The Ludwig Super Sensitive 4 in 1 Snare Drum

From 1929 to 1935, the Ludwig Drum Company offered a snare drum it called the Super Sensitive. The drum had a metal shell, tube lugs, and two separate snare strainers. One stretched across the bottom head, but the other pressed up against the batter head. Ludwig called this device, " the sensitive mechanism." The drum was a success and in 1932 Ludwig even offered an engraved black shell as a buyers option. By 1935 however, the drum was dropped from production.

It wasn't until 1961 that Ludwig reintroduced the beauty you see pictured here. Ludwig called the drum the Super Sensitive 4 in 1. The 4 in 1 designation referred to the 4 sets of snare wires that were offered. These included an 18 strand wire, a 10 strand wire, all gut, and a 6 wire, 4 gut set.The drum has a heavy brass shell and has 10 self aligning Imperial lugs. The dual snare strainers can be controlled by a single lever and the individual snare wires can be adjusted from either side. But the internal "snare mechanism" from the earlier model was dropped.

Ludwig advertised this drum as "having more exclusive features than any other." Indeed, the whole idea here was to offer a drum that could be used in jazz, in classical, and even in rock situations. The drum came in two sizes, 5 x 14 and 6 1/2 x 14. The 5 x 14 listed for 120.00 dollars, the 6 1/2 for 124.00. Ludwig stated that " the drum was supplied in glistening chrome plate only."

As the decade of the 60's wore on, the drum changed somewhat. The brass shell was dropped and replaced with one made of metal. Ludwig called the metal Ludalloy. The snare strainer guards were changed and even more snare wire options were offered. The 1967 Ludwig catalog shows 6 different snare units offered. The 1973 Ludwig catalog shows 8 different snare units available. Each could be quickly changed and each snare wire strand could be adjusted individually. In addition, the drum came supplied with a specially designed "thermolene" plastic head.

To my knowledge, the Super Sensitive wasn't associated with, or endorsed by, any particular drummer. The Ludwig Supraphonic 400 was the drum of choice for most Ludwig players. Nevertheless, the Ludwig Super Sensitive is an excellent playing drum that offers a drummer a whole world of tonal possibilities.

As a brief historical footnote, William F. Ludwig II presented Ringo Starr with a gold plated Super Sensitive Snare Drum during the Beatles fall tour of the US in 1964.

I believe Ringo still has that drum.

Downbeat Magazine-the Annual Percussion Issue

For many years, Downbeat was the magazine favored by jazz connoisseurs. On the other hand, there were some folks in the early 60's who thought it was a magazine for jazz snobs. But that's a story for another time. In any case, Downbeat published an Annual Percussion Issue. They also would publish an Annual Guitar issue, a Horn issue etc. The writers would focus on a particular instrument and analyze it in depth. There would be comment, interviews, and written musical examples.

The pictured cover is from the 1958 Annual Percussion Issue. As the reader can see, it's really quite eye catching and it features the great Max Roach. The magazine cost 35 cents. I was too young in 58 to buy it. Hell, I didn't even know it existed, but by the mid 60's, I was hopelessly hooked on drums, drummers, and drumming. I then started buying current issues and back issues.

What I found particularly informative, besides the interviews, was the analysis of drumming technique that graced the pages of the Percussion issue. One such article was written by Don DeMicheal in the March 30th 1961 Percussion Issue. It was called, " The Evolution of the Drum Solo." This article was a treasure trove of information. Mr DeMicheal analyzed the styles of 12 drummers. These included Baby Dodds, Chick Webb, Gene Krupa, Buddy Rich, Cozy Cole, Sid Catlett, Philly Joe Jones, Kenny Clarke, Max Roach, Shelly Manne, Frank Isola, and Art Blakey. He referenced recordings of each player. For example, with Big Sid Catlett, he transcribed the complete 12 bar solo from a tune called 1-2-3 Blues which Sid recorded in 1946.

In other sections of the article, Mr. DeMicheal compared and contrasted the styles of all the drummers. For me, to read, listen to, and compare the styles of say, Buddy Rich vs Chick Webb vs Gene Krupa vs Big Sid Catlett was absolutely captivating.

Nowadays, there are numerous publications that deal with jazz drumming, rock drumming, funk drumming, etc. There's so much information and so many publications that it's quite mind boggling. But for a young drummer in the mid 1960's, that was not the case. The Downbeat Annual Percussion Issue filled a void.

3 Amigos--Gene, Barrett, and Buddy

In the aftermath of the Chicago Drum Show, I thought I'd post this picture. Perhaps many of you readers have seen it and are familiar with it, but it's a great picture that captures three drummers who excelled in the art of big band jazz drumming.

The picture is a promotional shot that Barrett used to promote his orchestra's salute to Gene Krupa. I have no idea of the time frame here. I'm guessing middle 1950's, if slightly later. Barrett is sitting behind a Ludwig drum kit. He endorsed Ludwig from 1948 until late 1950's. Buddy, too, was an endorser of Ludwig at the time. Gene, on the other hand, was a Slingerland man all the way.

Older drummers and musicians would have no trouble identifying who is who in the photo. But for younger players, a brief description of each might suffice.

Gene Krupa is in the center of the photo, in between Barrett and Buddy. It was Gene who brought the drums out front and center during the Swing Era. Before Gene, drummers weren't even considered musicians. A big band was described as, " 14 or 15 musicians and a drummer." Gene had such a charismatic presence that it was only a matter of time before he ventured out on his own. He fronted his own big band and he featured great soloists (Roy Eldridge) and singers (Anita O'Day). Gene Krupa was truly an ambassador for drummers everywhere.

Barrett Deems billed himself as "the world's fastest drummer." He played with Louis Armstrong and, as the promotional photo shows, fronted his own orchestra. Barrett played in all sorts of groups in his hometown of Chicago. He played well into his 80's and I remember seeing him hanging out at the Jazz Showcase whenever a famous jazz drummer came into town to play the club.

Buddy Rich is standing next to Gene. If you're a drummer, and you don't know who Buddy Rich is, you're in serious trouble. I still remember the first time I heard him on record. Max Mariash, my teacher, played a tune on his record player with Buddy playing drums. He then asked me to write down what I thought he was playing. I sat there open mouthed. True, I was only 14 at the time and Max did this exercise with other drummers' recordings e.g. Max Roach, Jo Jones. It was a great way to learn about drumming style and technique. More often than not, Buddy Rich, occupied center stage in these listening sessions.

Buddy's history with big bands, both his own and others, is well known and there's no need to rehash it here. Suffice it to say that his technical virtuosity remains unmatched, even in this day and age.

We drummers of today stand on the shoulders of giants

The 21st Annual Chicago Vintage Drum Show (revisited)

The 21st Annual Chicago Drum Show is now in the books. It seems like the show gets bigger every year with more exhibitors and more drum companies joining the fold. Attendance, though, seemed down this year. I'm not sure if this was a result of the economy or perhaps the foul Spring weather.

In any case, it was good to see friends, check out the various drum clinics, and vintage drums. There were plenty of bargains. Some incredible kits and snare drums were sold to aspiring drummers and collectors. But it was meeting again with old friends that really sparked the event for me. Ron Dunnett brought his usual stable of snare drums. Terry Hawkins, the owner of Skins and Tins Drum shop in Champaign, Illinois had some nice drums for sale. Steve Maxwell, of Steve Maxwell Vintage Drums, seemed to be everywhere, chatting up his new shop. Bun E. Carlos had a pristine Ludwig Top Hat and Cane complete drum kit on display. And, yes dear reader, I too took plenty of pictures and video which will all be uploaded in the weeks to come.

The drum clinics were informative and entertaining. I didn't get to see all the performers, but, I did see Clayton Cameron, Bryan Hitt, J.R. Robinson, and Les DeMerle. Francine Bellson was there keeping the Louie Bellson legacy alive. It was quite touching when Les DeMerle dedicated his drum solo to Louie. He then proceeded to play up a storm.

As for me? Well, I purchased the drum you see pictured. This WFL beauty was known as the New Classic Snare Drum. For a short time, it was also known as the Ray McKinley model. It was produced from 1947 until 1956. It came in only one size, 6 1/2 x 14. It isn't a particularly well known model and it's history isn't exactly star studded. But it's a fine snare drum and it occupies center stage in one of Buddy Rich's finest photos. It graces the cover of Buddy Rich's drum book, Modern Interpretation of Snare Drum Rudiments. I've also seen this photo silk screened on t-shirts.

In any case, it's a drum I've wanted to add to my collection. I've seen them before, but not in this condition. I feel lucky that I finally own a WFL New Classic Snare Drum.

The 21st Annual Chicago Vintage Drum Show

This coming weekend, May 21st and 22nd, marks the return of the Annual Chicago Vintage Drum Show. It's held at the Kane County FairGrounds, which is approximately 35 miles Southwest of downtown Chicago. Admission is 15.oo. This is THE premier vintage drum convention in the United States. You will not find more vintage drums under one roof anywhere else on the continent.

This is the 21st year for the convention. I remember its first few years. Initially, it was just a gathering of drum geeks who sold or traded drums and hardware. The location moved around and sometimes it was a one day event, sometimes two. There were no drum clinics and the event was ignored by current Drum Companies. In fact, there was a certain snobbishness directed at the event and at event attendees.

Things have changed in 21 years. The event has grown in size and stature. The Ludwig Drum Company, the Gretsch Drum Company, and the Yamaha Drum Company all have booths at the show. The list of small custom Drum Manufacturers is most impressive. These include Paul Mason and his Tempus Drum Company, Ronn Dunnett of Dunnett Custom Drums and the George Way Drum Company, the Craviotto Drum Company, the Joyful Noise Drum Company, and the Palmetto Drum Company. Even Stick and Cymbal companies are represented. These include Zildjian and Sabian Cymbals and Regal Tip sticks.

This influx of current manufacturers has changed the environment for the better. Indeed, the show is advertised as the Chicago Drum Show. The "vintage" word has been dropped. But make no mistake. This is vintage drum heaven. There is a good sized consignment section. Steve Maxwell, one of the most respected vintage collectors, has a booth for his wares. Bun E. Carlos, the drummer for Cheap Trick, sells vintage gear at his booth. Guitar Center, the big box music retailer, sells used stock from its local stores. And there are a number of small respected retailers like Skins and Tins Drum Shop who sell vintage drums, cymbals, and hardware.

Last, but not least, there are a number of Drum Clinics given throughout the two day event. This year's clinicians include J.R. Robinson, Clayton Cameron, Bryan Hitt, Johnny Rabb, Jane Boxall, Les DeMerle, Daniel Glass, and Cora and Josh Dunham.

As you can well imagine, the show attracts visitors from throughout the world. Drummers, drum collectors, drum geeks, drum manufacturers, even (gasp!!!) guitarists---all can be found wandering the aisles. It's a collection of characters, a real slice of humanity. As they used to say in the 60's, "It's bitchin." Or to put it another way---Be There or be Square.

The Slingerland Hollywood Ace Snare Drum--1960's version

From 1939 to 1957, Slingerland sold the Hollywood Ace Swing Model snare drum. (See blog dated April 18th). It was a Radio King, had a solid maple shell, and had the Radio King Snare Strainer too boot. It was a top of line snare drum for the company and it had good long run in the Slingerland catalog.

In 1957, the drum was dropped from production. But Slingerland executives didn't drop the nameplate, "Hollywood Ace." In 1958, in their attempt to produce a drum for everyone's taste and budget, Slingerland offered the drum you see pictured here. This Hollywood Ace was definitely not a Radio King. The shell was no longer solid maple. It was now 3 ply. The Radio King Snare Strainer was also dropped and was replaced with the cheaper, but functional, 673 Rapid Strainer. This snare strainer ended up being used on all the student model snare drums that Slingerland sold at that time. It's eerily very similar to the Ludwig P83 strainer that graced the Ludwig Supraphonic 400 Snare Drum of the 1960's.

This snare drum was described in the Slingerland catalog as being "a very popular medium priced snare drum." It listed for 82.00 and came in two sizes, 5 1/2 x 14 and 7 x 14. The buyer also had a choice of pearl wraps or lacquer finishes.

This Hollywood Ace has its strengths. It has solid maple reinforcing hoops, it has the standard Slingerland lugs and it has the famous Slingerland brass hoops. This beauty is wrapped in Blue Agate Pearl. It's interesting to note that Slingerland, unlike many of the drum companies of the current day, offered the same finishes for almost all of their snare drums regardless of price.

Slingerland ceased production of this drum in 1976. This Hollywood Ace had a good long run. It's a fine drum despite its somewhat humble origins.

The Slingerland Super Sound King Snare Drum

The 60's was a decade of excitement, innovation, and, in the case of Drum companies, profitability. Everything and anything seemed possible. Ludwig, Slingerland, Rogers, Camco, Gretsch, Fibes, and Premier--all offered a myriad of drum kits and snare drum choices. And all of them sold their version of " the most sensitive and responsive snare drum in the Drum Industry."

Rogers, for example, sold the Rogers Dynasonic Snare Drum. Ludwig had the Super Sensitive Snare Drum. Camco offered the No 99 Super. And Fibes trumpeted its SFT 690. Slingerland, of course, was not to be out done, particularly since Ludwig, its cross town rival, had the Super Sensitive Model.

The drum you see pictured was Slingerland's answer to the Ludwig Super Sensitive. The Super Sound King Snare Drum came in two sizes, 5 x 14 and 6 1/2 x 14. It has ten lugs. It made its debut in 1967 and it has a very heavy brass shell and the typical " guaranteed for life" brass stick saver hoops. Its real difference from other Slingerland snare drums is the Dual Super Snare Strainer. It was the only Slingerland drum to use this strainer. Each side of the drum had a snare strainer. The drummer could release the snare wires on both sides of the drum simultaneously with one handle, or he could adjust each side separately if he so desired. One knob was used to adjust the tension on the snare wires.

Slingerland, in the 1968 catalog, said the "Super Sound King Snare Drum is the most sensitive and responsive snare drum ever designed." And, as a clear dig at Ludwig, stated, " needs no sound disturbing center bead." The drum listed for 130.00 dollars, which was 30 dollars more than the Gene Krupa Sound King and 38.00 dollars more than a Radio King Snare Drum.

The initial reaction to this drum was somewhat muted and , over the years, the drum has been overshadowed. The Super Sound King never really had a chance. Slingerland ceased production of this model in 1976. As far as I know, this snare drum was never associated with any Slingerland endorsers. Yet, it has all the components that make up the classic Slingerland metal snare drum---the heavy brass shell, the stick saver hoops and the twenty wire snappy snares.

Perhaps Slingerland executives tried to make too much of a good thing. They already were selling one of most sensitive and responsive snare drums in the market at that time--the Slingerland Radio King. The Sound King got "lost in the shuffle."