Almost everyone I've met who have owned Gretch absolutely love em. I'm a bit afraid to play on one, and even more to buy one. I'd end up with 4 Gretch kits.C'mon that "great Gretsch sound"!
I love it. And I have a set of Cat Maples and they're not made it the USA. Dont get me wrong, I love them, but after listening to the most recent episode of the Modern Drummer Podcast have me wondering if I should upgrade to a USA made Gretsch kit. The RBH Westwoods they featured sounded real good and have muddied the waters. In Gretsch's favor, they do offer more color choices in the comparable (price point) Brooklyn line.C'mon that "great Gretsch sound"!
Those "variables" are the point of the exercise. You don't get to have them removed to make your chances better. You don't get to know the drummer, the head, the studio, the venue, nothing. It's a drum it has a head and someone hits it. NOW tell me who made it.If you don’t match heads and tuning ... you add outside variables to the equation.
Too many variables will make any equation more difficult to solve.
Seems most, if not all of the "yes" answers are in the context of a kit being played by a well known drummer.
Bonham on *his* Ludwigs, Elvin on *his* Gretsch kit etc.
I seem to remember a maple vs. birch thread on here awhile back. A blind test. Hit a tom-is it maple or birch?
I think that is what was in the mind of the op....
Take a 12" Rogers tom (*outside* please, no room dynamic) hold it by the rim and smack it five times. Record it with something like a Zoom H6. Repeat that with ten other brand 12" toms. No matchng tuning, no matching heads, no tune bots, just hold it and hit it.
Now listen to that recording and tell me what make it was....
If you can do that you are THE MAN....lol.
Not thinking of you or anyone else's posts in particular jp.I was simply using an artist to associate, relate and describe a well known brand of drum and its sound, not nessesarily a specific playing style or technique. I think I understood the original question. Not saying I could identify a partucular brand of drum on a stand alone basis but if you put a set of Vista's next to a set of RB's and gave me a blinfold test I would win the big prize money lol
Those "variables" are the point of the exercise. You don't get to have them removed to make your chances better. You don't get to know the drummer, the head, the studio, the venue, nothing. It's a drum it has a head and someone hits it. NOW tell me who made it.
If you were blind...and listening to an UNKNOWN live band or a recording of an unknown band with an unknown drummer...would you be able to emphatically say "those are GRETSCH drums" or "those are LUDWIGS" (or any other brand)? What I think usually happens is we listen to a John Bonham recording, or say a Steve Gadd recording, and we say "wow...there's that killer classic Ludwig sound". Or "there's those classic Yamaha Recording Customs". The reality is we could take any number of other kits and tune them and record them like Bonham or Gadd-and people would say it is John Bonham's kit or Steve Gadd's kit, not knowing they are really DW kits.
I would think that it would be hard enough to know what the shells were, or the specific heads, let alone who made them, in anything other than an intimate acoustic setting sitting up close.
Obviously....we are talking about two different things.You are not identifying "drums" at that point. You are identifying the drum combination with the head choice and the chosen tension. That is three or more separate exercises.
I can skin my Luddies with an unusual head choice and tension the heck out of them ... you would be very hard pressed to identify them as Ludwig drums ... even if you were staring at me playing them.
That is the point.
There has to be a standard established in order to evaluate "sound" for the listener.
Go back to the question ... "Drums YOU can Identify purely by sound???"
With no standard, there can never be a true test for "sound".