Twood be criminal if that 14 or 18 was in an original green glittler and you were wanting it in say....... any thing else.

Jaye

I'm kinda in that situation.

I found a 55ish Radio King 16 inch floor to add to my 3-piece RK set... (thanks Vintagemore2000)

Of course, it is in Sparkling blue pearl and the rest is red...

The wrap is halfway off, and needs a "stretch" to get it to line up again with the mounting holes.

So, if I get it stretched successfully, I'm just going to go "jellybean".

If it fails, then I'll try a re-wrap with some Drummaker Color Wrap and try and match the red as close as possible.

Of course, this isn't a 6K Gretsch round badge outfit either, so maybe this scenario has more differences that similarities......

In fact, Kevins situation, proves the very point, he is going to great and I mean great trouble to use the original wrap and not alter the shell he has, it would be far easier to just re-wrap it, the wrap is almost ready to fall off! but yet he's going to the great trouble to save the originality of the shell and it is a very nice RK shell!

Jaye here's a great example of, some one understands, http://www.vintagedrumforum.com/newreply.php?do=newreply&p=73749, He's looked a long time and paid maximum dollars, he could easily taken an original and had the wrap custom made to match perfectly what he has, and spent less money in doing so, but is not or will not, he gets it!

Conservator was a really good way of putting it.

Definition Examples

1. Conservation - Spray Painted floor tom - Remove paint and locate and reinstall all original parts to get the tom back to as close to factory original without disturbing any of the original integrity of the drum.

2. Restoration - Drum may need a wrap, parts re-plated and in general taking the drum regardless of current condition and trying to make it look like the day it rolled off the assembly line.

3. Preservation - Taking a kit or drum that has most or all of its original parts and cleaning, waxing, polishing, glueing, etc. what is there regardless of pitting, flaking and wear (unless not functional) to make the drums 100% playable. If a part needs to be replaced, trying to find an original part in like condition.

Thoughts?

Clapping Happy2Clapping Happy2Cool1Keep on Pl

Hello all,

Mark (vintage 2000) asked me for my thoughts on the subject...

My feeling on this subject is: Too many drums are being ruined by well meaning collectors that are thinking of only their position on the subject of restoration…and some of these collectors should know better. You can call me a “purist” but consider that we are transient owners of sometimes, fine instruments that, at most, need only a little TLC. I fear that future owners of these drums will view these instruments with disdain and bewilderment, just as future generations will wonder why we, our generation, allowed the environment to, if you’ll excuse the vulgarity, “ Go to Hell in a gut bucket” (but that is another discussion that really has no place here). If you think the instrument has any value at all, consider it as a Stradivarius. Would you take a Stradivarius to a buffing wheel, have it replated, strip off the finish, use anything but the finest tools and work with the utmost care (only if you were confident in your ability)? I think not. OK so it ain’t a Stradivarius. But then, aren’t we affirming the old prophecy that we are drummers and not musicians? Why would a drum be any less significant that violin…regardless of the type of music that has been played on it?

I cannot tell you the number of times I have seen a “restored” instrument and thought “What a shame!” as the owner is bursting with pride holding out an instrument that looks like it just left the assembly line and saying “What do you think? Mint, huh?” Guys, there is only one category for “Mint Condition”…that you are waiting the end of the assemble line and you are handed the drum in a box which you never open, put it in a controlled temperature room and never let it see the light of day. Hopefully, you are getting my point. These instruments were meant to be played (not abused, but played). I am NOT commenting on any particular genre of music. “Heavy Metal” is played just like a “Bach Symphony” is played. An instrument is abused when an instrument is abused, not when it is played.

If I still have your attention, lets take a personal experiences of mine. When I set out to build a collection of Billy Gladstone drums I sent letters to all current owners that I could find. Many responded with “I would never sell my Gladstone drum,” which I totally understood. The first one to accept an offer was Arthur Press, retired percussionist with the Boston Symphony orchestra. I asked all the correct questions, condition, wear, modifications, etc. Press thought the drum was too “dark” for most scores (but “perfect for Mahler”) so he had the drum’s interior fiberglassed by Bob Grauso (founder of Fibes). He also had a new butt plate fashioned by Forrest Clark of the Los Angeles Symphony that is based on the Ludwig system of individual tensioning of the snare strands rather than Gladstone’s set screw-clamping of two strands-at a time. He changed out the gut snares to include six strands of gut and six strands of wire. Wait, it continues, he thought Gladstone’s system of venting the drum was inadequate, and had a Gretsch key holder (minus the key) installed in one panel. I know what many of you are thinking…”He ruined the drum.” I even had colleagues at the time tell me “Chet, pass on the drum. A better one will come along.” I thought “Better? In what way?” What drum would be better than a drum custom built by a master craftsman for a specific Julliard trained world class symphonic musician that he had customized to his personal and particular taste? Anyone out there want to claim he knows more than Arthur Press? I was elated to get the drum with all its modifications. Would I consider restoring the drum? I wouldn’t even change the heads that came on it! It is a joy to play on, especially considering its pedigree.

Second example: I was contacted by Steve Maxwell recently, to give my opinion of a drums that found its way into his shop. http://www.maxwelldrums.com/gladstone-65x14-unique-brass-shell-gold-p-2838.html. Beautiful isn’t it? My biggest fear is someone will buy it, have the dents removed, take a buffing wheel to it, have it replated, replace the hoops with “modern die cast” ones, blah, blah, blah, The ONLY thing I would do to the drum and that would be after thinking about it for months, is to have the rim repaired by an expert welder (yes, it can be done. I’ve been told that pot metal cannot be welded…but it can…by an expert) then after careful consideration MAYBE have the rim replated by and expert that can replicate the wear evidenced on the rest of the drum (yes, this can also be done).

So that’s my feeling on the subject. I won’t even comment of the three steps listed as the first two are, in my opinion (and that is what you asked for) absurd and the third valid only if done appropriately.

Best

Chet Falzerano

Thanks Chet, good to have you aboard !!

Kevin

Yep...only your opinion. I guess the used and abused drums according to you should stay that way? ie #2 that somehow because the drum was produced and purchased by a few people and the wear and tear that they put on it is ok no matter how bad? So I'm wrong for taking a drum that has had a lifetime of abuse and RESTORING it back to an original condition? We are not talking about pieces here with ties to significant figures in music. We are talking about a drum that most likely rode in the trunk of a car to gigs, or was kicked around a garage until it found it's way to ebay or such.

That example #1 of being a conservator is obsurd? Using the skills I have to get a drum in close to original shape back to original condition is wrong, the floor tom should stay spray painted black because Mr. Krylon decided black was cooler than Champagne Sparkle?

Ok...I've decided that you're right and I'm now on the lookout for some red paint and a brush to put this drum back the way it was. Anyone have some busted up hardware you might want to trade for some not original shiney stuff?

And Mr. Falzerano brings up another good question. That is, in terms of the category of drums we are talking about. For example:

I once found a Ludwig single-head floor tom from their "Educator" line. It was basically a horrible drum that someone had painted (using a paintbrush) with black enamel paint and then gone over that and made some "cool" flames. I guess, in concept, the previous owner had customized the drum according to his own esthetics, too. As with the example of Mr. Press' customized drum, it, too, had been altered by someone other than the maker/designer.

However, now we should discuss the differences between a Billy Gladstone snare drum that has been customized and a Ludwig Educator single-headed floor tom that has been customized. Excited

I agree with Mr. Falzerano when it comes to Gladstone snare drums. In essence, let those drums wear their marks of time/history.....

.....but, I don't have a problem with removing the custom flame paint job and trying to get that floor tom back to looking less customized, if you know what I'm saying.

It really depends on the category of drums we are talking about, in my opinion.

Yes. It is a double standard.