Ludwig Pink Oyster Pearl?

K.O.

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JayT said:
K.O. said:
Here's Ludwig's new Pre-Aged Oyster Pink Pearl (or Pink Oyster Pearl...whichever name they are using).

I've got the snare so now I need some wrap to rewrap some drum shells to match it.

To me this version looks more like a melted strawberry sundae than a slab of bacon...but that's just my take.
??
I didn't know this finish was available? Can kits be configured with this vintage wrap?
So far its only available on a limited edition snare available only at Guitar Center...i guess beyond that it will be up to Ludwig to decide.

I'm uncertain whether this is actually a traditional oyster pearl wrap (where a block of plastic with both colors swirled around is created, hardened, and then sliced into thin sheets of wrap) or created in some other way. It almost looks like the pink is applied over top of a white pearl as a tint. I can't say for sure either way as none of the modern oysters seem to have the depth that the old ones did (although the latest version of the vintage Oyster Black comes pretty close).

The only one of these drums I've actually seen is the one I bought (pictured above) so perhaps other examples may have a deeper pearling to them and blow my theory out of the water.
 

MonkeyGrass

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Bun Carlos said:
Sound mixers love drums with no sustain. The drums are easier to control in the mix. No EQ humming from the PA.


Oh, of course they do! Less work for them. But sound mixers that know how to use a compressor/gate properly are also your friend! ;) I have a hard time using my toms to fill space properly when they go "thud". If played more fast rolls and "chopsy" stuff on my toms, I'd probably like a little less sustain as well, but that's just not my bag. One up, one down doesn't typically lend itself to lots of fast tom rolls, since there really isn't anywhere left to go after the second drum! :lol:
 
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Gates usually work, unless stage volume of other instruments leaks in and triggers things, or the woofers are under the stage, or you don't get a decent soundcheck, or a zillion other reasons it seems. I don't like dead drums alot either, but often they make the soundman's job easier. The drum that gives our sound guy all the grief is my 16x16 floor tom.
 

JayT

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When I used to play a 13/16/18, I just ended up leaving the 18 at home because it was just too much drum for most of the divey punk bars we played at the time.
 

MonkeyGrass

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Bun Carlos said:
The drum that gives our sound guy all the grief is my 16x16 floor tom.


Ugh, tell me about it. What is it about that size that causes so many issues? Tune it up, and it rings for days. Tune it down and it sounds like wet cardboard. Tune it in the sweet spot and it resonates with the kick and lots of time the snare will also open the gate since they are on virtually the same plane. I *am* my groups soundman so I get to deal with both tuning and the associated sound issues. It's a very, very touchy setting on my gate that gets it done. Ultimately, I have the threshold set high enough that I really have to lay into that floor tom to open it up. Otherwise... thuuuuuuuuuuuuuuuuum. I used to just mic the kick, snare, and stereo overheads to avoid close mic'ing the toms to avoid that. Sometimes, I still do.
 

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I know of two more kits in the UK. If I can, I'll drop one of the guys a line and ask what's on his kit.
I spoke to someone else who had another one of these kits and he said he thought his had a Luddy railmount on it too.
 

K.O.

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Gates usually work, unless stage volume of other instruments leaks in and triggers things, or the woofers are under the stage, or you don't get a decent soundcheck, or a zillion other reasons it seems. I don't like dead drums alot either, but often they make the soundman's job easier. The drum that gives our sound guy all the grief is my 16x16 floor tom.
Bun,
I just watched your Sgt. Pepper DVD...your 16" sounded awesome...what's the secret?
 


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