VIntage pad: 1960s Pep Pad

This is a recent find, a vintage Pep Pad from the mid 1960s, which I found in the original box.

Pep Drum Products, based in Kankakee IL, produced the pad for what seems to be a limited period of time.

A patent from 1963 is on file, and shows an anticipated expiration date of 1982. There doesn't appear to be any follow-up on file, and the patent permanently expired this year.

The pad is unremarkable in design, though the angle of the tilt seems to be good.





























The pad I found came in its original box, which is rare and cool. The box has been repaired with clear packing tape, which I don't mind at all as I'm not fussy about condition issues in my collection.

The pad itself is a solid piece of rubber and is still lively and offers good bounce for its age.

Playing the pad proved easy. There was plenty of rebound, but not so much as to take away some work from my hands -- which is generally how I like my rubber practice pads to feel.

A little video below gives you an idea of how well the pads works for its size and design.

(Apologies for the camera holder obscuring my right hand)

chopping on tour: all you need is a pad

Heading out very early in the morning for my singer-songwriter thing, on tour back east.
I have to pack light since I'm lugging a guitar. So my carryon bag will be just a basic messenger bag, and it has to hold everything that I'll ned to access quickly, including my sheet music, meds, electronics and, well, a pad and sticks.

So I'll be bringing my basic homemade pad with me on this trip.
It's smaller than a full-sized pad, but big enough to sit still on a table top.
And it fits nicely inside my messenger bag with a pair of sticks.
 
See you when I'm back, kids! Happy chopping!

Scenes from HONK!Fest West, Seattle

Last weekend, I went up to Seattle for two days with the Unpresidented Brass Band, to join with dozens of other street/DIY cmmunity bands for the Honk! Festival.

It was my introduction to the worldwide Honk! network of bands, and I had a marvelous time.

Friday night. My drum was locked in my friend's trunk so I started things off by playing on a fire hydrant. It sounded interesting and sort of cool, but playing on iron was hard on my hands after awhile.
I was glad to get my drum out eventually.

The entire festival was filled with the sounds of music from over two dozen community bands from throughout the Pacific Northwest, coming from British Columbia, Washington, Oregon and Northern California. The repertoire choices varied greatly, and each ensemble had its own unique visual style. Held up alongside some of the more punk-influenced outfits, were were definitely leaning towards the old fart side of things, but people genuinely enjoy every set we played.



Above: Bass drummers from two different bands had no difficulty agreeing on a beat.
Below: A slightly more fleshed-out drum line. Three different grip styles. No judgment.

Below: My favorite band at Honk! - Chaotic Noise Marching Corps, Seattle. Rough, raw and loud, the way a punk marching band ought to be. Drum Corps geeks: note the homemade ISO on the right. It sounds kinda crappy but you definitely hear the snare.

Saturday afternoon, last of three sets we played that day. With the sun going down, things had cooled off enough for me to don my band jacket in the shade, though the shako was still too hot and heavy to wear.

I had a fabulous time and cannot wait for the opportunity to go to another Honk! event.

Thanks to friends of the band, we got a little video while we performed at the festival. I'm gonna toss these up here and let folks pick and choose and enjoy.

Friday night. No warm-up, some members got there with about five minutes to spare.
Adrenaline helped:


Saturday afternoon, first set. It was too hot and unshaded for me to wear anything but my band t-shirt.
Still, we survived. And we made people dance and laugh, which means success:

If UBB has an opportunity to go back to Honk! next year I definitely want to go. It's a great celebration of music, community and can-do spirit that can inspire us all in so many positive ways.
Honk! is a worldwide network of bands and festivals and I knew nothing about it until this spring when one of our members suggested we go. I'm very glad she did.

the ritual: taping up new sticks, and more

It's early summer, and the beginning of the marching season for so many of us.
Whether you march with an uber-modern DCI corps or your community band, summer is the time to play outside!
And so I've been readying myself and my gear.

1.  The heads that came with my Ludwig drum were, along with the snare hardware, pretty beat. The snare-side head had a hole almost as big as my pinky finger. It wasn't too close to the edge of the shell or I would've replaced it sooner. Still, when I noticed a split forming in the batter head -- a CS black dot that was almost as old as the drum -- I decided to bite the bullet and replace both heads.

2. While I was at it, the original strainer mechanism was beginning to fall apart. The tensioning screws for each individual snare had fallen out, and a few snares were missing. The remainder were showing a little surface rust. So after pondering my options, I replaced the entire thing with something simple and more modern (Gibraltar, for all its plainness, sells excellent, serviceable parts that stand up well to daily use). After all, this was never going to be a showpiece. I bought it as a player and the random scratches in the finish never bothered me. I got some trade-in on the parts at Revival, and the new hardware went on fairly easily. I only had to drill new holes for the butt plate.

3. I finally managed to re-shape the steel leg rest I'd scored, so that it would fit my older, larger thigh. (Don't blame that on weight-gain; my quads are a lot bigger now from all that cycling then they were when I was fourteen, and the platform had to be spread a little.)

 Early 1970s Ludwig 10 x 14" marching snare, with angle bar and new heads and strainer.

 With only eight lugs, there is no point in putting a super-high-tension head on this drum. It was meant to have Mylar heads and that's what it's got. I opted for the Power Stroke, which is what my marching snare drum had my senior year of high school. A tad later than the drum, but it sounds crisp and clean.

Mylar heads are tuned lower, meaning that the player has to do a little of the rebound work themselves. But if you tune the batter head a little high than the snare head, you'll get a crisp, dark sound that those of us of a certain age still know and love.

4. Next up: Sticks. After trying several different makes and models, I finally took my friend Mary's advice and went with the Vic Firth Jeff Queen signature model. Although Jeff designed it as a "solo" stick, honestly it's a fine ensemble stick, especially for smaller hands and for use on Mylar heads. With my arthritis, it's the stick I've kept coming back to. So when I pulled out my sticks after my last band practice and saw the telltale ridge (see photos), I knew it was time to buy new sticks and wrap them in fresh tape.

The ritual used to go like this: I'd go to the music shop, spend about half an hour finding two sticks of the same model that matched in pitch (in those days I'd settle for 1/4 to 1/2-step apart if I had to); then begging the shop owner for a quantity break on 4 pairs (he almost always said no, unless he'd just smoked a bowl), and then taking them home and setting out the stuff I'd need to wrap each pair in a fresh layer of white electrical tape. In high school, this would be trimmed in thin stripes of royal blue tape at both ends to make the sticks match our school colors. (In corps we didn't bother with trim, because the snare line went through sticks too quickly on tour. I swear, sometimes they'd tape up new show sticks every two to three days.)

This is something of a tiny ritual for me, and taping up new sticks always takes me back to my teen years as a marching member, in a sweet way.

I'm mostly packed for Honk! weekend, and looking forward to a great time playing live in the streets of South Seattle this weekend. I'm playing with the Unpresidented Brass Band. If you read this blog and come to the festival, find our band and say hello.

 

Above: a little vid. I'm just farting around, playing whatever I feel like. Sometimes it's nice not to have a plan. Cheers!

vintage sticks: Hinger Touch-Tone, medium

When I was in college in the early 1980s, I came across a large lot of used drum and percussion parts, sticks and accessories at the downtown location of Captain Whizeagles, the music store where I'd bought my drumsticks since 6th grade. Whizeagles was closing its downtown location and moving out to somewhere in Clackamas, Oregon, far beyond the reach of public transit at the time. So I rushed to the shop to see if there would be any blowouts before it closed.

I found a pair of Hinger Touch-Tone snare drum sticks, size large for marching and rudimental use.
Made of hollow aluminum shafts, each stick also had small rubber sleeves which could be moved up and down along the sticks to change the balance and sound. I remember paying very little for the sticks -- they were useless for rock and roll playing -- and showed them to my drum instructor back on campus. He offered me many times what I'd paid for them, and since I was a broke college student who needed the money, I sold them.

Later on, of course, I wished I hadn't sold them. They were different and very cool.

So when I found another pair in the medium (concert) size at Revival Drum Shop, I had to have them. Fortunately, I had some trade on account and used that to purchase these.

The sticks themselves are nothing special to look at, other than the material. They're basically hollow aluminum rods with holes at each end, about the same length as a regular wooden drumstick.

These sticks did not have any rubber on them; I'd seen them with and without rubber weights, and I've even seen a pair with rubber handles at one end. (Fred Hinger, the designer of the sticks, meant for them to be played with matched grip.)

If I really want to experiment, I suppose I could find some super-skinny bicycle inner tubes and cut a few small sections off to approximate the same function.

Still, with or without weights, these things play an orchestral buzz roll that is so clean and beautiful it sounds like tissue paper being gently torn.

A bit about Fred Hinger the innovator, and his son Bill who took over the business and made further innovations, borrowed from the Olympic Drums web site:

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Through his entire career Fred Hinger was never satisfied with commercially produced percussion products and spent much time creating his own drumsticks and tympani mallets while he was in the Philadelphia Orchestra. He found that tympani handles made of bamboo produced a much larger sound than the traditional wood handles found on virtually all commercially produced tympani mallets. People started asking him to make the same mallets for them, and as time went on he started selling these hand sewn tympani mallets to students and other professionals.
In the early 1960’s, he began to experiment with other handle materials and found that an aluminum tubular handle would produce the same sound characteristics of the bamboo, but were much more consistent and could be duplicated much more easily.
As business picked up in the early 1960’s he registered the trademarks Hinger and Touch-Tone, which eventually became the company name.
When Bill Hinger  (Fred's son) joined the United States Army Band in Washington, D.C. in 1967, all tympani mallet production was moved to Alexandria, Virginia.  Bill became responsible for production of tympani mallets for the next three years. Fred focused on designing and building a concert snare drum from a solid metal shell that sounded incredibly crisp and clean. [Note: I had the pleasure of playing some college band concerts on my instructor's Hinger snare drum. It was a thing of beauty and one of the most incredible instruments I'd ever played.]
In 1969 Bill Hinger broached the idea of starting a company to make sticks, snare drums and tympani. In May 1970, Bill left the Army Band and moved back to New Jersey.
From that point forward, Bill was responsible for the design and production of all innovations and ideas generated by himself and his dad. 

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Fred Hinger sold the mallet side of his business and closed down the snare drum production side completely in the late 1980s. He died in 2001. Hinger snare drums remain highly sought after both as incredible instruments and as vintage collectibles.

Malletech now distributes Hinger products, including timpani and marimba mallets and the concert sized aluminum and maple snare drum sticks. They also offer a slider kit that may fit my concert sticks, but more research is needed before I buy a set.

Hinger sticks by Malletech are available from a few outlets, including Steve Weiss and Mostly Marimba.

Here's the maple version of the Hinger snare drum stick, available from Steve Weiss; maybe down the road I'll spring for a pair.
Even though it's basically the same shape as the aluminum version, being made of wood you could get away with an errant rim shot here or there. Even so, these are not sticks I'd want to use for anything other than concert playing.

I'm going to hang out with these on my concert snare drum over the next few weeks and see whether or not I want to bother with making or buying sliders.

Vintage sticks: Promark 3S Japanese oak

Back when I marched in my high school band, the stick of choice for the snares was a traditional, heavy 3S stick with a medium taper and an acorn-shaped tip. Fat as my father's thumb, and seventeen inches long. Usually pretty heavy -- too heavy for my still-growing hands, which is why I used 2B's until my senior year.

Promark came out with sticks made in either American hickory or Japanese oak. The hickory sticks were predictably comfortable -- they had a "spring" and "flex" to them, and absorbed the shock of accented notes so your hands wouldn't have to take the full impact. Hickory remains the first choice for drummers today for that reason.
Oak was another matter. Oak sticks were noticeably heavier, and harder. They were harder to break unless you played like Sesame Street's Animal. My section leader, a handsome boy who came from one of the wealthiest families in town, could buy any sticks he wanted, and he did, trying out various brands and models to find the sticks that worked for him. He tried the Promark 3S in both oak and hickory, ultimately opting for the hickory for its ease on the hands. The hickory also cost less than the oak model, so you could buy many more pairs and always have spares on hand.

Today, a pair of Promark 3S sticks in oak arrived, from a fellow vintage drum enthusiast who didn't need them and offered them to me. (He knows I try to find stuff from my early years of drumming, mid to late 1970s.)
I cleaned off the masking tape with some nail polish remover, and tried them out on my rubber pad.
They felt lighter than I remembered, perhaps because my hands are full-size now (and far stronger than when I was fifteen). They felt well-balanced and surprisingly not all that heavy. A longer session with them might prove me wrong later on.

They're beautiful sticks. The oak grain is luminous and almost shines in places. The gold stripe at the ends is accompanied by the numeral "79" (year of manufacture, perhaps?) and the words "Hand-made in Japan" -- and they don't appear to have been used all that much.

These will enjoy a slot in the stick display, and I may play with them from time to time (on a pad only, though).   What old sticks do you like to play with now and then, for nostalgia's sake or just for a change of pace?

groove du jour: padded love

I am messing around with rhythm.

I do this every day, several times a day, in my head. I try to do it in the mornings on my practice pad.
I did not acquire a real drum of my own until I was fourteen. Before that, I played everything at home on a practice pad, and the sound and feel of pads has stayed with me one of my great sonic loves.
It's a big part of why I collect pads instead of actual drums. There's just something about the thwack! of sticks on a rubber pad that tweaks the pleasure center in my brain, and once that jones has been established it's not going away.

So when I want to figure out a groove, I do it on my pad.

Today's groove, which may become the foundation for a new composition: Padded Love.
1940s Slingerland Radio King Pad, 1970s Ludwig 2S sticks.
(I don't play on this pad with modern marching sticks as they're too big and fat for such an old pad.)
Blogger will only let me post up to 100mb of video so this is a cut from the original. But you get the idea.

I'm imagining laying down a "bass" part with a 5-galon water jug, and perhaps some metallic colors with some old hub caps and a homemade sistrum. Stay tuned.