That's a tough one, man. Looks damn good in the photo you posted. If it were me I would look for the parts to complete it in its original state and sell the current hardware. The earlier hardware is more expensive and harder to find which is obvious.

My project kit has the same 22" Jasper shell. I didnt have the heart to drill them for the BT lugs though. Man that's a really sweet drum. I'd hang onto it a while. Take your time to decide what to do. If it were mine I'd keep that sucker and play it!! Wish I was in a better postion to make you a nice offer on it too. Just too much on my plate at the moment. Either way it's a nice score and best of luck with it. Cool1

Mike, the 2 side collets are Fullerton-era cast, and the middle collet is the earlier (and stronger)machined version. So who knows what configuration this drum started life as. I like your idea of using it w your WMP Dayton kit, if you like the sku.d.

As a lover of Rogers drums i say keep her for awhile until you know what you want to do and eventually you will-never an easy decision at the best of times.She sure looks beautiful and a 22" from the Cleveland era...don`t seem to see many of those around-bet she sounds killer too!Best of luck on your decision Mike.

Wayne

If you did try to sell it, how much would you want for it?

Mike,

I threw those two cast collets on the mounts just so they wouldn't look bare. I should have pointed out that all three swivo mounts are indeed old Clevelands with only one retaining the original machined collet. I also should have mentioned that I found it really odd that these old mounts don't accept the later Dayton and Fullerton telescoping cymbal posts or tom mount arms, then I remembered a whole thread here some time ago about the differences in the very early mounts vs the later, specifically how a member thought his Cleveland mounts were damaged because he couldn't get a tom arm into one. These older mounts are strange. The 6 corners of the hex posts won't enter into the mount if they are lined up with the 6 slots of the receiving sleeve; you have to line up the corners of the post with the tabs of the sleeve. I’ve tried to illustrate this below. I think it was DanC who gave a better explanation. Either way, I'm not crazy about these old mounts even with the machined collets.

Thanks everyone for your comments and opinions. A 22” 3-ply Cleveland may not be a super rare beast, but it still may be worth keeping in the arsenal, so I think I’ll let this bass marinate awhile in the basement with all its brothers and sisters in the Rogers family until it either grows on me or I get irritated by its mismatched hardware. I’m not going to put any money into it, but if it’s ever needed to complete anyone’s project, you know where it is. I'll try to post a picture of it paired up with my 4-piece set.

Dan: I'll PM you

Mike C.

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Like others have said, it looks really nice. If you play out with it, your average audience member is never going to know it's a Frankendrum. Besides, you said it "sounds absolutely tremendous". :)

Good luck with your decision.

-Tim

Mike thanks for the heads on up the hardware/mount differences. My 13" tom has that weird early short vertical bolt pattern for the tom mount. So I'll need Cleve specifc hardware for that and the rest. I'll be lucky if I can find one of those tom mounts even LOL. It's 1.750" on center. Strange stuff. Anyway good to know this saved me a ton of possible headaches and cash!

A 3 ply Cleveland 22" bass drum is indeed harder to find than one would think. Plentiful, they are not. I have 2 and consider myself lucky!

Dave