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How many “princess and the pea” details on drums people willing to quibble over?

JDA

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"princess and the gall stone" better title
"a gall stone was placed beneath her mattress
 

JimmyM

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So speaking of nitpicking, just changed the wires on my Ludwig and Ludwig vintage Standard from Puresound 20 back to Gibraltar 20, and so glad I did. My snare is just a little brighter, a little more edgy, and the toms rattle less with a looser setting.

This is something nobody else would notice or care about, but it makes a difference to me, so it was worth it. My snare is the world’s greatest regardless, but it just made me a tiny bit happier with my sound. So once again, I stand firmly against the premise of this thread. Make yourself happy and nitpick away.
 

Tubwompus

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I used to sling used/vintage guitars around. I get original versus modified. More often than not, I would reach into the Rubbermaid tub and see what I could grab to make a Les Paul original. I had boxes of DiMarzio Super Distortion pickups. I have a few boxes of Sperzel and other aftermarket tuners. The funniest thing is that the old aftermarket parts are becoming desirable for guitars!

I understand fully where originality will increase value. I am going to always judge what I am willing to pay and adjust my expectations of sales price due to originality of instruments.
My approach to guitars is a lot simpler (Izzat the drummer gene?) Prob’ly coz my approach to tones is pretty pragmatic. If I want a Rickenbacker tone, for example, I grab a Rickenbacker. Usually the choice of amp is where the fine-tuning happens for me, personally. In all candor, the only overdriven tone that I like is the Vox w/ the master vol. down and preamp up. Then I tailor it by choice of gitfiddle. I’ve noticed that fellas whose mindset defaults more towards distortion seem to have to pay more attention to what’s in their stash due to the massive possibilities in variation when dirt is brought into the picture.

OK, back to drums.
Ya just got me thinking for a sec.
There’ll be no more of that.
 

Drdrumdude3009

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My approach to guitars is a lot simpler (Izzat the drummer gene?) Prob’ly coz my approach to tones is pretty pragmatic. If I want a Rickenbacker tone, for example, I grab a Rickenbacker. Usually the choice of amp is where the fine-tuning happens for me, personally. In all candor, the only overdriven tone that I like is the Vox w/ the master vol. down and preamp up. Then I tailor it by choice of gitfiddle. I’ve noticed that fellas whose mindset defaults more towards distortion seem to have to pay more attention to what’s in their stash due to the massive possibilities in variation when dirt is brought into the picture.

OK, back to drums.
Ya just got me thinking for a sec.
There’ll be no more of that.

Certainly! I am not going to play my Keef guitars for anything other than Stones and Black Crowes songs.

I have that massive collection of aftermarket parts from making simple to change guitars original. It’s pretty crazy what guitar players will do to their axes, then complain that they can’t find unmolested examples of vintage instruments at fair prices! It’s pretty funny IMO
 

JimmyM

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Certainly! I am not going to play my Keef guitars for anything other than Stones and Black Crowes songs.

I have that massive collection of aftermarket parts from making simple to change guitars original. It’s pretty crazy what guitar players will do to their axes, then complain that they can’t find unmolested examples of vintage instruments at fair prices! It’s pretty funny IMO
I’m glad vintage means nothing to me ;).
 

Tubwompus

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Certainly! I am not going to play my Keef guitars for anything other than Stones and Black Crowes songs.

I have that massive collection of aftermarket parts from making simple to change guitars original. It’s pretty crazy what guitar players will do to their axes, then complain that they can’t find unmolested examples of vintage instruments at fair prices! It’s pretty funny IMO
Yeah man, that danger zone for gear when it’s not new and it’s not vintage yet, just a used POS,…

Back in the 80’s, a stereotypical hair-farming shredder-type guitar guy I played with showed up at rehearsal one day, grinning from ear to ear, coz he’d always wanted a Kahler and finally put one on this old piece of junk guitar he got from his dad so he could keep his Jacksons original
.
Never thought I’d ever see a Kahler on a ‘60 Les Paul. Hope I never do again.

I ran into him a couple years ago and asked him if he still had it. Said he didn’t wanna talk about it.
 

JimmyM

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I blame Bun E. Carlos for initially infecting me.
Those Cheap Trick guys infected a lot of folks with vintage fever. Even Tom Petersson, who usually uses new basses, has been known to trot out some fine old Fenders and Gibsons.
 

drums1225

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Hear those differences in a recording? No way — the recording process (even the very best ones) changes the actual live sound far too much. But live in the room if I'm the player? Heads* and cymbals — for sure. Shell material and tom mounting — maybe. And remember, the only person any of this has to make a difference to is you, the drummer.

*If I tuned them.

With all due respect, I highly doubt that you (or anyone) can hear and accurately *identify* any of these subtle factors solely by ear with any degree of consistency. Since we're unlikely to ever have the opportunity to prove it one way or the other, there's no point in discussing hypotheticals.

Of course the only one to whom their instrument truly matters is the player. Our standards are higher than any layman, and an instrument can inspire us to greater heights, suck the joy out of playing, or anything in between. But tiny factors, as discussed in this thread, are just that: tiny factors.
 

JimmyM

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With all due respect, I highly doubt that you (or anyone) can hear and accurately *identify* any of these subtle factors solely by ear with any degree of consistency. Since we're unlikely to ever have the opportunity to prove it one way or the other, there's no point in discussing hypotheticals.

Of course the only one to whom their instrument truly matters is the player. Our standards are higher than any layman, and an instrument can inspire us to greater heights, suck the joy out of playing, or anything in between. But tiny factors, as discussed in this thread, are just that: tiny factors.
Define “tiny” and why your definition should be applied universally.
 

drums1225

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Define “tiny” and why your definition should be applied universally.

In the context of this thread, tiny factors = imperceptibly small factors, or at best, barely perceptible. And, frankly, I don't care who accepts my definition.
 

jansara

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Can your ear hear the difference between so many little, teeny weeny details such as whether a snare is held on by reinforced packing tape, plastic strips, grosgrain ribbon or strings? How about species of wood? Whether hyde glue or another glue was used in the layup of shells? What about zero to three vent holes? There may be subtle differences, but I don’t think one could listen to a snare drum with five vents, not see them and identify that such and such drum has five vents that are 1/2 in diameter between every other lug on a ten lug snare drum.

Discuss…
Absolutely. I can hear the difference between a mouse fart and a chipmunk fart at 50 feet.
 

MrDrums2112

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I practice, I play, but I do, to a certain extent, care about some of those little details. There are many folks who adhere to the "the only important thing is the sound - who care how it looks." I, however, like to have my cake and eat it, too, as they say. I want gear the not only sounds great, but looks great as well, and I'm willing to pay a little more of a premium for the craftsmanship and tradition of the instrument if I need to.
 

jansara

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I envy you.
I can smell the difference but no joy re: the differing timbres.
I am unable to smell the difference.
If you listen closely, the mouse fart is slightly higher pitched than the chipmunk fart.
A bat, having a tighter anus, farts approximately 1/4 of an octave higher.
 


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