the Premier Royal Ace Snare Drum

The Royal Ace snare drum was the flagship snare drum for the Premier Drum Company. Every drum company back in the day offered a top of the line snare drum that represented the best that particular company had to offer at the time. Indeed, Slingerland, for example, had the Radio King. Rogers sold the Dynasonic. Camco offered the Super 99. And Premier presented the drum you see pictured here.

The Royal Ace garnered a full page in the 1966 catalog. It came in two sizes, 5 1/2 x 14 and 6 1/2 by 14., in either a wood or metal shell. The snare mechanism set it apart from its competitors. The parallel action strainer allowed the snare wires to " float" against the bottom head. Perhaps the best way to describe this strainer is to quote directly from the Premier catalog. " The patented Premier floating snare system brings snare response to a new high level. The perfect snare action keeps the 20-strand snare wires always under tension. Unwanted snare "buzz" is completely eliminated. No longer are the snares attached to both sides of the shell, choking the sound and stifling the vibrations."

Certainly some of this explanation is advertising verbiage. Nevertheless, it did work as advertised. The drum is responsive. And it comes with die-molded counter hoops, eye catching chrome plating and a choice of various finishes, some of which were exclusive only to Premier. This drum is wrapped in Red Sparkle Pearl and to say she's beautiful is an understatement.

A number of famous players endorsed Premier. Sam Woodyard with Duke Ellington, Gus Johnson with Ella Fitzgerald, Bobby Elliott of the Hollies and, of course, Keith Moon of the WHO----all endorsed Premier.

To read further details about the Royal Ace snare drum and the players who endorsed Premier, kindly click on the following link.

http://www.vintagedrumsandmore.com/media-drum-articles-premier-royal-ace-snare-drum.htm

The Premier Hi-Fi Snare Drum

Almost every drum manufacturer in the 1960's, except for perhaps the Fibes Drum Company, offered the aspiring drummer a choice in snare drums. Wood and metal shells came in various sizes with, in some cases, different hardware and hoops. The hope was to provide a drum for everyone's taste and budget. Every company pushed it's "flagship" snare drum as THE drum to own and play. Rogers had the Dynasonic. Slingerland sold the Radio King. Ludwig offered the Black Beauty. Premier featured the Royal Ace. And Camco bragged about it's Super 99.

But all of these companies also offered snare drums of more modest means. These snare drums were less costly, but no less effective. Rogers had the Powertone, Slingerland sold the Artist model. Ludwig offered the Jazz Festival. Camco displayed the Orchestra Tuxedo. And Premier "pushed" the drum you see pictured here. Indeed, in the 1966 catalog, it is the first snare drum you see advertised after the display of drum kits.

The Premier Hi-Fi snare drum came in a wood or metal shell, and in the case of the metal drum, came in two sizes, 5 1/2 x 14 and 6 1/2 x 14. The wood shelled model was designated the '31', the metal drum was called the '37'. The drum came with one piece die molded hoops and a conventional snare strainer that closely resembled the Ludwig P83 Ludwig snare strainer of the time. Gut snares could be ordered at no extra charge if so desired.

The chrome plating on these drums was something to behold. Called "Diamond Chrome" by Premier, the catalog stated that "It's the plating you can trust." This was no idle boast. The plating was second to none and it has stood the test of time. Many Ludwig and Slingerland snare drums from these times show serious chrome plating deterioration.

This beauty is wrapped in the very rare Aqua Shimmer wrap. Along with Blue Shimmer and Grey Shimmer, these finishes were exclusive to Premier and no other company offered anything remotely close to it. And, as to its sound? No apologies are needed. It's a fine drum that's in no way hindered by its humble origins.

Rogers Swiv-O-matic Hardware

William Ludwig Jr. spent the later years of his life, proudly celebrating the legacy of his drum company. For a number of years, he made an appearance at the Chicago Vintage Drum Show talking about Ludwig Drums and the company's rich history. One moment in particular sticks in my mind and it's directly related to the topic I'm addressing today.

During his visit to the show, Bill would host a question and answer symposium. At one point, a fellow drummer asked Bill which competing Drum Company, during the 60's heyday, caused him the most concern. Without hesitating, he said that Rogers, "scared the dickens out of him."

The Rogers Drum Company was aggressive in promotion, marketing, and innovation. The picture here is a copy of the 2nd page of the Rogers 1962 catalog. The Rogers Swiv-O-Matic hardware was truly revolutionary for the time. The uni ball idea allowed the drummer to place his hanging toms in almost any imaginable position. In addition, the hardware was tough and durable. In the 50's, the rail consolette, or the Ray McKinley tom holder as Slingerland called it, was the holder of choice. Indeed, Ludwig, Slingerland, and Gretsch all used the rail. It made its first appearance in 1947 and it was solid, but very limited, particularly concerning height and angle. The Swiv-o-Matic tom holder changed the playing field dramatically.

Soon, other companies began to change their hardware. Slingerland adopted the uni ball idea and came up with the Set-O-Matic holder. Fibes used the concept almost exclusively. Even Camco shipped some kits with the Rogers hardware attached. On the other hand, Ludwig and Gretsch continued with the rail, continuously improving it.

In the 70's and 80's, as rock music became louder, drum companies were forced to adapt. Rogers changed to their Memriloc hardware. It was beefier and much, much heavier. Slingerland followed suit with their Magnum hardware. Even Ludwig began selling sets with their Modular series hardware.

But it's the Swiv-O-Matic hardware that caught the fancy of drummers so many years ago, even drummers who didn't play Rogers Drums. The link below shows Keith Moon with his Pictures of Lily Premier kit and the Rogers Swiv-O-Matic hardware.

http://www.vintagedrumsandmore.com/media-drum-articles-keith-moon-swivo.htm

And here's the great Buddy Rich.
http://www.vintagedrumsandmore.com/media-drum-articles-buddy-rich-swivo.htm

The Premier Super 4 Snare Drum

The 1960's was a time of intense competition between Drum companies. American companies like Gretsch, Ludwig, Camco, Slingerland, Rogers and,to a much lesser extent, Leedy did their best to attract the prospective buyer. But they weren't the only players on the field. European drum manufacturers entered the fray as best they could. Two German companies, Sonor and Trixon, promoted and marketed their drums using all means possible. But it was a English company that really carried the standard for the "Old World." That company was Premier.



Premier was founded in 1922 in central London. Premier made drums up until the Second World War. After the war, they resumed production. Premier attracted it's fair share of endorsers. I was first made aware of the company when I saw a picture of Sam Woodyard playing a double bass drum kit with Duke Ellington. Other jazz players like Rufus Jones and Barrett Deems also played Premier. Ringo Starr played Premier at first, but then switched to Ludwig. And the irreplaceable Keith Moon, of the Who, played the brand his entire career.


But Premier faced an uphill battle in the U.S. Perhaps it was the distribution. Or maybe it was the fact that the early Premier drums were metric sized. The fact that 3 of the major American Drum companies were based in Chicago, with a 4th one in Ohio, certainly didn't help Premier sales in the American Midwest. But you could find the drums if you looked for them. Both Frank's Drum Shop and Drums Unlimited in Chicago carried the line. And Premier was worth investigating, which brings me to the drum you see pictured here.



The 1960 Premier catalog called this model the Super 4. This little beauty sports one piece die cast hoops and Premier's parallel snare action strainer. The strainer was designed to allow the 18 snare wires to "float" against the snare head. Tension across the head would be consistent and the drum wouldn't choke, at least that was the theory. Premier was the only company in the world using this system in a 4 x 14 snare drum.

But does it work? Well. by the sound of the drum, it works just fine. The drum sounds as good as its American competitors. It's heavier than a comparable Ludwig, Slingerland, Gretsch, or Camco 4 x 14. Surely, the strainer has something to do with this. But it's a fine drum, solidly constructed, with state of the art chrome plating.


In the early 60's, the name was changed from Super 4 to the Royal Ace 4" model. And, for many years, it was a staple in the Premier catalogs.

As of this writing, Premier's future seems to be in limbo. That's unfortunate. Premier made some fine drums in the 60's ( and 70's, 80's and 90's). The company always seemed to be " swimming against the current." But its place in the history of drum companies is assured.



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The Fibes SFT 690 "Black Beauty" Snare Drum

In 1966, Bobby Grauso and John Morena founded the Fibes Drum Company. The shells were constructed of fiberglass which was revolutionary for the time. Clear shells were offered along with solid fiberglass shells covered with wraps. In addition, a sprayed on finish called Fivel was featured in the early Fibes catalogs.

The flagship snare drum of the Fibes Drum Company was the SFT 690. In fact, it was the only snare drum offered by the company. In a previous blog (See January 27th), I spoke at length about the 5 1/2 x 14 SFT. It was, and still is, a fine musical instrument. And it has enjoyed a great run. No less an authority than the great Buddy Rich played one even while he was endorsing Slingerland.

Bur Fibes didn't sit on its laurels, so to speak. The company started offering different wraps and different shells. Actually, the shells were still fiberglass, or Crystalite as they called it, but the company began to fiddle with the look. They came out with a " bumpy" or dimpled shell that looked frosted when held up to the light. Fibes also made a solid black acrylic shell, which brings me to the drum you see pictured above.

Perhaps the best way to describe this drum is to quote from a Fibes Ad in Downbeat Magazine, dated March 14th, 1974. The ad is titled, "Bobby and the Black Beauty." The copy reads as follows. "Our new Fibes drum is a beauty, but it's black. Black like you've never seen black. Made with our regular Cystalite shell, but with a difference, the color has been impregnated internally so that scratching of its high gloss blackness will never occur. We're proud of the Black Beauty and proud of Bobby Grauso, who thought of black being beautiful on a drum."

Now it's important to remember that this is Ad copy. When one thinks of a Black Beauty, one thinks of Ludwig, not Fibes. Nevertheless, up to this time, black wraps were used to cover drums. There were no solid black shells, although Fibes shells were made of black fiberglass.

Clearly, this was an attempt to sell more drums and drum companies, since the beginnning of time, have been trying to do that. More importantly, this is a very fine sounding snare drum in the rare 6 1/2 x 14 size. The drum is loud, but very sensitive and very similar to her smaller sister.

I haven't seen many of these and I suspect it was not a sales success. Still it's a important drum from the golden age of American Drum Companies.

The Rogers Century Snare Drum

Like all the Drum Companies in the 60's, the Rogers Drum Company offered a variety of snare drums for every taste and budget. The Powertone snare drum was clearly the mainstream choice.(See Blog Aug.10th). But in an effort to increase sales to the concert drummer, Rogers offered up the drum you see pictured here.

The Rogers Century Snare drum was the largest snare drum that ever graced a Rogers catalog. This beauty was 8 inches deep with a 15 inch diameter head. The early 60's catalog describes this drum as a "Perma-Built" snare drum. This was simply a slogan that Rogers used in its catalogs to indicate the strength of its shells. Indeed, the 1956 catalog showed a photo of 5 employees balancing themselves on a Rogers parade drum shell.

The drum came with triple flange hoops, the standard swivomatic snare strainer, the maple/poplar shell with Maple reinforcing rings, 16 self aligning lugs, and 20 strand snappy snares. The drum listed for 95.00 dollars in the mahogany or lacquered version, 105.00 dollars in the Pearl version. For an extra 2.00 dollars, one could opt for gut snares.

The Rogers Century was designed to be played in a concert band or an orchestral setting. It's large size allowed it to be heard in an environment where it had to compete with 100 other musicians playing large scale symphonic pieces. As one can imagine, it's a loud drum, but not particularly sensitive. Sensitivity was up to the player. The cost of the drum put it right in the middle range of Rogers Snare drums. The Rogers Dynasonic was the price leader at a suggested list of 150.00. Today, that doesn't seem like a lot of money, but in 1962 that wasn't peanuts.

As far as I can tell, the Rogers Century was never associated with any particular player or orchestra. I never seen one used in a commercial band. It would seem to be perfect for a loud rock or metal band. I suspect that the issue is one of availability. Also, I don't imagine many have survived over the years. It's not a very collectible drum and I've never seen one at the many vintage drum shows I've attended over the years. I picked this sweetheart up for a song at a drum store in Toronto Canada many years ago.

This drum's time has come and gone. Nevertheless, the Rogers Century Snare Drum still occupies a place in drum history.

The Rogers Wood Powertone Snare Drum

Every Drum Company in the 60's had its "workhorse" snare drum. It was usually a drum that was competitively priced and one that was offered as standard equipment on the majority of drum kits one could purchase from a specific company. For the Ludwig Drum Company, that drum was the Ludwig Supraphonic 400 ( See blog dated Jan. 5th). In the case of Slingerland, both the Radio King ( See blog dated Feb 27th.) and the Gene Krupa Sound King ( See blog dated June 29th) shared the limelight. And in the case of the Rogers Drum Company, it was the drum you see pictured here--- the Rogers Powertone Snare Drum.

Both the wood shell model and the metal shell model were featured in Rogers catalogs. Indeed, in the 67-68 catalog, the wood shell Powertone is standard on the Headliner kit, the Cozy Cole Constellation kit, and the Dave Clark Londoner kit. The metal shell is standard on the Rogers Timbale-Twin double bass outfit. The Rogers Dynasonic is also featured, but that's a story for another time.

The wood shell model came in two sizes, 5 x 14 and 6 1/2 x 14. The finish choices were either pearl, lacquer, or mahogany. The drum came with 8 Self aligning lugs and 20 strand wire snappy snares. The pictured Beauty is wrapped in the Black Onyx Pearl wrap. This Pearl finish was only available for few years in the 1960's. In addition to Black, Blue Onyx and Red Onyx were also offered. These wraps were exclusive to Rogers and only Slingerland sold anything that was remotely similar. Indeed, the Slingerland Blue Agate pearl wrap does resemble the Rogers Blue Onyx in a side by side comparison.

The shell was a composite of maple and poplar. Early models were 3 ply, but later models were 5 ply. Both had maple reinforcing rings. Originally, the interiors were sprayed with a flat gray sealant. Later models show a light gray speckled treatment.

This drum has skyrocketed in value over the last ten years. But the metal shell model has not kept pace. In any case, the Powertone is extremely versatile and over the years more and more drummers are discovering what a fine snare drum it is.