Repairing vintage Ludwig pads

I love these old Ludwig pads from the 1960s and 70s.

For anyone who grew up playing on Mylar heads, these are darned near perfect. The feel is the closest to a real drum without the volume. They were sold separately and were also included in student kits with snare drum and bells.

Finding one today is difficult. Model P-378 (8”) turns up more often than model P-379 (10”), but you really have to scour the online want ads for them. Ludwig stopped making these pads in 1980 or so. They offered the parts for a few more years, but then stopped making those too. Very occasionally, I’ve found a replacement head or a few tensioning nuts online, but they’re rare and expensive because the seller usually knows what they have.

When I do find one, they are very often quite used, sometimes abused, and in need of repair. Lacking a supply of replacement parts, I’ve had to make do with what’s in front of me.

The original wood used for the baseplate and internal base was very soft, probably pine, to cut down on production costs. Unfortunately, that means it’s fragile and wears with time and use. The construction is simple, and that means a worn pad can be repaired or at least extended pretty easily.

So far, I’ve been lucky. I’ve been able to repair every pad I’ve found and make it useable again. Sometimes, it’s a matter of removing pieces, cleaning them up and reassembling.

Other times, the wood baseplate is pretty beaten up — splintered and/or warped — and I have to remove all of the metal buts, reverse the baseplate and reinstall them from the other side. Doing this helps to reverse some of the effects of warping, and gives the heads of each “finned screw” new wood to bite into.

In a couple of cases, owing to lack of replacement heads, I’ve chosen to add another layer to the head. Either from the underside or directly on top, to help the head last longer. Neither approach seems to affect the sound or feel adversely.

The latest pad I found, an 8” model, came from a private seller cleaning out her garage. We agreed on a price and I got the pad home, where I dismantled it and examined the pieces.

The baseplate was pretty hammered, and one of the tensioning nuts had rusted frozen to the finned screw. In order to save this pad, I would have to carve a bit of the wood away so I could gain purchase with pliers

and hold onto it while applying a spot of oil and turning the tensioning nut. I reasoned that when I had removed the screw, I could fill in the gouge with a thing piece of wood cut to fit, apply it with wood glue, and gently poke a new hole in the spot.

After removing the final screw, I filled in the divot with the tiny piece of wood and set it in the divot with wood glue, clamping it in place. When it dries, I should be able to carefully drill a new hole, ream it to size, and reassemble the pad.

(The tape applied on the side is there to keep the wood glue from running out.)

Once dry enough, I removed the clamp, poked a hole and called it good. The screw went in easily, and held fast to the new underside.

Other enthusiasts of this make and model, most notably Rick Dior, has a full workshop of tools, so when he has to restore one of these pads, he simply cuts a new baseplate from hardwood and installs the metal pieces into the new baseplate.

Since I don’t have power tools or much woodworking experience, I tend to do repairs that are more rough-and-ready. My goal is to make these pads useable again, not museum-worthy.

After flipping the baseplate, I reinstalled the threaded hole assembly. This required some care, so I wouldn’t crack the plywood baseplate while sinking the teeth into the other side. I laid shop rags across my bench vise with the jaws open, to allow the threaded center to poke through the other side without mangling the metal. 

Then I reinstalled the thick seating washer and the little rubber feet. I also laid in some Elmer’s Glue-All along the edges where the plywood was roughly finished. The hope is the fast-drying glue will help to keep those edges from splintering further. I can color them in with black paint pen if I like. 

And voila! Good enough to play for years to come.

Meanwhile, I’ll keep my eyes peeled for replacement parts.

BONUS TIP: Thanks to fellow Ludwig pad enthusiast Rick Dior, I was able to obtain these black vinyl end caps that slide over the tuning nuts, thereby saving my sticks from getting chopped up during practice. 

You can find them on eBay and elsewhere, or perhaps at a large local hardware store. For this application, get the size with the 6.5mm inside diameter.

Product review: Evans Attacktile brush pad

Note: I paid for my pad used from a previous owner. I did not seek out a frreebie from Evans/D'Addario, as I doubt they would have sent one and I'm not one of the marching arts "pad bros".

It's all fine.

Here's my review.

*******

Wow.

I came into an Evans Attacktile pad in used condition (used as in, previous owner dropped it, and the surface got dented in one corner). This pad retails new for forty dollars. I paid eight bucks for mine.

After putting it through its paces, I can say that is the upper end of its actual value.

The brush surface is nice, but the playing surface's size is far too small to be an effective brush practice surface. Evans calls this a 10-inch pad. They get that measurement by running the tape diagonally from corner to corner through the center of the base. The true measurement of the playing surface when the tape is run from one straight to another through the middle of the pad is 9 inches. That's simply too small to be a truly useful brush surface.

The brush surface is a plastic laminate that appears to have been applied with double-sided tape. It peels up with shockingly little effort and doesn't stick quite as firmly when you press it back down.

The nonskid surface on the underside is a little less than 1 inch wide, which made be just enough to provide nonskid properties, but only barely. The threaded hole in the center of the underside allows this to be used on an 8mm threaded stand.

The only nice thing about this pad is how it feels with sticks, and it's very portable size. The laminate over the gray rubber is nicely responsive with sticks, has good rebound and doesn't feel like Formica.

But is it worth forty bucks new? In my opinion, not in the least. The overall construction is lackluster and pushes the boundary of what is acceptable quality for a pad in this pricepoint.

I am glad I got to try it for so little. I'll add it to the stable for now, but later on I might re-glue the laminate before giving it to a kid.

Dating vintage practice pads

Some key points for those looking at old pads:

— Brown gum rubber may have been lighter tan. The only way to verify this is to peel back an edge and peek. Gum rubber that hasn’t been exposed to sunlight will retain more of a tan color. (If you accidentally pull off the gum rubber too far, simply glue it back. Spread a thin coat and roll a drum stick across the top to spread it evenly, turn over and weight down until dry.) 

— Mass produced, or homemade? How to tell? While it’s not an exact science, it’s worth noting that in the mid 20th century, a lot of Americans still knew how to work with simple hand tools and many did their home minor home repairs. The wood finishing here is just rough enough for this to possibly be homemade.

On the other hand, lower-grade wood was reserved by drum companies for things like practice pads, and the nicer quality planks 

That said, the small matching “feet” on bottom, and the clean cut of the round rubber and the edged wood top and bottom panels, both suggest that this may have been made in a local factory for a music store to sell. I’d guess a smaller, local outfit made it because of the lower overall standard of the wood used. (Most homemade pads wouldn’t be edged, and I’ve yet to see one with matching feet.)

— The larger 9 x 7” sized pads became less common in the late 1950s, as bigger drum companies sought to streamline pad manufacturing by offering fewer models. A smaller, standardized size would reduce the material required and cut costs. 

A pad that has no label or stamp can be harder to place, but I’d feel comfortable estimating this to be a smaller-scale, mass-produced pad from the late 1940s to early 50s. Happily, the rubber still feels great to chop on.

Vintage Corner: 1950s pad from Kitchen & Company, Leeds, UK.

This was a lucky find on eBay. I knew nothing about the design or the original company, but it was so unusual that I knew I wanted to add it to my collection. I contacted the seller and asked if she’d be willing to ship to the US, and she was delighted to calculate the cost.

It arrived today.

Based on how hard the rubber playing surface is, even accounting for its age, I think the pad might have been meant for pipe drummers. I have another pad of similar vintage (made in the US) using similar rubber and it’s only slightly softer than this. The pad itself measures 12 inches across. The arms extend out beyond the diameter of the wood base, but the placement of the softer gum rubber feet attached underneath suggest the pad could be used sitting atop a standard 14” snare drum. Despite its age, the gum rubber feet are still quite soft. I haven’t yet tried this on top of a snare drum, but that’s coming.

The age of the pad is unclear, but some clues suggest at least a rough decade of the 1950s:

— the wood is beautifully finished and stained like good furniture.

— the feet are the pure gum rubber found only on pads from the early 1950s or earlier.

— the badge is made of a thin white plastic, in a shape and size and with black embossed lettering, that is very similar to the badges used on Carradice bicycle saddlebags of the same era. (Carradice switched to cloth badges in the 1960s. I know this because when I worked in the bicycle industry, my shop sold Carradice bags and I’m familiar with that company’s history. I still use a Carradice bag on my bike today.)

I’ve reached out to a Leeds-based newspaper to see if they can help me research the history of R. S. Kitchen & Company. I will keep researching and report back with whatever I can find.

This is really unusual find both for geographical and historical reasons, and I’m thrilled to have found it.

I don’t own a set of pipe sticks (nor do I a know how to play in that style), but here’s a demo anyway.

Brush pads: extremely, painfully specialized

While the specialty pads that get the most press are focused on the marching arts, there’s a subset of practice pads designed for practicing brushes on.

When I was in college, my Dad played piano bar at a downtown nightclub. Very occasionally, I’d bring my brushes with me, and Dad would pull out the Yellow Pages, open them on the bar and let me quietly keep time while he played. The opened phone book had a great surface for brushes.

And it was free.

Since then, several drum companies have produced brush practice pads, with varying degrees of success.

Here are just a few that I’ve tried:

1. Remo Brush-Up pad. Designed with input from Ed Thigpen, a renowned master of brush playing, this was essentially a stiff rubber frame with a Remo Fyberskyn surface laid over a foam rubber mute. The pad worked as advertised, and was very quiet, but sold poorly and was only in production for a few years. If you can find one for sale online today, expect to pay several hundred dollars for it.

2. Brush Up pad by One Beat Better. This was  panel of wood with rubber nonskid strips on bottom and a clear textured coating on top. There was also a partial rim so you could practice rim rolls. Designed with input by Sherrie Maricle, this was a really nice practice item, just small enough to fit on top of a snare drum. It appears to be no longer available at this writing. 

3. Ahead 14-inch Brush Pad. Basic and useful, with a rubber side for stick practice and a textured side for brush practice. It just fits on a snare drum, or on a stand or tabletop. And it’s still available.

4. Attacktile by Evans. A recent entry into the market, this is an Evans rubber practice pad, based on MDF and topped by a rigid, textured layer. The playing surface is nice for brushes, but for some reason Evans chose to make this pad in a ten-inch size — not really large enough to practice full brush strokes. Also, the rigid surface has shown evidence of coming away from the base after a month or less of use, showing that the adhesion may need some more work. With adhesion improvement and a 14-inch size, this might be a really nice brush pad, but in my opinion the design needs some work.

5. Percussion Practice Pad by Pete Siers. Siers, a drummer and drum teacher, designed and made up a batch of these pads from Formica tile and at this writing is selling them online. The pad fits on top of a snare drum, but is also rigid enough to sit in a stand or on a tabletop. While the shiny side is the one intended for brushwork, I’ve found that the underside also works for a slightly different feel and sound. I recently acquired one of these and like it a lot. 

If the price of a brush-specific pad seems prohibitive — and I can’t blame you — you can look around for an old phone book. Or, since those are getting a lot harder to find in the Electronic Age, a 14” square or round of corrugated cardboard also works very well.

History lesson: the first Remo practice pads

The very first plastic drumhead was introduced to the market by Marion "Chick" Evans in 1956. It revolutionized drum heads overnight, leading the drum industry away from calfskin heads into a new age. Belli followed up very shortly after that with heads from a space-age material called Mylar, which proved wildly successful. Remo's heads were branded “Weather King” because they were nearly impervious to changes in temperature and humidity.

Belli founded a company around the new technology and along with drum heads, he began producing practice pads to show off the potential of the new material. These two pads date from 1958 and 1961, respectively. (Remo’s web site has a neat little timeline where you can see changes in the company logo, dated by year. It’s helpful to collectors in dating historic Remo products.)

The earliest Mylar heads were a tiny bit thicker than the tunable ones that followed. Still very resonant, but not quite as floppy-flexible. Stapled into the wood frame and stuffed with some kind of muffling foam that literally disintegrated with age so that now, they are just annoyingly loud. It feels like Formica if Formica had more give to it.

By the mid-1960s, the pads would become tunable, with metal rims, tuning screws and replacement heads — perhaps an early foray into sustainability, though no one was using that word in 1965. The late 60s saw plastic rims replacing the metal rims. This version of the tunable pad was the very first drum pad I learned on as a kid. I played that pad from 5th grade through my second year of college and three replacement heads along the way. While numerous other pad designs have supplanted the Remo pad, that pad is still in production today and literally millions of kids are still getting their start in drumming on one of those. It holds a dear place in my memory, and in my pad collection.

#knowyourhistory 

#sharethetradition 

#practicepads

Nothing but practice pads here.

I’ve spent the last couple of weeks taking a thorough inventory of my practice pads, both to accurately date them and also to determine if there are any holes I’d like to fill in the collection.

Bearing in mind that some pads I’d had earlier and sold when money got tight won’t come my way again, I’m refusing to cry over spilled milk by mourning their absence, and just Be Here Now. I know the guys I sold those pads to, and know they’re all in good homes. If I can find replacements for one or two, great. If not, oh well.

I did some straightening up in the studio and managed to get most of my pads on one wall. It’s a work in progress which will help as I dive into to further research for my history project.

It helps to be able to see them all when I’m looking for older pads, so that I can remind myself of what I already have and don’t need any more of. (How many more rubber-on-wood tilt pads do I need? Unless it’s a Slingerland Radio King, cloud badge model, I’m set for now.)

That said, I do have a few more of those older tilt pads coming my way this week and next, from a couple of drummers who are a good ten to twenty years older than me and who are downsizing. We connected in DrumSellers.com which is an online marketplace devoted to older vintage stuff, and which is also connected to the historic site Not So Modern Drummer, the drum history lesson side of things. NSMD and DrumSellers are owned and managed by George Lawrence, a drummer and longtime drum historian, and a heck of a nice fellow. He’s invited me to write an article for NSMD about practice pads, and I’ve agreed to do so later in the summer.

But first, while I take this deeper inventory I’m also trying to figure out how to compile all the information I’ve gathered so far, and organize it into something coherent. Much of it has been collected in the form of shirt articles here on my blog. Photos and illustrations exist mostly on my laptop, mostly in a 

Argue folder called Practice Pads. I’m looking at hours of painstaking searching and culling the pictures and then deciding what material from the blog will serve as a good foundation to build upon.

It’s been quite awhile since I embarked on a serious research project, and there are many more tools at my disposal now than there were back then. I’ll need some time to figure out which I can use efficiently, and which will simply take too long to learn how to use.

Knowing that at some point I, too, will need to downsize myself, I’m being pickier about what pads I bring into the house. Ideally, I’d love to find the Henry Adler convertible pad, but that’s so rare now I don’t expect to find one for myself. Otherwise, I’m mostly hunting for older pads with some history and some “beausage” (beauty through usage, a term coined by Grant Peterson at Rivendell Bicycle Works) attached to them. I like pads that come with provenance, with stories, attached to them. It’s that history which makes a pad much more interesting.

One of the pads that’s enroute to me is from a drummer on the NSMD list, who’s sending me a very old pad that belonged to his drum teacher, and who in turn had studied with the great drummer Roy Knapp. I’ll show and tell when it arrives.

This week, it’s hunkering down with my laptop and finding everything I’ve stored on it.

Happy chopping!

Future Vintage? RCP Premium Pad

When this pad was released six or seven years ago, I was mildly curious. The RCP Premium Pad was the company’s first offering, and a clear response to the Xymox Reserve Pad. Xymox’s pad was popular with HS and college marching drummers, but the company had serious issues with delivery and many hundreds of customers paid for pads they never received. One of those customers was the son of RCP’s founder.

RCP’s Premium pad is of a different design than the Xymox Reserve pad. For one thing, it weighs much less. It’s also made of a high-strength polyurethane that resists chipping and is much more durable than the thin rim found on the Xymox Reserve pad.

The Premium Pad offers a playing surface made of woven carbon fiber and aluminum. Underneath this you can choose from three different rubber or foam-rubber inserts of different thicknesses, each giving a slightly different sound and response. I haven’t been able to find out where the pad was manufactured.

The pad was priced comparably to other pads of its kind, roughly $100 for the 11” and $120 for the 13” size.

I wasn’t doing a lot of research on modern pads at the time, so I had only a passing interest.

A used 11” Premium Pad came up for sale at a price I could justify, so I bought it. It arrived earlier today.

Since my collection now includes more modern marching-focused pads (including a Xymox Reserve Pad), I was glad to add this to the stack. 

Below are photos and videos of my pad.

The rim is held in place with anodized aluminum bolts that fit a drum key. They’re meant to be just slightly more than finger-tight, just enough to keep everything together; and provide NO adjustable tensioning. 

Underneath the woven playing surface you can choose from one of three different inserts: tan gum rubber for a firmer feel, gray foam rubber for a medium feel, or orange foam rubber for a softer feel. The different between the inserts is subtle, but discernible.

I tried the pad with each of the inserts before finally settling on the orange insert, which provides good articulation and a nice response for the kind of playing I do. A pair of videos below provide a sense of some difference in sound, but really the greater difference can be felt in response as you play.

First, with the gray insert:

Then, with the orange insert:

Finally, with the gum rubber insert laid on top. (The pad doesn’t work well with more than one insert under the carbon layer at a time because of the precise fit involved.)

Interestingly, this pad apparently never sold in the same quantities as the Xymox pad did, even with Xymox’s horrible business practices. Eventually, RCP introduced what they call their Active Snare Pad, which is a Chinese-made HUN M-12 pad that’s been rebranded for several companies (including Salyers and others). It’s considerably more affordable than the Premier Pad, sold far better, and became the flagship of RCP’s pad line. Eventually the Premier Pad was quietly discontinued.

I emailed Robert Pettry at RCP to find out the timeline of the Premium Pad, and here's what he share with me:

BH: When did this pad enter the market?
RP: May 2018.

BH: Who designed it and why?
RP: Father and Son Brian and Robert Pettry designed this pad after a bad experience with the company that starts with X. We wanted to over a superior high quality product and offer good customer service and fast turnaround.

BH: The pad does not appear at the RCP web site, and I'm wondering when it stopped being offered.
RP: After Covid we saw a large increase in material cost from our US Supply companies and the cost to keep producing them was way to higher and we didn’t want to raise the price any higher then they already were. Following there we started outsource some of our manufacturing to keep cost down not just for us but ultimately for the students that buy our practice products. We started by partnering with HanFlag to be the first company to bring this pad to the US Market. Since then we have create a number of original RCP Product Designs. One of the most popular being our trademarked Pizza Pad. 

BH: When did you discontinue the pad? 

RP: May 2022

BH: Are any spares (laminates, inserts or lug bolts) still available?

RP: We have taken them down from our website but we do have a backup supply of hardware and laminates. 

	So I am glad to have found a used one at a good price to add to the stack. The bolts are still working, though kind of beat-up. I may reach out to buy replacements from them.

RCP Drum Company can be found online at their website, with links to Facebook and Instagram.

Getting super drum-geeky: Percussive Arts Society

So, in the interest of furthering my historical research and connecting with other drum history geeks, I signed up for a membership in The Percussive Arts Society (PAS).

Since retiring, I've been casting about for Something To Do.

I can't sing properly right now (and don't know if I can sing at a professional level again, more on that later). I have more limits on my physical energy than I used to, and I don't want to spend my so-called golden years (UGH -- that monicker just makes me SQUIRM) just sitting around.

SO I decided to go down the drum history rabbit hole and pursue deeper research on my favorite drum topic. What comes of it I can't yet guarantee. But I'm diving in.

I'm hoping that PAS will help connect me with other drum history geeks.

I am also entertaining the notion of attending PASIC. It's just a twinkle in my eye for now, but if I COULD attend some November, who'd want to meet me there? I'd be looking for cheap housing and food (and seeing how public transit in Indy is, because I'm THAT gal) before I take a leap.

Anyway, I'm not committing to anything, and it might not happen for another year at least. But it's in the hopper.

If any of my Drum Geek people want to chat about possibilities, please contact me here or on Facebook Messenger.

(photo: from 1960 Ludwig drum catalog)

 

Pad, customized: Loyal Drums Eviction Pad

I did the thing. I took it apart and painted the wood (with leftover house paint), let it dry all afternoon in the warm sunshine and reassembled this morning.

(It turned out well. Paint, like mud, adds weight to things but I don’t mind.)

Loyal Drums Eviction Pad, 10” head of their own design and construction. Can be tensioned low to simulate rope drum or higher for concert work. (Kevlar kids, this pad ISN’T for you.) 

I added a mute, a round of yoga mat to the inside floor, to reduce the volume a bit (but it’s still plenty loud). 

It’s grown on me.

#diddleseveryday

#drumpracticepad

#sharethetradition

Pad Hands? I think it's a myth.

When I completed my Moeller homage pad last month, a friend warned me not to spend too much time chopping on it. "You'll get 'Pad Hands' and it will ruin your technique," he cautioned.

I've heard a lot about Pad Hands, which happens if you spend too much time chopping on the same pad and your hands get so used to that pad they can't transition to other playing surfaces.

I think that this may be a myth.

I chop on different pads every day, and mix them up to keep things interesting and fresh.
I seldom get to practice on a drum these days because of where I live (and with whom).
But even if I chopped on the same pad every day -- as I did when I was young -- I'm not convinced that it would be so terrible.
Drummers' hands can and do adapt.

When all I had was my little Remo tunable pad, and I was able to play real drums at school, there was no difficulty in adjusting to the difference in the size and feel of a real drum head. None.
The purpose of learning good technique is not only to play all the rudiments, but also to get to know your hands. Playing in all kinds of weather, in varying conditions, on days when you feel great and days when you feel subpar -- all of this informs how you get to know your body and your hands, and you learn to make adjustments depending on the variables at hand.

Pad Hands could just as well be Drum Hands, if you keep practicing but don't pay attention to the signals your hands and your body send you. If you practice smart, you won't get Pad Hands -- or Pad Brain.

Happy chopping.

(video: hanging out with the Moeller pad, just for fun.)

Target markets

Found this morning on Reddit: a guy took the laminate off his new Evans Attacktile pad. On purpose.

For those who haven’t been following, the laminate was the whole point of this pad.

Guy spends $35 for a brand new pad designed to offer a highly articulate response and also a practice surface for brushes.

Then he takes it off the pad, to reveal the grey rubber that’s found on Evans regular pad, which also retails for around $35.

His comment: “ i took the laminate off my attacktile pad lol it just sounds the same but less articulate”

If this is the target market for Evans and VF pads, they’re winning SO HARD right now. 😂😂😂

Should I write a book about practice pads?

A friend suggested I research and write a comprehensive book about the history of drum practice pads.

It's an intriguing idea, especially now that I'm retired and have time.

It's also a daunting idea, because of the amount and kind of research required for such a book to be "comprehensive."

The last time I researched and wrote anything as thoroughly was a college term paper about Percussion Instruments in the Ottoman Empire. The course was a graduate-level course in Ottoman history that the instructor invited me to take for undergraduate credit (to be applied towards my certificate in Middle East Studies). The grad students had to submit a 50-page paper and oral presentation at the end of the term; as an undergrad, my paper could be 25 pages. I was fascinated and signed up for the class. The paper could be on any topic related to the Ottoman Empire. Eventually, I decided to write about Ottoman period percussion instruments and their influences on Western music.

I had contacted the Percussive Arts Society for help with my research, and while the respondent couldn't offer anything concrete, he invited me to send him a copy of the paper when it was finished. I told him I'd send him a copy if I got an "A" on it.
I struggled with the finer points of research and documentation, and wrote a 25-page typed paper, for which I gave an oral presentation in class. My oral presentation included demonstrations of modern percussion instruments that took their designs and uses from their Ottoman precursors.
I got an "A-" and sent the guy at PAS a copy.

A month later, the same fellow contacted me and asked if I'd give permission for the paper to be included in an upcoming issue of the PAS journal Percussive Notes. I was surprised, but said yes.
Two months later, I received two copies of the printed journal in the mail. I gave one to my instructor as a thank-you.

My instructor informed me that my paper had been published in a peer review journal. I had no idea what that meant. His mildly jealous graduate assistant explained it to me: "You got a scholarly paper published in an academic journal. Other academics -- people with graduate degrees, university professors and the like -- who subscribe to that journal can read what you wrote and offer comments and reviews of it. Undergrads don't generally get their papers accepted by peer review journals!"
I hadn't known such a thing existed. I was amazed and even a little proud of myself.
My professor was so tickled that he tacked a photocopy of the published article to the bulletin board outside his office.

That was the first and last time I ever worked so hard on a research paper, with citations and footnotes and everything.
I don't think of myself as an academic.

But the idea of writing a whole book on a topic, and especially researching it all, somewhat terrifies me. Which is a good sign that it's worth considering.

I don't yet know how to proceed. I don't yet know if it makes sense to try and create a printed, physical book; who would buy such a thing in the age of computers and e-readers?

But I am pondering the idea seriously. Feel free to reach out and tell me what you think.