That is cold blooded. You need to go on a vision quest and get yer mind right.To add insult to injury, I had taken my ride cymbal off the Slingerland set and put it on the Gretsch. I can still see the image of the Slingerland set, an empty boom stand reaching out to me as if it was saying "come back, please!"
I have several vintage sets, plus two contemporary. The set I play on the most is my DW Performance set. It tunes very well, the ring and sustain are good, and I can play it for every music type I play. But I also enjoy playing on my vintage sets, and my favorite of those has been my 1963 Slingerland. Two of my favorite drummers (Phil Ehart and Danny Seraphine) played Slingerland for many years, and my 1963 set is barely two months older than me. I like to play it when I want to relive my jr high and high school days, when I was learning to play, and lusting over the professional drummers' kits.
But about a month ago, I bought a 1953 Gretsch set, and it's stolen my vintage time. I don't play on the Ludwig or Slingerland set anymore. I like the tone and sustain of the Gretsch set, it's very close to the DW but has a mellow vintage vibe as well. With the Gretsch set in the mix, now I understand what people say about the "thuddiness" of the vintage Slingerlands. It seems weird that I never really noticed it when comparing to the DW set. From a physics perspective, the difference is probably the absence of rerings in the Gretsch (the DW Performance doesn't have rings, either) but there is also a special tone as the Gretsch toms sing.
Last night, I played on the Gretsch set for nearly an hour. After warming up to Woody Herman's "Corazon" and then playing along with the Blues Brother's first album, I finished up feeling very happy. But then I looked across the room to the Slingerland set. It was sitting there alone, staring back at me, and suddenly I felt guilty. The music I had just played was music I played on the Slingerland set. They were "our songs". But now I was playing them on a different drum set and enjoying it more.
All the memories of restoring the Slingerland set rushed over me: finding the set, regluing the rings, light sanding on the bearing edges, cleaning and polishing, tuning. I remembered how excited I was to bring the Slingerland set back to life, and the thrill when it was finally assembled and I played it for the first time (Woody Herman's "Corazon" in fact.) All I did with the Gretsch set was to horsetrade for it and put new heads on it. To add insult to injury, I had taken my ride cymbal off the Slingerland set and put it on the Gretsch. I can still see the image of the Slingerland set, an empty boom stand reaching out to me as if it was saying "come back, please!"
I felt like I was betraying a friend.
What shall I do now? I always thought that I could be a polygamist drummer, but it seems there is sadness and jealousy in my house. Oh yes, there was always some rivalry between the Slingerland and the Ludwig set, but in general the Slingerland was the queen of the sets. But now, the pecking order is broken.
What shall I do?
What did you keep?Take a deep breath and wait a bit... play them all over a period of time... Record then in a consistent environment and then decide which kits are essential to you.. Personally, I've recently sold a Gretsch RB 12, 14,18,4 kist and a Camco Oaklawn 12,12,14,18,5 kit... both REALLY rare and valuable, but not my sound and feel...thinning out the herd.. and I still have 3 sets to play out that are truly my sound and feel. .