Vintage Corner: Leedy practice pad, 1930s-40s

I have a fondness for the older, larger tilt pads that were popular between 1930 and 1970.

I’m especially excited about pads dating from the first half of this age spread. They tend to have a slightly steeper tilt angle and a larger rubber playing surface. The reddish rubber surface tends to keep its rebound for a reasonably long time if it’s stored indoors and taken care of. If it’s left outside, the rubber degrades quickly, becoming unplayable.

Dating some of these pads can be challenging due to any or all of the following reasons:

— Pad designs from this era tended to be similar across multiple companies, and were not changed often;

— Available materials were similar, due to availability of both materials and types of rubber processing;

— Major drum companies changed hands multiple times between the mid 1930s and the mid 1950s, meaning that branding had to change along with ownership. Good examples of this include Ludwig, Leedy, WFL, George Way and Camco. There are others.

Thanks to the efforts of the fellow who created and maintains the DrumArchive web library, hundreds of pdfs of historic drum catalogs and fliers can be examined and the pictorial evidence found can help confirm what started as a hunch as to the year a pad was made and sold. A recent deep dive into the archive helped me determine the maker and age range of this pad, which now makes it one of my oldest vintage pads.

I obtained this pad last spring, and couldn't figure out who had made it or when.

The reddish rubber on top is likely original, though that's impossible to prove. Also, there's no decal on the wood anywhere. So all I have to go on is the design, including the size and shape of the wood panels and any distinguishing features.

The bottom panel has a circular cutout that appears to serve as a sound enhancer.

The rear-facing support panel has carved-out sides that add some flair to the pad's appearance. 

If you turn the pad over, the bottom is made of a very thin fiberboard, which covers the sound hole. Presumably, this fiber bottom has no function.

Or does it?

Going into the Drum Archive, I looked through multiple listing of Ludwig catalogs, and found nothing resembling that shape or style.

But when I turned to catalogs from Leedy Drums, I discovered that they had made this very pad, including the shape of the support panel, the sound hole and the fiber bottom -- which was actually designed to be a second practice surface. Leedy sold this model as their "Two-Way" Practice Pad.

Drum Archive has Leedy catalogs starting in 1933, and my pad appears in every Leedy catalog from 1933 through 1949. The next catalog on file dates from 1953, by which time the company was called Leedy & Ludwig. Conn owned both companies and merged them by 1950. (In 1955, Leedy was sold to Slingerland Drums, and Bill Ludwig, Sr. bought back the Ludwig Drum Company and merged it with what was left of his own WFL Drum Company. By 1965, Leedy was on the wane, and was completely subsumed into Slingerland the following year.)

Earlier versions of the Two-Way pad appear to have been made with a lighter color of rubber, but since everything was printed in black and white there's no way to confirm what color the rubber was unless I find a much earlier version of the pad. I'd guess that either the white rubber was replaced, or more likely the reddish rubber came into use during World War II because high grades of rubber were being rationed.

This pad still sounds and feels good, though the rebound of the rubber is slightly lessened with age. The fiber bottom is intact and I have tried playing lightly on it with skinny sticks, but I won't make a habit of this. It's similar to the fiber that was also being used for drum cases for decades, though perhaps a little bit thinner and now a bit warped in the center. I'm glad it's still there. Now that I've been able to date this I can determine that it's among the oldest pads in my collection. I can't really estimate its age much beyond a range from between 1933 and roughly 1949, but that still makes this pad between 76 and 92 years old. That it's still in quite playable condition is remarkable, since practice pads of this era were generally among the cheapest items in a catalog and among the most abused by school drummers. When one survives in such good shape, that makes it a real find.

Video: Slingerland marching drum after restoration.

Sorry for the delay, but here's a demo video of the Slingerland drum I finished repairing so many months ago. 

It's a keeper!  I LOVE the tone and crispness. When my health and energy improve, I'm going to take it to the park and have some fun.

And if you’re new here, these are the posts that detail the refurbishment from start to finish, in order.

SLINGERLAND DRUM REDUX 

http://drumlove1.blogspot.com/2020/07/day-one-slingerland-redux.html

http://drumlove1.blogspot.com/2020/11/vintage-corner-slingerland-drum-update.html

http://drumlove1.blogspot.com/2021/02/vintage-corner-slingerland-drum-update.html

http://drumlove1.blogspot.com/2021/02/vintage-corner-slingerland-drum-update-3.html

Purpose-driven developments in practice pad design

I've been cleaning out the dark corners of my practice pad collection, selling off doubles and making some space in my studio. Along the way, I've been trying out different pads and deepening my knowledge of pad design in the process.

Tonight I did a little comparison.
Using an excerpt from one of the NARD solos ("Benevolent Bill"), I played the first section on each of four different pads in my collection (disclaimer: all keepers, so don't ask if I'm selling them).

In order of trial and approximate age, here are my videos.

1. 1948-50 Slingerland Radio King pad, 2B sticks. The pad itself is actually no big deal, because it's the same design dozens of companies were selling in the back of their respective drum catalogs. Slingerland's Radio King pad was perhaps a little bit bigger than a lot of what else was out there at the time, but really the only thing that makes it special is the iconic "Radio King" badge. Still, it's fun to play on something so historic and older than I am.
The black rubber surface is still in good shape, and hasn't hardened yet. But it's also not quite as bouncy as gum rubber would be, and I have to pull the strokes out of the pad. This would also be the case with the bigger, deeper drums of this era (marching snare drums measured 15" or 16" in diameter back then), with Mylar heads tuned lower. Drummers of this era had to do some of the work involved in double bounce rolls and paradiddle rudiments, which is why so many worked out on pillows as part of their training.

2. 1972 Patterson design Pad. Another wood box, this one horizontal, with a more pure gum rubber playing surface that's lively and offers a bit more rebound. Still using the 2B sticks out of consideration for the design and the pad's age, I can get a very nice bounce. This is more in line with the marching drums of my youth, which usually measured 14" in diameter and had more lugs, so they could be tuned tighter and higher than the older 15" drums. Combined with a Remo "Pinstripe" head, these drums produced a fat but crisp sound that was tremendous to hear when eight or ten drummers played in perfect unison.

3. Vater Chop Builder pad, black (hard) side, with marching sticks. Switching to marching sticks for this heavier, denser pad made sense; the 2B sticks don't really work as well with the modern marching pads. I chose to utilize the harder black side of this pad to see if there was a real difference between it and the final pad in the comparison. There definitely is a difference.
Several companies produce two-sided pads with a soft and hard side, and in most cases the hard side on these pads is SO hard that you might as well be playing on a Formica countertop. The Vater version pulls back a little from that, with a thick "hard" side that still has a little rebound in it and makes for a more pleasant playing experience.

4. Vic Firth Heavy Hitter Slimpad. One of the most popular marching pads on the market since its introduction in the early 2000's. This predates the Vater pad by a few years but I saved it for last because it comes closest to the feel and rebound of a modern Kevlar marching head. It's 1/8' thick gum rubber on a wood base. Nothing fancy, but they dialed in the feel so it gives modern marching drummers exactly what they need in a practice situation. The gum rubber is lively and offers rebound, but the thin playing surface means there's a lot of hardness coming from the wood underneath. As opposed to "pulling" the strokes out of the drum, as I'd do on a Mylar head, all of the bounce comes from the tightness and hardness of the Kevlar surface. If I tried to "pull" the strokes from as Kevlar head I might end up pulling a wrist muscle and actually hurting myself.

The heavier marching sticks are really the best way to go on this pad, as the heft of the bigger stick balances against the hardness of the pad.

Practice pads from the early days up through the 1970's and very early 80's were not quite as purpose-driven, not as specialized as they are today.
They didn't have to be because concert, jazz and marching drums all utilized Mylar heads, which can only be tightened so far before either the head breaks, or the hardware pulls out from the side of the drum.

With the advent of stronger materials, drum heads could be made from carbon-fiber and Kevlar, and later on, hybrids of the two materials. These heads, capable of being cranked high and tight, became the standard for marching bands and drum corps -- and changed the way marching drummers approached technique. New drum pads specifically designed to meet the demands of marching drummers came onto the market. Some of the earliest models are no longer in production and are highly sought after by drummers of that generation, hoping to replace the pad from their younger marching days that got worn out or lost.

But practice pads for Mylar drummers have also evolved. Very few drummers today would willingly choowe to practice on that Slingerland Radio King, when other, more responsive pads now exist on the market.

That said, how much have technical advances in drum and pad design affected drumming technique? Or vice versa? Or does it have that much of an effect outside of modern marching ensembles? These are questions with complex answers, and I'm just trying out practice pads.

Feel free to respond with your questions and insights here in the comments.

And Happy drumming!

Vintage Corner: Slingerland drum UPDATE 3

Yesterday and today, I hurled some love at the rims and the shell.

The drum came to me last summer in pretty bad shape. After careful cleaning, the rims shows fatigue in several spots and the shell had been gouged pretty badly in a couple of spots. I had to decide how much time and effort I wanted to invest, and wheter of not it was worth it.

In the end, I chose a compromise.

Since the shell and rims were still pretty nicely round, I decided to honor the "beausage" (literally, "beauty through usage") the drum had acquired over the decades. After repairing the worst of the cracks (which I did with R's help), I decided I would lightly sand some of the roughest spots, leave the old varnish on everything else, and cover the sanded spots with some clear nail polish. It's not what a real woddworker would do, but I'm not a woodworker and decided that the drum looked more beautiful with its war wounds. (I certainly didn't want to cover the beautiful wood with colored paint! And I couldn't justify the cost of NOS wood hoops for a drum so beat up.)

The rim repair that Ron had helped me with has held nicely, supported by the pieces of bicycle spoke I inserted. All that remained was selective sanding and varnishing with clear nail polish.

The batter rim was marked with spots where the hooks had gathered rust underneath, which had soaked into the wood. Sanding would remove more wood before it removed the rust stains, so I sanded lightly and then varnished with nail polish.

 

The shell posed another aesthetic challenge because a previous owner had gouged it, maybe with a belt buckle while marching.
The gouging had worn through multiple layers of the ply, and while there's still plenty of wood there, filling the depression with wood putty would have been more of a headache than I was prepared for. (I just have a little Tuff-Shed where I fix bikes. Not roomy or fancy.) So I sanded the area lightly to smooth it out a little, cleaned it, and then applied more nail polish.

The nice thing about nail polish is that it fills the grain nicely, and dries quickly between coats

The other thing about mahogany is how it shines when the light catches the grain, even when it's been banged up.

The shell just glows, in a way it didn't when I first got this drum.

That's why I chose to let the drum keep its patina, earned through a hundred performances and a thousand rehearsals, played by any number of hands.

This one's a keeper, and I can't wait until tomorrow to sling it up and try it out.

Video coming soon.
Below: Before, and after.

Vintage Corner: Slingerland Drum UPDATE 2: Rims and shell

Since I was gifted with this drum last summer, here's the progress:

1. I took it all apart so I could begin to clean the hardware and repair the cracks in the snare-side maple hoop.

2.  I gave the bottom hoop to my brother-in-law, a woodworker, so he could soak it and bring the cracked section back into round with the rest of the hoop. This process took a couple of weeks.

3. While I waited for that piece to get finished (in between Ron's professional woodworking jobs), I cleaned the rods and hooks using a Rust Remover stick and finishing with some Nevr-Dull.

4. I got the hoop back from Ron, and finished the repair by adding sections of bicycle spoke to strengthen the repaired crack. I also began removing the tape residue from the rims and shell.

First, the snare hoop. The repair looked pretty good, nice and solid; but Ron advised me that without adding some internal supports it would eventually weaken and break again from tension and repeated playing. So I found a drill bit the right size and carefully drilled two tiny holes through the center of the rim, across the repaired crack. Because the other side of the hoop was showing the beginning of the same fatigue, I drilled holes there too.

The holes were run directly crosswise through the crack and the glue used to repair it.




Then, I took an old bicycle spoke and measured off sections long enough to run through the hoop, with perhaps a couple millimeters counter-sunk on either end.
I checked my work by running a spoke through the hole. It fit perfectly.

Then I measured sections of the spoke and cut off four pieces.

I squirted super-glue into each hole, chased it through with a section of metal spoke, and made sure each end was slightly counter-sunk when finished. Then I set the hoop sideways to allow everything to dry overnight. (By using a thicker gel instead of liquid glue, I was assured that glue would not drip out all over the place.)

The next morning, everything looked fine. I'll need to decide whether or not I want to try and fill in the ends with some wood putty, or just let it be.

Then I turned my attention to removing tape residue from the shell. A friend in Seattle had given me a bottle of an environmentally-friendly solvent called "Best Cleaner Ever," and I tried it.
Following the instructions, I sprayer a little on, let it soak in for a few minutes and then tried to wipe it off. It did nothing to remove the residue; and in fact the solvent itself had to wiped down thoroughly with warm water to remove its own residue. In the end, it may have loosened the tape residue, but that masking tape had been there for fifty or more years, so it's hard to know. I had to carefully scrape it away with a pocket knife, applied gently enough to remove the tape without gouging the wood underneath.

When I was done, I was left with a shell that still show signs of use and abuse, but the luster of the mahogany also showed up nicely. So I've chosen to leave the shell alone, not removing the original clear paint. I will apply some clear coat to the spots or bare wood that need it, and let the "beausage" be a part of the drum's look. The mahogany itself is gorgeous enough, even with the damage.

I still have some residue to remove from the batter hoop tonight. After that, I'll probably sand both hoops lightly, apply something to seal the bare wood spots, and let it all dry for a few days.
Then I'll begin reassembling the drum.
I don't plan to use a leg rest with this drum, but will instead just let it hang against my leg at a tilt. It will be a fair-weather drum only, or if I use it indoors it will be on a stand.
This was an unexpected gift and I'm glad I've had time to learn from repairing and rebuilding it.
Next: video of the finished drum. Coming soon!

Vintage Corner: Slingerland Deluxe Practice Pad #958, circa 1960's

Here's a really nice vintage pad from the early 1960's or so, from Slingerland. The Deluxed Pad # 958 could be used on a tabletop, or fitted with screws for attachment to a dedicated stand (very much like my older Radio Kind model from the late 40's which I acquired with a stand).

  This pad came to me without a stand, but with the little rubber "feet" intact.

The playing surface is lively and has plenty of rebound.
And the solid oak plank construction has a pretty nice finish, too.

It's just slightly smaller in size than my Radio King, but sounds terrific and, with thicker and livelier rubber, feels better.

Note: When demonstrating older pads, I try to use a stick size more appropriate to the pad's period. While I practice daily with my Jeff Queens (my go-to rudimental/marching stick), I don't want to destroy an old pad! Here, I opt for a smaller stick and get a great feel and sound. On a vintage pad that's sturdy enough for more regular use, I might go as large as a 1S stick if the pad warrants it; but most of the time I'm content with a 2B concert stick.
Happy drumming.

Vintage Corner: Slingerland drum UPDATE

 Last summer I was gifted with an old Slingerland marching snare drum that was in need of a lot of love in order to make playable again.
Because of the gouging and scartches in the wood, I decided to make it a player instead of attempting a museum-quality restoration.

Wth my eye surgeries, the High Holy Days and other details delaying the process, my brother-in-love showed me his progress on repairing the big crack in the snare-side hoop. I took pictures last night at his place. The hoop will need a few more days to dry and set up, and then he'll drill tiny holes and make dowels using bits of bicycle spoke I gave him.

Here's the plan: after the wood has thoroughly dried, Ron will leave the clamp in place and set it very carefully in his drill press, where he will drill 2 to 3 holes lengthwise, top to bottom of the hoop edges. Then he'll cut down some "dowels" made of bits of bicycle spoke (stainless steel), insert them in the holes, and perhaps add some kind of epoxy as he inserts them. (Since they're not wood, they won't expand so some kind of glue will be needed to hold them in place.)
When they're dry, the edges of the spoke bits can be carefully filed flush with the top and bottom of the hoop; or he can choose to cut them a little short so the ends will be counter-sunk and then he can fill with wood putty.
Either way, the idea is that these tiny dowels, stronger than the wood, will help keep the hoop in place and prevent further cracking. The hoops are maple, a very dense and brittle hardwood.
The tuning of this drum will NOT be super high-tension, so the hoop should be able to withstand the forces of tuning and maintain its shape for a long time to come.

Here's a couple of pictures of where things stand at present.

This weekend, I'll begin cleaning up the chrome hardware rods and hooks.
I hope to have this ready to play again before the New Year

Day one: Slingerland redux

After fixing up the four concert snare drums for my friend, I turned to the drum he gave me.

I'm offering a photo dump of each step of the process.

The badge, and the lack of date-stamnping on the inside of the shell -- helped me determine that this drum was likely made in the early 1970's. I will spend some time trying to date it more accurately using the serial number, but drum companies often used new serial numbers on older drums during transitional periods of manufacture. I'll see what I can find out.

After removing the lugs and taking off the wood hoops, you can see that there was a LOT of dust, which looked and felt like fine, dried mud -- my friend said this drum might have been to Burning Man.
I wiped down everything with a damp cloth to get the worst of the dirt off, and to get a closer look.

Underneath the dirt, the Mahoghany ply shell shows some gouges and scuffs, enough that I'll elect to clean and sand lightly, rather than attempt a full restoration. I like the patina, anyway; and there's no need to remove it all.

The maple hoops are another story. They get the brunt of the abuse on a drum this old, and show compression from the lug clamps and some cracking on the lower hoop at the snare cutouts. Maple is a more brittle wood, and can easily crack under strain. I am hoping that because the cracks are partial, I can figure out how to repair them. I'm envisioning gently and carefully clamping the cracked pieces back into alignment, ideally in a bench vise, then drilling small holes, carefully installing wooden dowels and glue, clamping all that in place and letting dry. I'll talk to some woodworking friends to see what they suggest, as the cracks aren't all the way through and I'd like to save the original hoops if I can. (Plus, new wooden hoops are not cheap.)

This wood already glows a little after an initial wipe-off of dirt. Once it's cleaned more and then waxed, it will positively shimmer!

The worst of the gouging and scuffing appears at the part of the shell most likely to have been scuffed, by a belt buckle or jeans waistline button.

This right here is a big part of why I won't try for a restoration, but simply make this a player again.
Even sanded out, there will be a depression that can't be filled attractively with wood putty.

Attempting anything with wood inlay or parquetry is way above my abilities.
And as I said, I actually like that the drum shows signs of honest wear from use.

The metal hardware, chrome-plated and very simple, should clean up nicely with a good wipedown and an application of some Quik-Glo.

Stay tuned. I'll take photos at each step of the rebuild and share them here.

Happy drumming!

Vintage drum: Slingerland parade drum, 14 x 10

My friend dropped off a stack of drums today.
The four concert drums with metal shells I'm going to clean up for him to use with his radical drum corps. The fifth drum, a wooden parade drum, he said was mine to keep.

It's filthy and needs a lot of cleaning, along with replacement heads.
I'm guessing from the hardware and badge that it's probably from the 1960s.

Here are photos of the drum as I received it today. As I take it apart and clean it up over the next few weeks, I'll post periodic updates.

  

The hardware appears to be all original, which hints at a 1960s vintage.

I love the old-school drum key slot (below).
If this comes back I'll want to look for a period-correct key. It's filthy and looks either paint- or mud-splattered.
But I think it should clean up nicely, especially with some replacement heads (Ambassador top and bottom).

Not sure what I'll do about the finish. One friend has suggested I simply clean off the dirt and apply some wax. There are a few places where the stain has worn away but I think it's honest wear, and I may just sand it lightly and let it be. I'll ask the guys at Revival Drum Shoip what they recommend.

I think this will be a nice project to distract me from the pandemic over the next few weeks.

Shuffling along with LIDO (vintage sticks)

 

A recent find, these Lido 2B drumsticks date from probably the early 1960s.
                                             
       

Lido was a brand used on drums and sticks made in Japan during the late 1950s/early 1960s. But the catch -- and what makes it harder to research -- is the fact that one Japanese plant manufactured sticks and drums for Lido and a host of other budget-level brands, simply stamping the product with whatever brand was ordered.

For a model 2B the sticks feel rather lightweight, but the grain still suggests some kind of hickory.
There's a lovely patina to them, and only a tiny bit of wood has been worn away from one of the tips. They're decently balanced as a pair, and they play nicely on my vintage Slingerland pad.
They feel more like a large-tipped orchestral stick than a concert band stick.
Eventually, Lido and a few other budget brands from this Japanese plant would be subsumed into the Pearl Drum Company.