I`ve heard many times over that the best snare to use with a Ludwig kit is a late 70`s Sonor D506 !!

The 3 snares I bring to sessions anymore (if I bring more than one) are:

Ludwig 402

DW/Craviotto

DW Black Brass

They cover all the bases. Depending on the gig, though (if I even know what the project is before I show up, that is...), I'll usually just bring one.

I should also mention that the session's have ranged from major label funded, big production to bedroom tracking. The Black Beauty has seen every pre-amp, console and microphone combination. In addition the session music has ranged from rock, country, blues, gospel, pop, and singer-songwriter. I'm wondering if I have just found the drum for my particular playing style. I have read and heard of other drummers finding a drum that completes their "sound" and they rarely stray after that.

That BB is a great drum, Had the pleasure of hit`n one at a show.

It is so true that a snare or even a particular kit completes one`s style.

I`m a "rack" concert tom player and just don`t like the sustaine of resonate toms except the kick and floors. It`s my style and I`m stick`n to it !!

Let's see i have worked with the same producer's over the year's in the studio's in Hollywood and L.A in ca..They tell me what type of music and the sound they are looking for then i bring the drum's to fit it..But as a rule i bring 6 to 20 snare drum's all vintage-{wood and C.O.B shell's} along with a mix bag on drum's.Alway's seem they like one of the B.B.-{1920's-1930's} i have and a C.O.B Ludwig and Ludwig 4"x15" snare....Mikey

It must be an absolute joy to play a 1920's Black Beauty. One day I may be so lucky.

Hey there,

I often use an early 80s Pearl maple/fiberglass 14x6 with an internal muffler- it's versatile. The other drum I use is an early 70's Pearl steel shell Challenger 14x5.5 with an internal muffler. I also use a Pearl fiberglass President 14x5 again with an internal muffler.

Playing live or even recording live would be a different story but in a recording situation I want a very tight drum (that's my sound) and the internal muffler tightened to some degree is a big part of that.

External muffling on top of the drum gives a completely different sound- I want the top head free and clear of stuff- I muffle from the underside.FYI

I like fiberglass drums in particular for recording as they are dry

A good modern drum is the Pearl Carbon-ply Maple- that is a very dry and controlled drum designed for recording. That's why I most often choose the vintage maple-fiberglass, it's really the predecessor of the Carbon-ply drum

In my limited recording experience, I've had great luck with a 5.5x14 Yamaha Oak Custom. There is obviously a wood aspect, but also a very intense crack. Rimshots are lethal.

I also have a Ludwig Supraphonic and a Slingerland TDR.

Each of these drums has 10 lugs with a coated Emperor batter and a clear Diplomat snare side.

As always, a lot depends on the player's technique.

Wouldn't this usually depend on the session? I can't recall ever being called in for a cold call session and just assuming my go-to snare would work on a project that I'd never discussed or listened to or even met the artist. That would be incredibly presumptuous. Each session and each cut are unique. Heck, there may be no room on the tracks for a traditional snare.

These are strange waters, lately.

I guess my response would be a hearty "no". I have a go-to snare for each "feel" of a gig, but even that is usually dictated by the room.

wow ...