still hard to believe I can’t call him up and tell him “I’ve got a new track to record, so get your Ludwigs over here!”
Today I honor my old friend, from a distance, by sharing with you the Ludwig “Super Classic Maple” kit that he played, and which I now play. It resides happily in my studio, as an ongoing memorial – not only to Ludwig’s solid drum legacy, but to the preferred rhythmatist of my career.
Enjoy this look into the treasured kit of our too-soon-departed friend. I know he’d enjoy your attention and appreciation of this beat-makin’ machine!
“What the Spec’, Questlove?!”
Questlove layin’ it down
There are many famous drummers, like Questlove (he keeps his band “The Roots” AND Jimmy Fallon’s house band in the groove!) who prefer Ludwig kits . I’ll be mentioning them in the titles throughout this article.
It’s a looooong list. The company’s been in business since 1909, so when drummers want a company in their corner which has “been there, done that”, Ludwig is usually first on the list! For an even longer list, with a thorough compiling of all who are only at home behind a Ludwig, check out THIS LIST.
But today we’re gonna look at the specific kit played by MY favorite drummer, Jim, and extrapolate from there what we know and have discovered through research about Ludwig as a company. To start with, let’s get the specs out of the way… the fundamentals of the kit are:
If a DRONE played my kit!
Ludwig “Super Classic” Maple kit
Keystone Badge
Black cortex wrap
Kick: 22” wide x 14” deep; serial #3120178
Tom 1: 13” wide x 9” deep; serial #3119887
Tom 2: 14” wide x 10” deep; serial #3115674
Floor Tom: 18” wide x 16” deep; serial #3120173
Supraphonic Snare: 14” wide x 6.5” deep; serial #3120657
Mr. Blaine says, “What’s the Kits-tory?”
Hal Blaine is a LEGENDARY session drummer who’s played on more hits than you can shake a stick at.
The inimitable Hal Blaine! (Photo: Howard Thompson)
A DRUMstick, that is!
His fidelity to Ludwig drums was widely known, and through his amazingly proficient recording history, I think Ludwig was kept in business just from his orders!!
The history of my friend’s kit, however, was a bit more in question. I’ve haunted the Ludwig serial number sites for years to no avail, since they usually only provide older, more “vintage” serial numbers.
I guess once you get into the 80s, those kits are still too recent (even though that was over thirty years ago!!).
I also have never found anything like this kit on EBay or Reverb.com, which are the other two reference sites I visit when trying to ascertain the worth or respectability of a piece of music gear. All the ones I see there have newer badges and shallower drums.
The 80s Ludwig Classic kit at home in my studio
Thankfully, Tim Gardner at Ludwig Drums, U.S.A. was able to, just this morning, definitively recognize & describe this kit that has been a mystery for years. He spoke with some “elder statesman” at Ludwig headquarters who’ve been there a while and they were able to fill us in on the missing links.
Turns out Jim picked up a mid-80s “Super Classic” Maple kit, probably made of 6-ply American Maple wood.
The city named on the badge gives it away: in 1984, Ludwig, freshly purchased by Selmer in ’81, packed everything up and moved from the Damen Avenue factory in Chicago to their new facilities in Monroe, North Carolina.
Things were in quite an upheaval then, because of the big move, so not as much documentation was being done, which is why precisely dating kits from the 80s and up is a tricky business.
But since the Keystone Badge says Chicago, IL on it, it’s probably one of the last kits to come out of that factory.
Tom-foolery,Carl – Please!
Carl Palmer, anyone?? Where would we be without the classic, progressive innovations that “Emerson, Lake & Palmer” composed, and Palmer’s Ludwig drum beats that pushed ’em to the limits of the groove?
“Brain Salad Surgery“. That’s all I’m sayin’!!
This particular combination of Tom sizes doesn’t appear to be a standard kit at the time, judging by the catalogs of the day. The only explanations for how this kit was derived then are:
Jim hand-chose tom combinations that were not standard at the time. A copy of John Bonham’s early kit type?? Some other heroes set-up?? Or,
These particular sizes were all the store had for a “rock kit” and Jim went with it.
Either way, it’s clear that this trap set was designed to fit in the “Rock world” quite easily, and its darker tones have graced a couple of my darker tunes with style and quality tone already.
I leave the tunings as Jim had them. It’s not how I would normally tune toms. For that breakdown see THIS TUNING ARTICLE. But the more I keep them as Jim wanted them, the less far away he feels. It’s like a little bit of him is brought back whenever I light up those Ludwig skins.
Was That a Ringo Tom Fill??
Ringo Starr, still playing Ludwigs! (Photo: Eva Rinaldi from Sydney Australia)
Did you know that because Ringo Starr bought a Ludwig set and used it for the famous “Ed Sullivan” performance, that the result was such enhanced publicity that Ludwig’s sales doubled almost overnight to $13 million?!!
They became so successful because of “Beatlemania” that they increased their production schedule to a 24/7 factory output to facilitate the sales boom.
Wow. Now that’s a problem you wanna have!
Ludwig rode that wave a long time; they continued to be the foremost drum manufacturer in North America for 20 years after Ringo’s publicity gift.
I think Ludwig returned the favor, tho’ probably unwittingly: Jim’s kit sometimes reminds me of the Beatles!
The toms on it are deeper than what Ringo played. They’re designed for more of a “Rock sound”, and anyone digging Zepp’, like Jim did, would feel very ed, and deeper than a standard kit: a 13″, 14″ and 18″. They definitely acozy and at home with this set-up.
Even so, it’s funny – on these toms, once in a while, I’ll be playing, testing out some new beat or working out a drum track for a new song, and I’ll play a fill on them and immediately think of Ringo Starr and the Beatles.
What’s interesting is that never happens when I’m playing my other Pearl kit that’s got more of a Pop/Rock sound.
Is it because of the manufacturer?? Do drum brands really carry their own unique sound?? I believe they do, and although there’s some spill-over, as companies try to emulate whatever the “popular sound” is of the moment, there’s still a signature EQ combination to Ludwigs, Gretches, Pearls, DWs, etc.
If they didn’t maintain a certain tonal disposition, I don’t think quite so many drum legends that we all know by name would keep playing the same brand for so long. There must be a ‘Ludwig flavor’ they taste and keeps ’em wanting more.
Granted, some do change occasionally, but many do not, and since the big names have plenty of money to buy whatever they want, it carries some weight with me when a player that I respect consistently endorses a certain brand of music gear, and uses it on their own recordings or in their own concerts.
Ringo was ever the Ludwig guy, He still is, decades later. I think the fact that it’s a Ludwig is why this kit sounds so much like him from time to time, even tho’ my style is very divergent from Mr. Starr’s. There’s just some things inherent in a company’s craftsmanship.
Buddy Likes Your Spurs there, Cowboy!
Buddy Rich, whom most drummers know as a technique and performance legend, endorsed Ludwig all through the 70s and, besides Ringo, was probably the most visible “face” of Ludwig in those days.
I emailed the company he promoted for so long to clarify some things on Jim’s kit and was informed of an interesting side note that I would not have known without the helpful folks at Ludwig: turns out those spurs you see on the front of the kick drum, to the left, are NOT the original bass drum spurs.
Whoduh thunk??!
This, my friends, is why it always pays to contact your music store and/or manufacturer to ask questions about your gear. If there’s something weird, or iffy, or broken, or… whatever, and you can’t find the answer on the Web, talk to real people who know the product.
You’ll learn something new every time.
But back to the spurs. . During that time of this snare’s production, in the 80s, Ludwig typically produced ¼” spurs for their drum sets. The ones on my kit are the new ½” spurs, which are beefier for those who really get MOVIN’ when they hammer it down.
Now, there’s no way of knowin’ if my friend Jim had ’em replaced, or if it was someone else before him, but as Tim at Ludwig said, “At least they replaced them with official Ludwig parts!” l0l
SNARE That Great Sound, Ginger!
Ginger Baker on Ludwigs, 1980 (photo: Zoran Veselinovic)
The snare that Jim bought with this kit is, I learned today, a Ludwig LM-402Supraphonic, one of Ludwig’s best-selling snare models. Ginger Baker played one, among his other hundreds of snares. Ginger was ever the Ludwig endorser.
This snare has a Keystone badge, with “Chicago” on it, and a serial number near in count to the other pieces. The badge on the inside of the snare reads: “Reliable Plating Process; Corrosion Resistant Anti-Galvanic Finish”. It’s made of ” LudAlloy“, according to the catalog, which someone online pronounced as a one-piece Chrome over Aluminum shell.
The snare throw-off device is the P-85 strainer. This was the least expensive type at the time, not as pricey or “advanced” as the P-70 or P-87 strainers, which was in the higher-end models of the time, but still very effective and, because of its lower price, has been Ludwig’s most popular throw-off machinery ever.
The Ludwig Supraphonic!
The Supraphonic has a long, rich history in the modern recording era. Many continue to buy it today, not only because it (supposedly) has been recorded on more hits than any other snare, but also because, for such a famous drum, it’s still reasonably priced!
Because this snare is deeper than usual at 6.5″, I reserve it for more hard rock/extreme type music. I’ve tried it on Pop stuff, or Pop/Rock. Most of the time it was just too dark for that kind of composition, but I knew going in that would probably be the case.
I still try stuff all the time in the studio that “shouldn’t work” though. Sometimes you get surprising, serendipitous new methods that really ring out a fresh sound if you don’t get locked into a stereotype. And with an instrument this versatile and solid, you never know what application might just crown the next hit record!
Ludwig P-85 Snare Castoff
I continue to use the Aquarian “Texture-Coated Studio-X” 14″ drum head for this snare, since it’s the choice Jim preferred for this snare. I’ll probably never change from that. It’s my way of keeping Jim’s drum presence alive, not only in my studio, but throughout my mixes as well.
Jim also kept the resonant bottom head tuned quite a bit higher than the batter head. My guess? He was going, again, for that John Bonham sound, since that’s exactly what Bonham did with his snares. That’s how I’ll keep it too. I call it “Lewis Tradition”. 😉
It has the P-85 throw-off, which some people disdain, but I think the majority of players find okay. The big beefs with this particular throwoff is that the metal arm can be bent if your clothes catch it or it knocks against other gear during tour transport. Also, it can have some slippage issues if you throw it on and off a lot. When it’s in the off position the knob can loosen, so when you engage it again your snares might not be buzzing in the perfect way you set it up.
I don’t find it to be an issue, and if you look at the online boards, there’s dozens of others that say the same. But if you ARE someone who doesn’t transport your snares in a case, and you tend to use the throw-off a lot, you might be better served getting a Supraphonic with an Atlas throw-off, or, if you get a Supraphonic made after 2015, it will have the new redesign which eliminated those issues.
The Cymbals, John!
As expected for someone that was a Zeppelin and John Bonham aficionado, Jim chose dark cymbals to round out his kit. Certainly not the discs you want ringing for the latest Katy Perry single, but if you wanna rock… hit these NOW. lol
The ride cymbal is a Paiste model from the “Sound Formula” line. It’s a 20″ ‘Dry Ride’. One of the standout benefits of this particular ride cymbal is the strong, clear bell tone you can produce with it. It’s still a darker tone, but the bell hit sounds so loud and cuts through a mix so well, you’ll want to use that center spot a lot!
His two crashes are both Zildjian K “Custom Dark” Crash cymbals. There’s a 16” and a 15”. These produce a fast, loud volume with a lower, more “rock”-sounding pitch. Their initial strength dissipates quickly, but they have a much longer quiet sustain.
They also have a tendency to blend in a mix better than some of my other, brighter cymbals. If you want your cymbals to be a bit more subtle in your recorded or live mix, these are a good choice.
For Hi Hats, Jim took an adventurous leap and bought the Sabian 14” AA “Rock Sizzle” Hi Hat cymbals. They’ve got SIZZLE RIVETS!
I had never come across these before I got Jim’s kit. They definitely are not your typical hats, that’s for sure. Those eight rivets in the top cymbal really give ’em a more trashy, edgy sound that, for some rock songs, is a perfect complement.
I can’t say I’m a huge fan of them for the songs I produce in my studio most of the time. My wheelhouse tends to be Rock/Pop and Acoustic Soul. But every once in a while, when the mood hits me, I like to produce Van Halen-y explosions of song and that’s where I bring this in.
I still don’t use it every time even for that though. It’s a very singular sound. But, as with every gear option, I know one day I’ll have a song, either written by me or a client, that will just be screaming for these brazen babies. So when I the time comes… I’ll be ready! 😉
I Thought Sequencing was for Keyboards, Mr. Henley??
Don Henley on Ludwigs, 2010 (Photo: jeaneeem)
Don Henley, a long-time Ludwig man, laid down drum tracks to songs by the Eagles for decades, and always had a way of coming up with a groove that made those shells sing brilliantly, without getting in the way of the song or being too flashy.
Sequencing, to a MIDI keyboardist at least, is where you use a “sequencer” to play the parts of other instruments, like drums or bass, or even sometimes EVERY instrument in a song, and save the different fake instrument performances in memory, to be played back exactly at any time, either for live work or the studio.
I worked for small church decades ago and used to sequence most of the band parts since we were so short of musicians. This gave me a full, well-rounded sound with very few people. In fact, sometimes… only ME!
I don’t think the Eagles ever did any sequencing on their albums. They have always been about real, live playing of real, live instruments. I respect that.
Sequencing, with regard to the Ludwig company however, has a different meaning: we’re talkin’ about the numbered production flow of their products and how to place and date their drums based on those sequential numbers.
If you look at the serial numbers off of the kit, listed below, you’ll notice they are quite are non-sequential.
Snare, Hi Tom, Mid Tom, Floor Tom & Kick badges
This odd assortment of numbers could mean two things:
They were in the middle of the move to Monroe and were putting together disparate, non-sequential drums just to get as much stock out of the building as possible. Or,
They just pulled badges out of a bin with no regard for sequence.
It was probably the latter option. Once again, Tim at Ludwig gave me some really insightful “inside information” concerning serial numbers and how it relates to Ludwig drums. Here’s what he said:
If badges came in barrels… who drank all the wine??? lol
“Back in the day, the badges (which had the serial numbers on them) were brought in to the shop in large barrels. As drums were built and finished, the people would grab a hand full of badges and keep them at their station. As they installed the lugs and vent grommets, they’d put on the badges that they grabbed from the pile that they had.
“Because of that, you could have drums that were all in a series of numbers, but if you had more than one person working on a particular set, then the numbers wouldn’t be anywhere close to the same run (different numbers, out of sequence, in other words).
“The way we produce them now, unless it’s a Vistalite kit, our badges no longer have serial numbers. Instead, we have stickersthat are applied to the inside of the drum with a serial number, so drums produced now have a better chance of running sequentially than they did back in Chicago days.”
Sounds like yet another Ludwig innovation to make things better for us out here in the gigging world.
Let’s Get Pounding, Alex!!
Alex on his Ludwigs!
Lest we forget, Alex Van Halen is a big Ludwig man too. If I could get the sound that he achieved on the “1984” album by going Ludwig… I’M THERE, BABY!!!
Who knew when they started in Chicago in 1909 that the Ludwig brand would still be making such a big splash today in the new millenium for us beat-conscious bangers? Guess that’s what thoughtful design and customer-oriented redesigns will do for ya. A hundred years later they’re still going strong!!
I’d like to thank Tim Gardner at Ludwig Drums, U.S.A. for being so helpful in ascertaining exactly when these drums were made and the specifics involved. No one can tell me that Ludwig doesn’t go out of their way to help their clientele. Tim is proof they definitely do!
Jim laughing at my wedding. Good times…
And finally, I’m so thankful for the too-too-short time I got to spend with my favorite beat-keeper, Jim Lewis. He was a wonderful example of a human being in every way, and a fantastic musician. More than all that though, he was my friend, and I’ll not stop missing him ’til all beats fade to silence.
His Ludwig kit here in my studio somehow makes him feel a little closer. So, if you offer me a million dollars for it, don’t be surprised…
What made the idea coalesce in my fevered core as I sat, musing on my next steps??
Who could have ever foreseen… that G.A.S. would last so doggone long??!
Ahhh, but indeed it has, my friends, and today we celebrate!! We celebrate one year of G.A.S. shared together here on the website that ennobles and spreads empathy ’round for that beautiful curse we all carry… the relentless itch for further music gear!!
Play & Go MAD!
When I started this website one year ago today, I had only one parameter in mind: to create a fun, not-too-technical place where musicians could talk about, dream about and laughingly mock our penchant for always wanting (needing??) more music gear.
One year later this site has stayed true to that purpose and has seen many humorous jabs given to friends, myself, and dozens and dozens of instruments, software, hardware and music accessories.
I remember thinking that… if the vibe of Seriousgas.com could be somewhat of a mix of MAD magazine… and the classic musician’s movie “Spinal Tap”… then I’d be happy.
I’m happy to say that I think this amp has gone to eleven, folks. But don’t look at it. Don’t even LOOK at the amp, man. lol
Poke Your Besties!
One of my favorite types of posts we came up with this year was the “Video Gear Review” with various friends taking the starring role. It’s always fun jokin’ around with your besties, right?!
We are already slated to do more of these, as they are zany, frenetic and slap-happy in their celebration of gear and showcase different people showing off the resulting gear from their own personal bout with Gear Acquisition Syndrome.
John Fiaschetti showed us his Line 6 Helix in THIS VIDEO.
Sean Barrett showed off his Egnater TOL50 amp in THIS VIDEO.
Pippin showed off his knowledge of the Telecaster in THIS BIZARRE VIDEO.
And I even threw MY hat in the ring for various guitar educational videos.
Check out our YouTube Channel too!!
Fun stuff! Our video room and gear is ALSO expanding (guess I’ll need to start a site for THAT fever!) so you’ll be seeing a lot more of us in motion from here on out. YouTube is hungry… alwaaaaays hungry!!
Picture This!
Besides wanting to sing that Blondie song for the next hour because I just came up with that title, I also have to tell you how much I enjoy coming up with all the pictures and videos for this website.
It’s a truism that a picture is worth a thousand words, and finding just the right visual that fits the vibe of any given piece of gear is challenge at times, but one that’s always a pleasant quest.
I hope you find that, as you read these articles, the abundance of pictures I put in help you understand and get to know the various pieces of gear, as well as if you had them right in front of you.
On the artistic side, the past year has gradually honed a unique style to this website also, which you can see in all the featured images on the home page. I liken it to Salvador Dali meets “Wild, Wild West”. Or like the members of “The Cars” producing the graphics with Michael Penn shooting the stills.
However you describe the nuance, it’s a ton of fun, and we here at Seriousgas will continue to bring you the very best visuals we can create to bring to life the music equipment and related topics we cover. It’s all about putting YOU there in the Strum Seat, and it’s a goal for which we’ll never relent!
My Favorite Prescription!
This look back wouldn’t be complete without sharing with you all what my personal favorite G.A.S. HEALING was for this past year. It was a big one, and I’m still reeling in its wonders today.
It started with a daunting pang. The sickness fell swift upon me, and lo… its effects were dire in my veins! Oh, the loss! The emptiness! The sheer vacuum of need that sucked all contentment out of my swooning psyche…
But then, in one shining moment of sweet suffusion, the gods of electronics did bequeath unto me the panacea for my pains… the miracle for my malady… and my sorrows were surceased!!
Uh… I got Pro Tools.
The latest version of Pro Tools, “Pro Tools Ultimate” is SOOOOOOOOOOOOO sweet!!! I am doing things now in production, tracking and mixing that I was never able to do before. At least not as quickly and easily as P.T. makes it!
To go along with it I got the Apollo Twin interface and the UA plugins that I’ve been using are just… so… GOOD. Without question, they are my favorite plugin company. Such quality. Such attention to detail. And the emulations of revered studio hardware? Spot on!
Yea, I got other guitars and such this past year, but without question my best and most influential purchase was Avid’s blockbuster recording platform.
If you’re wondering why I didn’t write about it, it’s because, dude, have you SEEN how many Pro Tools videos and articles there are out there on it??! We’re talkin’ THOOOOOOOOUSANDS!
I figured that’s a crowded enough pool already, and with that kind of crowd in a pool, you KNOW what else you’re stepping into! No thanks. LOL
I will, however, be showcasing my Apollo soon, so stay tuned for that. I have Sweetwater Sound to thank for THAT little incident of G.A.S. My friend and Sales Rep there, Jeffrey Green, knows just how to PUSH MY BUTTONS. You rock, Jeffrey!
Best Posts From the Past Year!
Looking back, there are a number of posts here on Seriousgas that really got a lot of traction and continue to be the “Best of” posts based just on sheer number of people interested in them. Dozens of people glean insights from these posts every single day, and utilize the links I have in them to immediately get them the best choices for whatever it is they’re looking for.
Every recommendation we make here is thoroughly researched, the products tested, and, most of the time, even RECORDINGS MADE using the products, so you can hear for yourself!
If you haven’t read through these yet, don’t miss out on the savings they provide and the clear direction they give concerning gear that concerns you. Just CLICK the PICS to go there!!:
The AT4050 Review!
The 7 Best Guitar Tuners of 2018!!
The Aston Spirit Mic Review!!
The 7 Best Crash Cymbals of 2018!!
The 7 Best Ukuleles of 2018!!
The Rode NT1 Mic Review!!
How to Choose A Cajon Drum!!
The 7 Best Electric Guitar Strings of 2018!!
And, because the holidays shopping season starts next month, we can’t forget this post which linked more people to gifts for their loved ones than any other post in the last year. Make sure the musician in YOU gets something cool this year!:
The Best Holiday Gifts For MUSICIANS!!
NEW LOGO!!!
In honor of all we’ve explored and accomplished together this past year, I’ve produced a BRAND NEW LOGO that will soon be splashed onto everything hither and yon. I think it captures the jocular, lighthearted nature of this space, as well as interjecting a little mystery into the proceedings (“What IS that…??”).
Tell us what you think in the Comments!
You’ll be seeing it soon on all of our social media platforms as well. If you haven’t joined up with us on Twitter, Instagram, Pinterest, Facebook and Google +, come on over! We often put stuff up there that you won’t see here on the website.
Now We’re Cookin’ On G.A.S.!!
So that’s it – our first year is behind us! Amidst all the cheering and cake, we hear only one thing louder – the voices and tones of all the music YET to come!!
Being a musician is an exciting, rewarding and ever-uplifting calling, and here at Seriousgas we’re all about sharing stories of our knightly quest… where it takes us, how it moves us, and what machinery inspires us, on these shores of sound expression.
We hope you’ll keep stopping by, and keep sharing YOUR stories with us. The many comments and insights you shared this past year were great, and we always read and respond to every one. Thanks so much!!
So… what’s left to do, but… trip forth in our sweaty swoon?!
Lean forward towards electrifying cures!
Boldly go & secure those pieces of medicine that alone will cure this burning ill, this roiling reaction, this maddening malady – the NEED FOR GEAR!!!!
I raise my glass to us all, and toast “May that very BEST medicine… be placed freely in our hands… with all the requisite cables, dongles and upgrades… TO MUSIC GEAR!!!”
