PinchClip Review

Every once in a while you stumble across something so simple and so useful, you just stop and ask yourself:  why didn’t I think of that?  Straight from the fertile mind of William “Bill” Feldman, comes a simple accessory that almost rivals the paperclip, and it’s just for us drummers.  PinchClip was designed to replace wing nuts and other conventional “nuts” for cymbal stands, accessories, and hi-hat clutches.  In just about any situation that you’re using some sort of screw-nut or have a lip to attach to, you can apply a PinchClip.

Just squeeze the PinchClip together with your fingers and place it on the threaded rod of the cymbal tilter and forget about it.  Not only will it cut down on the time spent messing around with a wing nut, it will also allow you to properly adjust the space between the “nut” and the cymbal.  This small detail will allow you to decide on the fly, how you want that plate swing, or not to swing.  PinchClip grips so tight I literally picked up the stand with the plate attached, by the PinchClip, and took the entire assembly for a walk around my studio!  No problem!

The next little trick I tried came directly from Bill.  He suggested I attach the PinchClip to the bottom of the hi-hat clutch, replacing the screw nut.  One thing I really don’t like is having the bottom nut of the clutch work its way loose in the middle of a tune and fall off.  You know the game:  the top plate stops moving and you no longer have hat control.  This worked really well for me, and when it was time to set up and then tear down, the task was done in a moment. You can also apply it to the top position of the clutch, essentially replacing that nut as well.

Bill Feldman is a working architect who studied product design in college and just thought there was a better way to set up and tear down his drum set and save time in the process.  PinchClip works very much like a binder clip and is made of specially treated spring steel and is available in a vinyl coated red or black color.  At some point in the future, I would expect additions colors to become available.

I must say, I think this is one of those little gadgets that’s very much worth your consideration. Not only did it work as well as advertised, it looks really cool, too.  Anywhere you use a conventional nut, you could probably apply a PinchClip.  Just think:  no more wasting time and effort searching for those dropped wing nuts concealed in the dark and cluttered mess of a stage following a gig.  You might even save enough time tearing down to beat the singer or even a horn player out the door for change!

From Lancaster County PA……Thoughts from the Shop.

Brian Hill

Cymgard Cymbal Protection

Something new! Cymgards are elastic rubber edge protectors and dampeners for cymbals. They have three basic purposes;

1. To dampen the sound of the cymbal for quiet practice,
2. Cymbal edge protection, and,
3. Cushioning for the cymbals in shipment or transit.

They are available in three styles: Cymgard Standard and Cymgard Lite for single cymbals, and Cymgard HiHats for pairs of hi hat cymbals. The Standard is a heavy weight rubber that can absorb heavy impact. They are designed to fit, cushion, and shield the edges of your cymbals from damage due to impact and falling. They are available in sizes from 12” to 24”. The HiHat model is the same weight and will accommodate a pair of hi hat cymbals from 13” to 16”. The Cymgard Lites are, you guessed it, a lighter weight model with a thinner profile that is good for less dampening than the Standard, as well as for protection in transit or storage. They come in sizes from 6” to 24”.

While the Lites go on easy, there is a little bit of a trick to getting the Standards on the cymbals the very first time, but once you learn the simple pull and snap technique, it takes no time at all. The Cymgards will break in and eventually mold to the cymbal over time which is great since there can be as much as a ¼” difference between manufacturers’ sizes. They are made well out of a quality rubber that will stand some abuse and not deteriorate.

Performance:

I tried both the Standard and the Lite versions on a 20” medium ride cymbal and an 18” medium thin crash cymbal. When playing the cymbals with the thicker and stiffer Standard Cymgard, they made the cymbals completely dead as one would expect, BUT the feel of the stick rebound off of the cymbal was about the same as an undampened one – very natural. Crashing with the shank of the stick on the side of the cymbals gave a dead “gonk” sound with no sustain, very similar to the sound and feel of hitting a rubber electronic cymbal pad. Perfect for playing with padded drums or a practice pad set. The Lites were my favorite for practice because they allowed some sustain when riding or crashing, though not really louder. The Standard HiHats are not designed for practice, just storage and cushioning. I also accidentally found a different use that was not described by the manufacturer. I placed a smaller Cymgard Lite loosely on top of the ride cymbal and thought "hmmm....what does that sound like?" it let the cymbal ring even a little more and allowed me to crash the natural edge too.

Protection:

I tried dropping and throwing a couple of old cracked cymbals on the ground. The Standards kept the cymbal edge from bending and cracking. I also tried a stand mounted cymbal, tipping the stand over until the cymbal fell and hit the ground. Same protection; no damage. This could come in handy in those bars or gigs where you have to leave your kit set up where a cymbal might get bumped into.

Cushioning:

I tried storing both the Standards and the Lites in my hard cymbal case and in my soft cymbal bag. The Standards take up more space but I would probably use them if I were going to fly the cymbals in checked baggage. I liked the Lites better for storing in the cymbal bag because they serve as dividers that keep the cymbals from rubbing against each other and don’t take up as much space as the Standards.

The manufacturer has a good video on YouTube that demonstrates all of the applications. My score for Cymgard is a solid ten. They do what they are designed to do and the multi purposes make it worth the investment. I can see no negatives. It's nice to see an innovative product that is designed well, manufactured well, and helps us drummers do what we need to do.

Prices range from $11.95 for the smallest 6” to $28.95 for the largest 24”. This is a product that could pay for itself in the long run as it can possibly save a cymbal from cracking or bending, necessitating a new cymbal purchase. Cymgards are sold at the www.cymgard.com website.

Snare Kick Riser Stand

I and probably ten thousand other drummers have had the idea of a pedal operated snare drum. Of course Rick Allen of Def Leppard has been playing an electronic snare trigger pedal for years, but I am not aware an acoustic snare drum stand with foot pedal attachment made by any of the major drum hardware manufacturers. Well, it took a guitar player to actually make a commercial model. Jim Darnell is a guitarist and the owner of Side Kick Drums. The Snare Kick Riser Stand is simply a metal stand that holds a snare drum on its side and has a “lip” to attach a foot pedal to.

It works and it is very simple and well made.

The popular Mumford & Sons with their lead singer/acoustic guitarist pumping a bass drum is responsible for the sacrilege of solo acoustic guitarists playing a lone bass drum with their right foot. Now this gizmo will give them something to do with their left foot!- but I think the biggest market for this Snare Kick Riser Stand may be drummers who want to free up their left hand to do other things. I can see this catching on quickly.

The stand is made of steel that is powder coated black. The two circular cradles for the snare have a firm foam rubber bumper glued to isolate the snare from the metal. The rear cradle is fixed in position while the front cradle is adjustable back and forth to accommodate different depth snare drums, up to 10”. The cradles will accommodate 14” and 13” diameter drums. Even though the drum just “sits” on the cradle while flanges in front and back hold the drum in place, the snare drum is pretty secure without excessive tight clamping. There is a 16” piece of thin flat metal in the rear that serves two purposes; it acts as the “hoop” for the pedal to attach to and acts as a “stabilizer” to keep the drum and stand from tipping over on the site. The spurs in front are adjustable and are attached to a nice front piece that has the company name laser cut into it. This is a well designed piece of gear, made of sturdy but light metal.

I tried it with several different size snare drums. It was very stable and it produced the desired effect despite my weak left foot... :-)

The Snare Kick Riser Stand is available from the manufacturer for $109.99 at www.sidekickdrums.com. They also make specialty snare drums and bass drums. Dealers are welcome too.

DrumClip - External Ring Control

This is a nice simple little tone control device that solves a lot of problems. Head treatments over the years, for the most part, have been everything from home made duct tape concoctions to rocket science Rube Goldberg type mechanisms to plastic rings. This product, to me, is the most logical device yet. No moving parts, sleek design, low profile and low maintenance. The idea for DrumClip may have come from the plastic clips on clip–on drum microphones. It can be called a muffler, but overtone controller is a better description.

DrumClip is made of a flexible plastic that snaps securely onto the hoop of a drum. It won’t come off unless you take it off and it stays in place. The broad surface that interacts with the drum head is strategically aligned to put only slight pressure on the head, which is enough to cancel the vibrations in the outer two inches of the head where most of the ringing happens. It comes with two different optional stick on pads; one felt and one rubber pad, that can be applied to the unit to further dampen the head.

What I like about the way DrumClip works is that it isn't attached to the head like plastic do-nut rings, duct tape, wallets, etc.

It stays in place and the head vibrates against it (or doesn't vibrate against it depending on how you want to look at it). DrumClip is small enough that it can stay on the drum when in transport in a case or bag, or thrown into a stick bag or cymbal bag. It can be detached on the fly for those times when you don’t want ring control. There are two models; the Regular DrumClip for toms and snares 12” and larger, and the Small DrumClip for toms 12” and smaller as well as larger toms. Both models can be used on bottom heads as well.

I played on drums outfitted with a variety of DrumClips at PASIC last month and they work great. I’ve been experimenting with the Regular DrumClip on my snare drums and really like the variation in controlling overtones that I can get with the different pads.

DrumClips can be ordered from the manufacturer’s website www.thedrumclip.com for $6.95 apiece plus sales tax and shipping.

Ancient Tree - "The Architect Model"

Following in the footsteps of so many American drum makers, Ed Mendel honed his master woodworking skills in fields somewhat far remote from drum making.  Located in Gainesville, FL, Ed has worked under a master craftsman in cabinet making and is a custom home builder and designer, as well as a General Contractor.  Being a life-long drummer, Ed sought out something different in drums.  Through experimentation and trial and error, Ed founded a company with a slightly different focus:  Ancient Tree Drums.

I first came across Ancient Tree Drums when I was at the Chicago Drum Show a few years ago.  They immediately stood out to me from the rest of the crowd.  They not only looked like percussive art, but they sounded like percussive art!

The whole presentation exuded a sort of historic…..older-than-dirt….artsy…..and just down-right cool kind of vibe.  I ended up coming back a couple of more times, tapping and examining the different models presented before pulling the trigger on a model Ed refers to as “The Architect:”  a vertical stave constructed, river recovered, cypress heartwood drum with rock maple hoops and very artsy, dark/rust powder-coated lugs.  I just loved the sound I was hearing:  It sounded like the snare drum I’ve been hearing in my head for years, and it didn’t look like any other drum around.  It immediately became one of my “go-to” drums.

Since then, I’ve had Ed make me a similar drum, another Architect model, with 2.3mm, triple-flanged matching metal counter hoops.  The drums are almost identical in construction and design, but, have some very different sonic qualities due to the difference in counter hoops and being from different river recovered logs.  (Each Ancient Tree drum has its own unique characteristics.)

Both shells are a 6” x 14”, 20 piece stave construction with vertically running grain, which helps to bring out the lower fundamental tones of the shell, and are about ½” thick.

These particular shells have a very solid, low-end punch that I don’t very often hear in a snare of this size.  Along with extreme sensitivity and crispness, there’s a lot of power here.

The cypress heartwood has an estimated age of around 1500 years and has spent roughly 150 years at the bottom of a river in Florida.  Being a heartwood, it contains a large enough percentage of resign to prevent it from absorbing water, preserving it on the river bed in a relatively “dry” state.  The grain of this wood is so tight (as well are the joints holding the staves together) and clear, it rivals maple.  This river recovered cypress heartwood is undoubtedly one of the rarest woods around.

Both drums are equipped with Evans heads; PureSound twenty-strand snare wires, Trick three-step snare throw-off, and powder-coated, custom-milled, aeronautical aluminum single post lugs.  The lugs and the 2.3 triple-flanged metal counter hoops have a nice dark, three dimensional look and feel that adds to the overall warmth of this small piece of art.

In playing Ancient Tree drums for the last few years, I’ve come to know them pretty well.  The shell has the projection of maple, but with a serious warmth and “Earthy-ness” that can only come from this type of wood.

From a response and sensitivity standpoint, I think this may be one of the most sensitive drums I’ve played in years.  Every note is clear and articulate at any volume.  The main difference I find between the two models centers on the counter hoops.  As one might expect, the metal hoops bring out a brighter timbre and overall crack with a certain openness that gives this drum a bit more volume and life than the wooden hoops allow.  The wooden hoops seem to give a more controlled sound.

The difference in the logs that make up the shells also weighs in on the over-all timbre.  The model with the metal hoops utilizes some lighter colored wood, which I suppose adds to a slightly brighter sound quality as opposed to the mostly darker colored wood which makes up the rock maple counter hoop drum. Granted, these are all small nuances that make up the  characteristics of any drum, but definitely ones you want to take into consideration when picking your next best drum!

Ancient Tree Drums also come in a variety of other great woods, materials, sizes and combinations.  Ed also currently offers other rare and ancient, river recovered heartwoods in Longleaf & Curly Pine varieties, in addition to Black Southern Cherry, and Black Walnut. All wood selections are subject to availability.  But as Ed discovers different woods, different models will always be offered. In addition to the rock maple hoops, Ancient Tree also makes some custom hoops with wood combinations such as segmented rock maple/cherry as well as other domestic and exotic materials, along with wood in-lays for that extra touch.  The hardware combinations also seem to be varied:  to see what Ed and Ancient Tree Drums are currently offering, visit them at the web-site to see what’s new.

So, the sound isn’t necessarily “different”…..it’s just a great sound, which is exactly what Ed set out to do!  It sounds like a great snare drum with its own distinct characteristics.  If you’re looking for that one drum that combines sonic and visual superiority as well as the craftsmanship and rarity of valuable art, I would have to recommend a serious look at these Ancient Trees and this master drum builder.

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

Evans 360 Technology

Over the years I’ve notice that drums with undersized shells had a fullness and resonance that was very different than wider standard sized shells. This is because almost any brand head would sit flat on the undersized shell and the curved collar of the head did not conflict with the bearing edge to cause any uneven fit. A timpani works much the same way because the bowl is much narrower than the head and there is no curved collar, thus the completely flat head sits level on the edge of the drum, all the way around; 360 degrees. This is the principle of Evans’ appropriately named “Level 360” new head shape that they are incorporating into all of their head models. At this writing has retooled to produce snare and tom heads with the 360 improvements. The bass drum sizes are next.

At my request, I was sent a set of 4 tom and one snare coated G1 batter heads, their 10 mil. standard single ply head to try. I put them on a Taye Parasonic drum set and gave them a good workout during a two week tour with Tommy Malone, formerly of the Subdudes. We played a variety of clubs and theatres in the NorthEast and South. The same kit was used by a dozen Nashville pro drummers for the Jeff Porcaro Tribute that I was involved with.

The first thing I noticed when installing the heads with the 360 technology is that each head centered itself on the shell automatically, before I even put the hoop on the head. Tuning was a breeze because there was no unevenness around the collar, which is what usually causes wrinkles in a head.

Usually when there is any unevenness or wrinkling in the head, that part of the head has to be tensioned more to get the slack out. Not so with the Level 360 technology. My tuning process was to get the tension rods finger tight, then tighten them with the key until they were past the wrinkle stage. But there is no wrinkle stage on these new Evans heads, so I just tightened them up until I heard some tone from the drum. That tone came very quickly with much less tension, and with a much lower note than I was used to. I tend to tune pretty low on rock gigs and sessions so I left them at that lowest tuning for the first rehearsals for this tour.

To me, the biggest advantage to these heads is that I can hear them better. Some of these gigs were under less than perfect sound and monitor system conditions, but I had no problem hearing these heads, even on the one gig where my drums were not amplified at all – and this was with a fairly loud band. I don’t now what to attribute this to other than that the “level” aspect of the new head shape keeps the entire head in contact with the shell in a very even spread around the shell, thus maximizing the transfer of vibrations from the head to the shell.

Tonally, the heads seemed to be very focused. That is, there was a defined note from each drum and it was easy to tune the toms to minor thirds.  I notice no over-ring or “wanginess” due to typical tuning problems. I also noticed that after a few gigs that the heads were staying in tune and not stretching.

Conclusion: It makes a lot of sense, you can hear the difference, definitely worth a try and I'm wanting to try some of their other heads that use this new technology.