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Re: Carlock moves to Grestch
Posted: Wed Jan 25, 2012 2:07 pm
by Julián Fernández
Gavin is quite consistent also... (another cat taking care of the engineering side of it)
Re: Carlock moves to Grestch
Posted: Wed Jan 25, 2012 5:46 pm
by bstocky
I've heard Bill Stewart play Pearl drums and guess what, he sounds like Bill Stewart. If Stewart Copeland shows up at your house and plays your high-hats he'll sound like Stewart Copeland. If you let any decent drummer play any decent drums they will find their sound.
Another thing about endorsements and I think everyone here already knows this - Guys don't always play what they endorse!
Gavin's most recorded snare drum is probably his old Yamaha Recording Custom. Lars used Gretsch toms and bass drums, a Pearl snare and Sabian high-hats to get his signature sound on the Black Album. How many pros use Brady snares? Has anyone ever seen Chad Smith use his signature Pearl snare on a gig? Ever?
Re: Carlock moves to Grestch
Posted: Wed Jan 25, 2012 5:54 pm
by Steve Holmes
Stewart tunes his toms kind high and tight = old school jazz style. I think a lot of drums sound alike when you tune like that.
Re: Carlock moves to Grestch
Posted: Wed Jan 25, 2012 6:11 pm
by bstocky
I absolutely agree. I'm just saying even the most unique sounding artists can get their sound out of any equipment.
Guys endorse things because they like the instrument yes, but it's just as much about support and having a personal relationship with the company.
Re: Carlock moves to Grestch
Posted: Wed Jan 25, 2012 6:32 pm
by DSOP
It's also about the hardware and pedals, which don't affect the sound, but affect the comfort and ease of setup, which in turn affect the performance. The sound is probably even more influenced by the heads, which most drummers will use consistently, regardless of brand of drum shell.
It's pretty hard to find a bad set of drums at ANY price point anymore. Crappy sounding/feeling heads abound though.
Re: Carlock moves to Grestch
Posted: Wed Jan 25, 2012 7:08 pm
by Clint Hopkins
I didn't realize until today that he also switched to Vic Firth.
Re: Carlock moves to Grestch
Posted: Wed Jan 25, 2012 7:37 pm
by DSOP
Clint Hopkins wrote:I didn't realize until today that he also switched to Vic Firth.
Didn't Regal Tip make him a signature stick just a year ago?
Re: Carlock moves to Grestch
Posted: Wed Jan 25, 2012 7:57 pm
by Clint Hopkins
DSOP wrote:Clint Hopkins wrote:I didn't realize until today that he also switched to Vic Firth.
Didn't Regal Tip make him a signature stick just a year ago?
I'm not sure how long it's been but he has a signature stick with them and it's still on their website. Maybe he just has a pepper mill endorsement with Vic.
Re: Carlock moves to Grestch
Posted: Wed Jan 25, 2012 7:59 pm
by Julián Fernández
DSOP wrote:Clint Hopkins wrote:I didn't realize until today that he also switched to Vic Firth.
Didn't Regal Tip make him a signature stick just a year ago?
Indeed! I actually broke one yesterday... Nice sticks, not sure about the finishing, but really nice overall.
Re: Carlock moves to Grestch
Posted: Thu Jan 26, 2012 7:22 pm
by Henry II
erskoman wrote:I do not know of one drummer who is being paid by any drum company to play their drums. (Historically, Buddy might have had some deals going on, but he wound up playing on an old Slingerland Radio King kit in the end because he loved the way they played and sounded.)
As far as my own switch from Yamaha to DW, there was no financial incentive involved — indeed, I took a loss on 2 signature products that were in the Yamaha catalog or pipeline at the time of the move (which was a bit impulsive on my part, but was based primarily on the fact that DW listened while Yamaha had stopped listening ... to what? My plea for them to make a flat or flush-based cymbal stand! ... and then one thing led to another once I visited the DW factory and played on what would become the Jazz Series kit).
Drum companies DO help sponsor clinic and workshop (and education-related) events & performances, and a consortium of companies will usually work together ... in my case, my clinics are co-sponsored by DW, Zildjian, Evans, Vic Firth, and companies like Samson/Zoom, Alfred Publishing, et al ...) (for the record: Yamaha used to pay more for clinic support!)
If Keith had a reason for switching, it was most-assuredly related to his wanting to play on Gretsch Drums, as well as their willingness and ability to look after him in the travel support department (supplying kits at venues across the country or around the world) as well as clinic support arena (whether music store clinics, or PASIC appearances, etc). And if any drummer is receiving some sort of stipend (usually from a cymbal company) these monies act as an advance or guarantee against a set number of clinic appearances on behalf of that company for a coming year, etc.
The well-known drummers are no different from all of you: they have a passion for a drum or a sound or a legacy or a mythology or maybe they're attracted by something within or without the company and its drums, but it's not for cash. It might be a promise of marketing (often the case: "we'll put your name up in lights, sonny" or "we'll get you in the Modern Drummer polls" or the like) and advertising or a signature product (which DOES generate revenue for all concerned), however — that is the extent of it. Otherwise, it's the drum (or the hardware) that speaks! And just about every drummer I know is always on the prowl for that holy grail of a snare drum or ride cymbal, or 12" tom, or whatever ...
Some of you may choose not to believe this and insist that Drummer A or Drummer B must be paid to play a particular brand of drums, but trust me: it ain't so.
Peter Erskine
What a privilege it is to have a musician of your caliber and renown come on HOD and set the record straight. Thanks! H2