Ahead Adds New Tenor Sticks

Ahead Expands Marching Line With New Chavez “Arsenal” Tenor Sticks And Mallets.

Based on their proven, proprietary designs that integrate an advanced aluminum core and handle, Ahead Marching Drumsticks offer near-perfect uniformity and consistency in terms of weight, size, balance and tone plus the increased durability, comfort and shock absorption that make them ideal for drum corps, Winterguard and other types of marching drum lines. And now, the exclusive "Chavez" Arsenal Tenor Drum sticks and mallets bring Ahead's superior physical, musical and visual advantages to even more marching drummers on the field and off.

Developed in conjunction with Dallas Mavericks’s drum line instructor and educator “Chavez”, the new Ahead Arsenal ATS Tenor Drumsticks and ATM Tenor Drum Mallets feature a durable white powder-coated finish, extruded and swaged handles with premium-quality DuPont Delrin® heads. The ATS are 15.625˝ long by .695˝ diameter, 80 grams, with .875˝ white Delrin heads. The ATM are 14.50˝ long by .695˝ diameter, 82 grams, with 1.25˝ black Delrin tips.

For further information visit www.aheaddrumsticks.com or your local authorized Ahead Drumstick dealer, stop by the Big Bang booth at NAMM (#3564) or contact Big Bang Distribution at 800-547-6401, bigbangdist.com.

 

Top Country Drummers Choose Cympad

Cympad Goes Country As Top Country Drummers Choose Cympad.

Cympad, makers of a wide range of cellular foam cymbal washers, has announced that the drummers for several of Country music’s biggest artists are now using and endorsing the innovative and popular cymbal accessory. Many of the musicians that these Cympad endorsers perform with have been nominated for 2013 Country Music Association Awards and will be appearing on the CMA Awards show, which will be broadcast live from Nashville on Wednesday, November 6, 2013 at 8:00 ET on ABC-TV.

Cympad’s roster of Country Drum Artists include:

Sean Fuller (Florida Georgia Line)* Garrett Goodwin (Carrie Underwood)* Jeff Marino (Darius Rucker)* Billy Mason (Tim McGraw)* Kent Slucher (Luke Bryan)* Rich Redmond (Jason Aldean)*

These Country music players, along with a growing number of Jazz, Rock, R&B, Latin, Metal and other drummers, use a variety of Cympad Optimizers, Chromatics and Moderators cymbal pads in both studio and live situations. Cympads are available at drumshops and music stores everywhere. For more information visit www.cympad.com.

 

1936 L&S Catalog (Leedy & Strupe)

In October, 1929, an ailing U.G. Leedy sold Leedy Manufacturing to band instrument giant C.G. Conn Ltd.  For the next 9 months,  Leedy drum building was in a state of transition. In August of 1930, the Elkhart factory was up and running. In those intervening months, Conn sent in a supervisor, Ed Cortas, and many employees came and went. Leedy himself hoped that his 100 loyal employees would have jobs in Elkhart, but many of them did not or could not or, more probably would not, move. U.G. decided to create another company called General Products. Concerned that the Depression would not bring in drum sales, Leedy wanted General Products to make other products as well. But, they would make drums. The legend has become fact. He wanted to name the company Leedy & Sons. He had two sons—Eugene and Edwin, later called Hollis. Conn had just spent $900,000 in cash to buy the Leedy name, so there could be no use of that name outside the drums now made by Conn.

Best place to order essay online.

I have only seen one Strupe drum, but have seen publicity shots of others.

Mr. Leedy bought a former dairy building and started the process of turning it into a drum factory. Some of it was completed when he died in January, 1931. His widow gave this fledgling company the funds to complete the woodworking shop. Edwin joined as Secretary Treasurer. Eugene did not become involved.

Leedy and Sons became L&S and we now think that L&S also stood for Leedy & Strupe. One of the former key Leedy employees who did not leave Indianapolis, at that point, was Cecil Strupe, the engineer. He was named president of L&S. In the earliest days of production, there were also Strupe badged drums. It may have been an attempt to circumvent the Leedy name while promoting Strupe’s name since he was known to drummers thanks to frequent mention in the Leedy Topics.

Today’s catalog was made in 1936. It is the only L&S I have found. I have seen brochures, and I think this company deserves honorable mention in American Drum History. L&S drums were sold nationally by mail through Chicago Musical Instruments. Chicago Musical Instruments had formerly sold Ludwig & Ludwig drums through their catalog, but that deal soured when Conn bought Ludwig as well. So, the catalog sales company needed a new drum supplier. If you lived in Indianapolis, you could stop by the factory and buy from their showroom. Famed California jazz drummer Benny Barth, told me about that. An L&S snare was his first drum. L&S made drums, timpani, bells and other mallet instruments, but the products just always seemed a notch below Leedy in quality. You can see imperfections in the cast lugs, from the dies. The drum rods were hex headed, calling for a special key. I would say that like the Cecil Strupe designs for Leedy, we see the same kind of toggle crazy, and thin metal/weak spot strainer inventions on L&S snare drums.

The popular high end snare drum during the middle years was called the Dictator, which was probably not a wise choice during the Hitler and Mussolini years. I see example of L&S drums pretty regularly on eBay and they seem to come from all parts of the country, which may give proof to the scope of sales from Chicago.

The company was never a success, but it hung on and had an interesting ending. Strupe left the company and moved to Chicago where he went to work for WFL. Edwin Leedy sold the company to a music store owner who marketed the ready made products through his store. He changed the name to the Indiana Drum Company. At some point in the early 40s, Sears and Roebuck had a connection with Indiana Drum, using the name Drum Master and then may have bought the machinery and designs. Sears advertised that they had a factory in Chicago, and, in the one Sears Drum catalog I have seen (check out Drumarchive.com to see it), you can see L&S drums, no matter what they were called.

I am sure World War II ended Sears' need to have a drum manufacturing plant. After the war, they struck deals with Kent and Japanese manufacturers to have drum sets for sale in their catalogs.

But for 10 years, Leedy Indianapolis alums were building L&S "Drummers Equipment” and hoping for the best.

-Harry

 

The Last Ten Miles

One bright day in early Spring, 2013, I met up with friend and fellow collector/ historian, Craig Caba, at his home in Central PA, to look at and talk about some of our old drums. Our conversation soon found its way to the project of another mutual friend, Jim Smith, known affectionately as, the "Yankee Drummer." Jim had realized that there wasn't a memorial to the Civil War Musician, and creating one would be rather expensive. To help fund this endeavor, he had the idea of selling commemorative replicas of Civil War drum sticks made from the wood of "witness trees"…..trees that were present and alive on the Gettysburg Battlefield during the time of the Battle in 1863.

At the suggestion of friends, Jim also decided to recreate the little known, but epic journey of a certain veteran drummer of the "Late Hostilities."

That certain veteran was Peter Guibert, Drummer of Co. F, 74th PA, who at 70 years old, marched with his old drum to the 50th Anniversary Reunion of the Battle of Gettysburg. Jim, also 70 years old, would recreate the march of 200 miles from the Pittsburg area to Gettysburg in 19 days, this time to honor Peter Guibert and celebrate the 150th Anniversary of the Battle. Jim would use the same drum that Guibert used while in the War, and on his journey in 1913…….. 100 years ago to the day! Craig and I eagerly decided we would accept Jim's invitation to join him in Cashtown, for the last ten miles of this historic journey to Gettysburg.

Born in Germany on January 4, 1844, Peter Guibert, of Allegheny County, PA, mustered into Company F, 74th PA at Camp Wilkins, near Pittsburg, on September 14, 1861, as a musician. During the next three years, these men fought and died in different theaters of the War, and for a period of time, in the Army of the Potomac. Before the end of 1862, the 74th eventually found itself as part of their former regimental commander, Col. Schimmelpfennig's, new brigade. General Schimmelpfennig's brigade was in Schurz's division and part of Howard's 11th Corps, Army of the Potomac. At Chacellorsville, VA, in May, 1863, they were heavily engaged and on the second day of fighting, they were placed on the left of the 11th Corps, which was on the Union right. When the regiments on the far right belonging to the 1st Division broke, the 74th, along with other regiments of its brigade, changed fronts and held off the Confederates of General T.J. "Stonewall" Jackson, losing 52 men. Less than two months later, they were again in the thick of it at Gettysburg.

The 74th, still part of Howard's 11th Corps, found itself on the Union right during the fighting of July 1, 1863. Placed on the 11th Corps left, they were soon caught up in the rout that broke the Union right. Falling back through Gettysburg, they reformed on Cemetery Hill where they remained for the rest of the battle. During the remainder of the War, the 74th saw service in South Carolina and the Washington defenses. After mustering out of the 74th, Guibert soon enlisted in Co. D, 77th PA, in February, 1865, again as a musician, and headed for Tennessee until mustering out in August, 1865.

Following the War, Peter Guibert returned to civilian life in Allegheny County near Pittsburg and worked as barber. 1913 brought about the 50th Anniversary of the Battle of Gettysburg. That year, Peter turned 70 years old and held a strong desire to attend the anniversary ceremonies of the epic battle he participated in 50 years ago. Being the largest and most costly of the Civil War's battles, he knew veterans from all over the country would attend. Instead of taking a train, horse, or automobile, he decided to walk the distance. He would be accompanied on this journey by his friend, 62 year old John Conroy, an Army veteran, (1872-77) who fought Comanche Indians in Texas. On May 26th, 1913, they stepped off from the steps of what was then the Allegheny City Hall at 9:00 a.m. Ahead were 200 miles of some of the most challenging ridges and heights of Pennsylvania's Allegheny and Appalachian Mountains, chief among them was the Bald Knob Summit, with a height exceeding 2900 ft., and the Tuscarora Mountain (2458 ft.), among many others.

On the march, Guibert would beat his drum and entertain the folks along the way, many times in return for refreshments and lodging. On the morning of June 12th, the Guibert party departed from the Cashtown Inn, Cashtown PA, where they had spent the night, and began the last ten miles to Gettysburg. Completing the trek in 19 days, the two weary travelers entered the edge of Gettysburg on morning of June 13th where they were picked up by the Bell Telephone wagon and given a ride to the center of town.

There, they played a free concert and stayed at the City Hotel (now the James Getty Hotel), located on the square, until after the reunion festivities were complete. While in Gettysburg, Peter seems to have been quite active as several creditable accounts have him entertaining many of the inhabitants and veterans; apparently earning enough money to fund his stay. Peter also took the opportunity to join, and be photographed with, veteran musicians of the Union and Confederate ranks for a one-time performance of "The Blue and Grey Reunion Band of 1913." He was also featured as the opening act for the epic silent film: "The Battle of Gettysburg."

Jim Smith acquired the Guibert drum directly from a member of the Guibert family, niece Betty Mower, of Delmont. She had learned of the Yankee Drummer through a local newspaper article in 1982. The old Civil War drum had been passed to her through the family and had languished in attics for decades. Jim bought the drum along with an old newspaper article about the 1913 trek and then met with several members of the Guibert family over time. Through diligent work, he was able to piece together much of the life of Peter Guibert and even found additional period newspaper articles about the trek and his time spent in Gettysburg. However, Jim's commitment to the trek began during a visit with Peter's Grandson, Clarence Guibert, who at one point "expressed concern that peter's name was not listed in the official PA records in Gettysburg." Jim later found Guibert's name in the records...misspelled...the error has since been corrected.

Peter Guibert's field drum was one of the newer designs available to the drummers of the era. The shell was constructed of solid brass and is somewhat heavy. It has a very efficient, brass snare adjustor that isn't the frequent norm of what most period drums utilized. Jim has since made small metal parts that over-lay the wooded hoops at the point over of the rope holes, to help protect against the wear and pressure of the ropes bearing down on these old hoops. Other replacement parts include hemp rope, leather ears, skins and snares.

With no makers label or any markings in or on the shell, the maker remains unknown. However, a brass shell construction at this time suggests that the drum was imported from Europe.

The sound is exceptionally full and projects well, especially when played with heavy, robust sticks. When Jim acquired the drum, it had a broken head with an old silver-tipped stick inside. He then fully restored the drum to playing condition and has kept it in that condition.

According to local newspaper accounts, Peter Guibert and John Conroy not only trudged along with this old field drum, but a rope tension bass drum and pedal, fife, calliope, harmonica, slide whistle, and various other musical instruments for the purpose of Guibert performing as a "one-man-band," as he "was well-known as an entertainer." Jim also included an old rope tension bass drum as well as other musical instruments in keeping with the spirit of the trek.

After 190 miles on the road, Jim and his friend, Ray Zimmerman (who plays the part of John Conroy) arrived at the Cashtown Inn where they met up with Craig and me. On this day, the Peter Guibert Trek of 2013 had a slightly larger entourage of seven people, including Len DeCarlo (trek coordinator), Duane Myers, and Dick Mizikar, along with two vehicles. I had brought along my circa 1840 Porter Blanchard field drum so I could play along with Jim for this final 10 mile leg of the journey. While at the Cashtown Inn, Jim and I played our drums for each other, as well as together. One thing about playing authentic rope tension drums with calf skins and gut snares is that you clearly hear all three aspects of the drum: There is the basic sound of the drum, and the sound of the snares, but then you hear the sound of the "drone," which is something I think that's missing from drums with plastic heads, synthetic snares, and muffling. The sound of these old drums really "carries" outdoors.

We stepped off in mid-morning... Jim, "Conroy," Craig and I, along with our escort vehicles, and headed east down Old Route 30, "The Lincoln Highway," through Cashtown... The same route that Confederates under Lt. General A.P. Hill used 150 years ago, as they headed east to Gettysburg, playing a cadence as we went. In doing so, the feeling of history was almost over-whelming as we felt the trodden path of so many other travelers of the past.

The day was extremely hot and humid...as I imagine it was in 1863 and in 1913. As the sun rose high in the sky, I could feel its effects start as we played our drums on the hot road. We stopped at every waving flag and cemetery along the way and properly saluted with drum and hand. The dogs did not bother with us as I wondered if the drums intimidated them. One of the stranger things we learned was that cows apparently like drums! At every instant of the sound of the drum, herds of cows would line up along the fences and watch...moving along as we did...pleasantly animated.

As we progressed, residents would venture out to see what the racket was all about, many times offering us drinks and sandwiches, while eagerly soaking up tales of the trek. At one point, we heard the sound of a drum set coming from a house along the route. We decided to serenade our newly found compatriot with a rousing and spirited round of Three Camps. The commotion worked as the drummer from within soon appeared on the front porch and applauded our completion of the piece. At other points we were saluted by the local veterans, who we respectfully saluted back. Passing vehicles would honk and wave. Everybody cheered. And so it was as the Peter Guibert Trek proceeded along the 200 hundred mile route that seemed full of goodwill.

Jim Smith, at 70 years of age, had completed one of the most challenging and epic journeys to honor any veteran of the "Late War" in grand style. The combination of heat, humidity, rain, and wind (or lack of it) only added to the reality of walking such long distances with a drum. Another daunting danger was the traffic which made safety along the way a major concern. There were no major mishaps in this regard, as the most common occurrence seemed to be the constant honking of horns and waves of well-wishers in general. Through it all, Jims pace, style, and playing were precise and purposeful, and being a master drummer and historian, he knew all the music and calls.

The route was full of high elevations and valleys and as Craig and I would occasionally lag behind talking, we could see that Jim (and "Conroy") repeatedly would take each hill like a Roosevelt! Jim Smith appeared larger than life on that day. In keeping true to the form of the original trek, Ray had quietly arranged to have a wagon of the Bell Telephone Company waiting for them as a surprise on the morning June 13th as they prepared to take Gettysburg, just as Peter Guibert and John Conroy did 100 years ago to the day!

Arriving at noon in the Gettysburg Square, they played a free concert by the James Getty Hotel and met with well-wishers and family. Also joining them was friend and fellow drummer John Beck, President of the Percussive Arts Society, who was also at the initial step-off in Pittsburg. Later that day, Jim delivered dirt from Peter Guibert's grave to the 74th PA regimental marker on the Battlefield. As did Peter, Jim stayed at the Hotel on the square and remanded in the area until much of the festivities came to a close.

Heat, fatigue, and dehydration played a large part on the march for military drummers and soldiers alike. This is something that we would be reminded of during the Trek and celebrations leading up to and during the 150th Anniversary of the Battle of Gettysburg, as well as with the previous reunions and the Battle itself. During this time, several drummers and bandsmen "went down with the heat" and needed to be transported to the local hospital.

I was quickly reminded that being a drummer during the "Late Hostilities" was no easy task. During this last ten miles of Jim's Trek, Craig and I learned of so many things that affected the daily life of early drummers and soldiers while on the march.

Peter Guibert died on December 7, 1933, at age 89. He had played music all of his life, as the music was deep within him. Known as the "Wizard of the Drums" and the "Master of Military Music"...names that a "God Father" of the rope drum community the likes of Jim Smith, could easy personify without fault. But Jim, the Yankee Drummer, had earned his own new moniker as he entered Gettysburg right on time, the very same day as did Peter Guibert, exactly 100 years ago...now we refer to him as "Jim Smith: Iron Man of the Alleghenies."

In the end, the big question here is...Why did Peter Guibert decide to walk the 200 miles to Gettysburg?...Especially when the government offered free train passes to any Civil War veteran wishing to attend the reunion. The only reason offered by Smith is that Guibert apparently walked everywhere! With the Peter Guibert Trek of 2013 behind us, I find myself happily reminiscing with Craig as we look back on and talk about the privilege and the experience we had partaking in recreating this historic, yet telling journey. We also embraced the camaraderie we found in all who took part in making this event a huge success. "There are many historical artifacts out there that have interesting stories to tell but rarely get the opportunity"...Jim Smith has taken the opportunity to do so and has marched with it and made it so. Our special, indebted thanks to Jim for offering us the opportunity to share with him ... The Last Ten Miles.

From Lancaster County, PA, Thoughts from the Shop....

Brian Hill

 

Holland Drums' Muffin Top

Every time I go to a drum show, I’m always looking for something new and significant.  In an art form that is so basic and primitive; the drum and the percussive arts in general, it’s really hard to surprise me.  Over the last 150 years, we’ve seen incredible innovations and variations on the theme, leaving us with some very good instruments.  So now we’re left with simple refinements, right?  Not just yet!  There’s always someone thinking a little left of center, and those are the guys I’m looking for.  This year at the Chicago Drum Show, I found another one of……. those guys.

Enter, Holland Drums.  If ever there was a percussion instrument that I didn’t know I needed 25 years ago…..this is one of them!

Scott Holland, of Holland Drums, has made a significant hybrid instrument that effectively crosses the lines between the snare drum and the hand drum.  If you find yourself working with singer/song-writers or have the need to provide lower volumes and different timbres, this is a drum you should give serious consideration.

The “Muffin Top” drum sits on a regular snare drum stand and was originally meant to be played with your hands, with and without snares.  But as with most good instruments, it allows you infinite possibilities.  When backing up various artists over the years, the variety of music has generally allowed me to push the creativity of the situation because I don’t have a lot of rules and regulations when I come up with drum and percussion parts.  That being said, the only rule I always keep is to “play for the song.”  That rule has kept me busy creating different and unique set ups that fit each situation.

When using the Muffin-Top drum, I’ve found it to perform not only as a centerpoint piece, as does a snare drum on a drum set, but also as an auxiliary drum in a non traditional set up that is more percussion based.  If need be, it can be switched out at a moment’s notice with a conventional snare drum for a little hand drumming.  If a significant portion of your gig's set is on the quiet side, you can use this as your primary drum.  I’ve found it’s also great with sticks and brushes, as well numerous other implements used to effect different textures.

This drum provides great sonic opportunities with and without the snares applied.  Imagine being able to play a part with your hands on a snare drum without wracking your knuckles on the metal hoop, as you would with a conventional snare drum.  Then, with a flick of the snare throw-off, playing something of a Latin nature, then switch it up again with a pair of brushes or sticks, without changing drums!

As part of a drum set, there is a whole world of new possibilities when combining this “hand-drum” with your feet.  Kick, hat, cowbell, tambourine, or whatever else you can whack with a pedal, will offer continued pattern combinations and grooves that will definitely be something new for most single drummer set-ups. When added as part of a hand drum/percussion set-up, this drum fits in especially nice.  With the snares off, it provides a “neutral” hand drum sound that isn’t quite a conga, nor a djembe sound.  Add the snares and you have a nice soft snare sound, perfect for those times when it’s all about color.

When looking at the Muffin Top drum, it looks different from any other drum I’ve ever seen.

At its heart is a solid, 6” depth, stave construction shell made of bubinga wood, milled to a unique design to accommodate a Remo djembe head, which has a 2.5” drop.  Solid walnut stave construction shells are also very popular.  The batter side lugs, rods and claws are Remo as well, but, the black counter hoop is custom made locally.

On the bottom rests a standard, conventional 14” snare head. A gold-tone, triple flanged counter hoop and Adonis lugs nicely round out this model. This particular drum has “split style” Puresound snares, and a Trick throw off.  I particularly like the very gradual snare bed that’s barely visible and doesn’t seem to make any negative impression on the head, which helps provide nice sensitivity.

Holland Drums utilizes different choices for different model combinations. Wood, snares, throw-offs, lugs, heads, gold-tone or chrome hoops, etc. are all optional.  There is a 16” x 16” Cocktail Bass Drum available that will offer even more sonic opportunities for set-up combinations.

Being a custom shop, Holland Drums has successfully combined two completely different drums, from different parts of the world, with fantastic results. Thus opening the doors for optional sounds and playing combinations, which is really what we all want in our drum choices, and Scott Holland has certainly succeeded in doing so.  I really do wish I had this drum 25 years ago!

From Lancaster County PA, Thoughts from the shop………. Brian Hill

 

Wake Up Call - WFL vs. Ludwig

OK people, we need to be a bit more imaginative. I mean, if you have the bucks and money is no object, by all means just go for the high-end stuff. But if you are like me, and the bank account is limited, then a little effort is required. Yeah, I wish I could buy every Gladstone drum that came along like I did when no one knew what they were or who he was (well, practically no one). But with the escalating prices of vintage drums, I have to be more creative. Personally, I am in rapt ecstasy over the current price trend of vintage drums. I genuinely surprised and amused when I see vintage drum collectors whine and cry (sometimes belligerently) over these price trends. DUDE, your collection is going up in value. OK, you can think the $165,000 this and the $65,000 that is absurd, but the $50 this and $100 that, you bought 10 years ago is going up too.

Be that as it may (some people love to whine), if you are on the hunt don’t limit yourself. I’ll give you a recent example from my personal experience. I am far from being a Ludwig expert but if I have heard it said once that the COB Ludwig Supraphonic is the best sounding metal snare, I’ve heard it a thousand times. That coupled with the dilemma of determining if a vintage Ludwig metal snare is indeed brass, I was surprised to see one go for the “cheap” on eBay. Click here to see the auction page.

OK so I am also not a Ludwig collector (last NSMD article notwithstanding) but for a second, I considered jumping into the fray, if anything to see what all the hoopla was all about. Then I thought “BASTA” (enough!) stay focused Chet! But, there has to be someone out there who needs this drum and it was only a three-day auction. So, little ‘ol benevolent me thought “put this up on Facebook.” I have two Facebook accounts, my personal one and one I created for Billy Gladstone. Gladstone’s site has more friends than mine (I can’t understand why) so to get the word out I posted the eBay auction with the description “I am not a Ludwig expert, but aren’t these WFL era Supraphonic snares rare? And because it is that old, doesn’t that signify that it is the desired COB shell? A bit rough but it could be brought back. Better hurry…only 2 days left…” Good friend Todd Reemy commented “in my day I sold 150 or more COB Ludwig's...of that number just 2 were WFL...I've always said they were the best sounding of the bunch with Trans badge era being 2nd...” In his day, Todd went by “The Drum Detective” moniker when he was in the retail vintage drum business. And “Dective” he was. His posts in the “For Sale” section in NSMD made my mouth water. This of course, gave my assumption validity so I passed this information along to the seller.

Hey, what goes around comes around. I have had many a helping hand in my day. I knew he would receive “Buy It Now” offers so I wanted to warn him. The seller, who seemed a bit naïve by his eBay description of the drum, was most appreciative and posted my comments in the listing.

When I sent the message one day into the auction, the listing had a paltry $172.49 current bid (up from and opening $149.99 start bid) with only 7 bids and 149 views. The numbers subsequently went up, bids to 22 and a current bid of $701.99 the final day of the auction. I, feeling like the Good Samaritan, was curious where the auction would end… 538 views, 33 bids, with a winning bid of $1009.99. At first I thought “He did well.” Then I searched eBay for other COB Ludwig snares and found this Ludwig Supraphonic COB that went for $1300.

OK, it is pretty. Yes, “Minty”…god I hate that word…when is anyone going to learn the true definition of the word “mint”? read eBay’s take on the subject. My personal definition of mint and that of coin collectors is one word “Uncirculated.” That means untouched by human hands. So if it is still sealed in the original box, it is mint. “New old stock” is exactly that, unsold, new, but not mint. Be that as it may, Todd, whom I consider an expert, said, “in my day I sold 150 or more COB Ludwig's...of that number just 2 were WFL.” That puts the odds at 75 to one, no? OK, I’m not saying the “fair condition” WFL is worth $74,449.25 more than the “Original” Ludwig but less? I don’t think so.

Yes, Mr. WFL is  not cosmetically as nice as Mr. Ludwig, but therein is the answer. With a little imagination, read “elbow grease”, it is definitely 75 times the drum. Unless a drum is mint, I personally like to see patina. It gives the instrument character. It has been used, played, enjoyed. Patina does not include dirt and rust so some work is required here. Again, my personal call is less is more. I will not use a buffing wheel. If it cant be removed by hand, it is patina. The bent rim (being brass) could easily be straightened. Imagine what a little work will do for this drum.

 

The 1941 Leedy Set

HELLO AND HAPPY FALL!

The air is cooling down and the leaves are beginning to change colors. It's time to put away the summer clothes and get out the long sleeves and sweaters. I have a very "cool" old drum kit to show you this month. I know I featured a black diamond kit last time, but this black diamond set has "greened" a little giving it a completely different look. The set I want to show you is a 1941 Leedy. I have all five pieces. It was bought as a set in the year they were made and was owned by one gentleman until his death a few years ago. The man played this set with an orchestra until he purchased a Ludwig set in the 1960s. He put this set away in storage and that's where it stayed until his son decided it was time to find a new owner.

I'll tell you more about how I was fortunate enough to acquire them later. The sizes are: bass drum 28"X14", toms 16"X16", 13"X9", and 12"X8". The matching Broadway Parallel snare is 14"X8". The shells are plies with re-rings. The lugs are Beavertails introduced in the late 1930's. The insides of the bass drum and snare are painted white like Ludwig.  Conn owned both Ludwig and Leedy when these drums were made. They were made side by side and yet maintained differences. Conn finally joined the two lines in the 1950s and made Leedy Ludwig Drums. The Ludwigs bought the Ludwig line back in the mid 1950s and Slingerland bought the Leedy line. You already know all this, I'm sure.

These drums were made in Elkhart, Indiana. The workmanship is excellent. The date stamp inside is January 1941. That was just months before Japan bombed Pearl Harbor bringing the United States into the World War.

The mark inside also says "For Pearl". This means the shells were marked for a pearl wrap finish. The black diamond finish still looks very good although age has made it look sort of green. The hardware is nickel. The heads are calf with the exception of the bass drum batter head.

The son called me and told me he had gotten my number at the music store. He asked me if I would be interested in a very old Leedy drum set. After catching my breath, I calmly said, "sure, when can I come see them." Never say what do you have unless it's a very long drive. My wife went with me, and there they were all spread out on the garage floor. He said the head with orchestra name and his Father's shield logo had been destroyed. The mounts were gone and some of the rods and clips. He gave me a great deal , because he was tired of storing them. It was very exciting to load them up. I have enjoyed the clean-up and having the great piece of history in my collection. Oh, What about the Ludwigs?, some of you are thinking. He said his step-mom had disposed of them and I could tell it was not a subject I wanted to pursue.

Until next time, Phil Wilson