OsakaBop made a profound statement in another thread. It was something to the effect that each gig will dictate the equipment used.

That's how I've always approached gigging and studio work. I try real hard to have some indication of the room the drums will be set up in (along with the music and audience). From that foundation, I build the kit. I've recorded with 18 and 20 inch crashes in a studio (The Barn) that allowed that kind of work. Normally, you wouldn't do this, but that room was perfect for the larger slow to build cymbals. I've played just about everything under the sun in a live setting. I just recently played an indoor late-night gig for a bunch of high school kiddos. I used the vintage gold sparkle Ludwig kit with some Turkish hand hammered cymbals. After five minutes of rehearsing in the room, I could tell what kit the room needed. I brought that one for the night of the gig and it worked great. Trust your ears and rarely will they let you down.

OsakaBop's comments in that thread were what got me to thinking about this. Your answer, most of it anyway was indeed profound. And expected. Go figure, huh... In my forty some years of thumping, every time I ask, I get the same basic response.

Hi, For myself every now and them i will used a vintage set of drums giging[mosty lite jazz]..In studio work always vintage sets and snares a mix-up sets from 30s slingerlands radio kings to 60s ludwig,camco,rogers,gretsch,ete sets..snares again mix-up from ludwigs,s/l radio kings ete.years from 20s-60s,old k zild. cymbals..Also on giging sets are always new sets that i got from ludwig and tama[80s-90s these sets i had a deal with ludwig and tama and the sets were free]--- always new zild's same reason-- mikey

I use my 1970 Downbeat to gig and my 2004 DWs in the studio. There are some specialized gigs/sessions where I'll switch it up, but that's what I generally do.

I also have a couple of kits I'm currently fixing up that I don't play out, so I guess those would fall under "collector kits"?

I've both recorded and gigged on vintage kits. As I started getting more into vintage kits, they're the only ones I own now, so I've no choice! I recently recorded on my 69 Beverley, and I've gigged with it a few times too.

I've also gigged my '79 Tamas but never recorded.

What I have learned though, is that for the type of stuff I play (metal/thrash/black grindcore) in the studio the drums tend to get so dampened that I'm not sure how much of the natural sound comes through. I don't trigger or sample, but producers need minimal ring for mike bleed etc.

To summarize, I'd say I get much more fulfillment out of a vintage kit live - if you have a sound guy who knowns the genre and drums, he'll truly get the best out of you kit. Plus these days, someone's always filming it and sticking it on youtube, so you get to hear how it sounds from the other side!

My 1968 Ludwig set (8x12, 14x14, 14x20, 5.??x14) was past on to me by my father, and is still the one I make my house payments with - live and studio. It didn't take long for me to tune-in to the fact that the "Man! Your drums sound fantastic! What are they?" comments only came when playing them. Yes, the engineers love them in the studio, but judging by the way you worded the question, I'm assuming you are interested in who of us rely on vintage drums live. I do find myself putting mics on them in even small clubs, but the funny thing is, when the sound guys know what they're doin' there is NO substitute for these little giants - even for the bigger shows - indoors or out. Every next recording reminds me how lucky I am to be in love with my own drum sound.

I have been looking for a newer replacement so I can restore them and make them a fixture in my living room, but no luck so far. I have yet to sample the Ludwig Legacy Classics - I hope there going the right direction.

Doug

It is all about tuning i have used the same cofiguration pretty much for 45 years Rogers swivo stuff drug it all around the country ,into the studio and everywhere else inbetween and never found a place it did not work with a good tuning.... so much of music today is about more equipment hi tech etc etc that the raw edge of Rock and roll is lost in the mix...

One reason vintage drums from the 60'and early 70's sound so good is the wood it is older growth and much denser the same reason a stradivarius Violin was so prized it was the wood todays wood is harvested way to soon because of demand and the groth rings are much wider hense the difference in sound... If you have a kit and it works for you quit trying to out think yourself play the thing and have fun ...

I often wonder the same things. There`s no way I would take a 1940s Radio King on the bus or subway to a show- so should I own one? I could almost never take a 1940s A out as well- So, I generally go with the best working class drums I can find. Luckily there are lots of sturdy and replaceable drums out there from almost all makers. Additonally when I work I need nothing to break or rattle- so I generally don`t take vintage gear out of the drum room without giving it a complete overhaul and check. I generally won`t use a vintage pedal live- not reliable, too many possible parts failures.

I am using a Premier flat based 1960s hihat stand now as regular equipment. I works well but even oiled and well cared for- it`s not as smooth as a modern hat stand. I hate vintage snare stands- the basket screw positioner was always loosening and hard to access- so not much into vintage hardware. However, I always use a vintage L-rod cymbal holder- never leave home without it. So I think that you can integrate some vintage gear into a modern set up to get reliability with good vintage design if you try and plan it out. I like the sound of vintage toms and a modern snare and bass drum with vintage cymbals. I usually think in that direction.

But as I had been saying, it needs to fit the show and the room. How I`m getting to the show and saftey issues for the gear always dicatate alot of my choices- just as much as the sound itself.

I do not blame you for taking a rare drum to a gig and i am with you on the vintage snare stands they never were any good but the pedals are another matter i have played speedkings for 45 years and never had a failure same with Rogers Hihat,and cymbal stands with swivo tilters simply the best i have ever used. Modern hardware is way to heavy and bulky for my tastes and will not fit tight to a kit like vintage will, i have always played a Ludwig 400 or 402 so no issues with snare drum... for giging kits i mostly take (forexample the one i am giging now) is a old 14x22 clevland B&B shell i took and redrilled to beavertails and re wrapped and put all the tom holders and cymbal holders in the position i want them in for on the road work... in this way i am not destroying a nice vintage kit but i am getting the sound i love and i am not out much either..