Let us now praise famous Drum pads: Remo

I joined my school band in 1973, when I was ten years old. We had moved to Concord, California about three months after I started fifth grade, and I wanted to join the band and learn an instrument.
My first choices -- trumpet and french horn -- were not available. My parents told me they couldn't afford to rent something from a store, so I had to make do with whatever I could borrow from the school. After considering multiple options, I chose the drums, and rode home with a brand new pair of 5-A sticks and a Remo tuneable practice pad in my backpack.

The Remo pad was the first practice pad for a whole generation of drummers, most of whom began playing in the late 1960s through early 1980s. It's portability and tuneability were the main selling factors, as was the reasonable price. Because the school bought pads and sticks in quantity, I could obtain my pad and sticks for a total of $10 in 1973 ($45-50 today, adjusting for inflation).

The Remo pad was also popular because it could be played on a tabletop (or on a tilted music stand, which was standard practice when I was a kid) or mounted on a threaded cymbal stand; the raised rim allowed you to experiment with something cool called a "rim shot" (played on a real drum, this would eventually break the stick; played on the Remo pad, this would eventually crack the plastic rim. I admit I broke at least four Remo pad rims on my way to High School, when I switched to a rubber practice pad). Another nice feature was the replaceable head -- though I never played mine hard enough to have to replace one. The largest size, 10" in diameter, was almost big enough to practice brushes on.

The pad, first patented in 1962 (only a year before I was born!), revolutionized drum practice for tens of thousands of school and professional drummers for decades, and nearly every drummer my age remembers starting out on one of these pads.

(Below: A 1966 patent for Remo's practice drum kit, comprised of multiple tuneable pads on an adjustable metal frame. Today, you can find these for amazingly little money at yard sales and on craigslist.)

Remo tuneable pads are now considered a good choice for a student on a tight budget, the idea being that when money was available the goal would be to "upgrade" to something "better" -- or, in 2019, something that came closer to the feel of a high-tension marching snare with a Kevlar head. Remo pad heads are tuneable, but not past a certain point; and that point doesn't come close to the feel of a higher-tension head.

For those who can't afford a high-tension, "modern" practice pad (the best ones start at close to $100 each), there are numerous Youtube videos showing how to get an approximation of the modern "fake-snare" sound by modifying the Remo pad -- by filling it to the brim with unpopped popcorn or even ball bearings, and even swapping in longer bolts to allow for tighter tuning. But remember, that plastic rim can only handle so much tension -- so if you decide to experiment this way, expect that the rim will show its limits before you reach the desired higher tension.

For those of us who continue to play on Mylar heads, the original, unmodified Remo pad is still a fine choice, which is why I keep one in my stable today. Happy playing!

no need to reinvent the wheel, or go with what you know

I came of drumming age, as it were, in the days when marching drums came with Mylar heads, same as concert drums.
Around the time I had graduated high school, some drum lines were experimenting with a head made of woven Kevlar (the same stuff found in bulletproof vests). Kevlar was the new miracle material; drums heads made from it could be tuned higher and tighter than any Mylar head. As a result, kids in the 1980s began putting Kevlar heads on their regular drums, cranking down the lug bolts, and playing hard enough to break lugs and drum shells.
Of course, this led to the development of high-tension drums, with a free-floating shell and a tubular lug that could withstand the forces of cranked-down Kevlar heads. Eventually it even led to drum tuning wrenches that could handle the torque required to tune a high-tension drum. (I have one of these and I only use it on the aforementioned drums. It's complete overkill for anything else.)

The result changed marching percussion forever. Modern drum corps and marching bands now use Kevlar or Kevlar-Carbon hybrid heads almost exclusively. Today's kids are learning to play on these heads from middle school onward, with the result that it's ruining their concert technique (because we still use Mylar heads in orchestral playing and they require a very different touch) and it's ruining their hands and wrists in the long run (because the tension is so high there's no real "give" and all the shock goes into the hands and wrists, causing fatigue and a high potential for tendon and joint injury in younger players).

I had just missed the Kevlar boat when my marching days ended; The one season I marched in college band the school was broke and still had older drums with Mylar heads. When I began coaching high school drum lines, nearly every one was equipped with high-tension drums and Kevlar heads. I had to adjust my playing approach, and my hands became fatigued early on. Eventually, I learned to play examples on a pad and let the snare players figure out on their drums. (I didn't yet know that high-tension drums could cause long-term issues; I just figured it was because I wasn't used to it.)

When I joined the UBB last year, I scored a used Dynasty Wedge snare and carrier to march with. The drum's sound was tight and crisp -- and completely out of p[lace for the second-line style of playing I was being asked to do. But it weighed far less than a regular high-tension drum, so I hung with it until I came across this Ludwig marching snare drum from the 1970s, around the time I played in high school band. After some fussing and cleaning and little help from the fellas at Revival Drum Shop, The drum has become a serious player. And I love it so much I've put my Wedge drum up for sale.

 

You'll notice that, with Mylar heads, you really have to draw the sound out of the drum more; you can't just let the sticks bounce happily away, because Mylar heads will require you to do a little of the work, controlling the strokes with your hands and wrists. (This i why, back when I marched, we practiced at night on our pillows before going to sleep in the gym on tour. The pillow made us do ALL the work, and we built up our chops as a result. Today, I'm sure wouldn't be able to pull of half of what I'm doing with my arthritic hands, if I had not worked out this way as a kid.)

You'll also notice a fuller, deeper sound with a lot more space in it. That's because of both the shape of the drum and the lower tension required for Mylar heads, both of which lend more depth and color to the snare drum's sound. (My drum is a 14" x 10" model -- try this in a 15" or 16" snare drum from the 50's and you'll be amazed at the depth and darkness of the tone.)

I've put the wedge and carrier up for sale on Facebook's Marching Percussion Marketplace, at what I think is a very good price for each.

Because you know what the other benefit of going back is? With a sling and leg rest, this drum weighs far less than my high-tension setup, and my whole body is happier.

Sometimes going retro is the right thing to do.
I'll never play Kevlar heads again. Because I don't need to.

Happy drumming!