April 1977 - Modern Drummer - Roy Burns

• MODERN DRUMMER
• A Contemporary Publication Exclusively for Drummers
• In this issue
• ROY BURNS EXCLUSIVE INTERVIEW

ROPE TENSIONED DRUM MAKING: ALIVE AND WELL

• ED SOPH: PROFILE
• THE MATCHED GRIP
• CLEM DEROSA: ON JAZZ DRUMMING

MD TALKS WITH JAY CORRE

DRUM SET SHOPPERS GUIDE: PART II FRED WICKSTROM: ON SHOW DRUMMING JOE MOREL SOLO TRANSCRIPTION

VOLUME 1 NO. 2 Published Quarterly

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Welcome to the second issue of Modern Drummer Magazine. The re- sponse to our premier issue was beyond all our expectations. Mail from readers in all of the fifty states and from every corner of the globe has flooded our office. We thank you all for your many kind words, and we'll continually look forward to hearing from you. Only, in this way, can we truly ascertain the likes, dislikes, preferences and needs of our most valuable commodity you, the drummer reader.

This issue continues to look at the world of drums via several special fea- tures. Drum aficionados John Mc- Garrity and Dan Wiedman continue their journey through the maze of shells, heads and hardware with a close- up of Gretsch, Slingerland, Fibes, and Premier in Part II of our Drum Set Shoppers Guide. Very interesting read- ing for (he equipment conscious.

On the Clinic Trail with Roy Burns takes an in-depth look at the busy world of one of the most respected player-author-clinicians in the country. Roy's clinics are a labor of love, and we think you'll find his views both illumin- ating and inspiring.

Ever wondered what an arranger- composer looks for in a drummer? Internationally known composer-ar- ranger Jay Corre has some do's and don'ts for drummers from his point of view.

One of the most talked about sub- jects amongst drummers these days is the matched grip-traditional grip con- troversy. MD will present both sides of this story beginning with Art Ver- non's Merits of the Matched Grip in this issue. Vernon makes an interesting and convincing case for the matched grip which is bound to raise some eye- brows among traditional grip advocates. We can't wait to read the mail on this one.

The art of rope-tensioned drum mak- ing is long gone, you say? Not to Ralph Eames, it isn't. The Eames Drum Com- pany of Wakefield, Mass, has specialized in this for close to thirty years. Our report highlights this unique New England company along with owner Eames continued activities in the field of traditional rudimentalism.

Ed Soph is one of the finest young players on the scene today. Michael (continued on page 18)

• MODERN DRUMMER
• APRIL 1977 VOL. 1 NO. 2
• MODERN DRUMMER
• A CONTEMPORARY PUBLICATION EXCLUSIVELY FOR DRUMMERS
• IN THIS ISSUE
• FEATURES:
• On the clinic trail:

With Roy Burns, Rope Tensioned Drum-Making: Alive and Well.

• Ed Soph.
• MD Shoppers Guide looks atp. 9
• Slingerland, Gretsch, Premier, Fibes.
• Merits of the Matched Gripp. 12
• Understanding Rhythm.
• COLUMNS:
• Readers Platform
• It's Questionablep. 3
• Rock Perspectives
• Jazz Drummers Workshop Drivers Seat
• On the Job

Rudimental Symposium Complete Percussionist Show and Studio Teachers Forum

Shop Talk

Drum Soloist Just Drums

EDITOR: Ronald Spagnardi ASSOCIATE EDITOR: Paul Uldrich MANAGING EDITOR: Michael Cramer ART DIRECTOR: Robert Algieri PRODUCTION MANAGER: Roger Elliston ADVERTISING: William F. Selig Isabel Lori

• CIRCULATION: Nancy Schuller Linda Streib
• MD ADVISORY BOARD
• Henry Adler
• Sonny Igoe
• Don Lamond Butch Miles
• Arthur Press
• Louie Bellson Roy Burns
• Jim Chapin
• Joe Corsello
• Paul Price

Leo L. Spagnardi

MODERN DRUMMER Magazine, published quarterly, January, April, July, October, by Modern Drummer Publication, Inc., 47 Harrison St., Nutley, N. J. 07110. Application to mail at second- class postage rates is pending at Newark, N. J. 1977 by Modern Drummer Publications, Inc. All rights reserved. Reproduction without the written permission of the publisher is strictly prohib ited. SUBSCRIPTIONS: $4.00 per year in U.S.A. Outside U.S.A. $5.00 Single copies $1.25. MANUSCRIPTS: Modern Drummer welcomes manuscripts, however, cannot assume responsibility for them. Manuscripts must be accompanied by self-addressed stamped envelope. CHANGE OF ADDRESS: Allow at least six weeks for a change. Please provide both old and new address, MUSIC DEALERS: Modern Drummer is available for resale at bulk rates. Direct all correspondence to Modern Drummer Publications, Inc., 47 Harrison St., Nutley, N. J. 07110.

APRIL 1977

Roy Burns is the kind of guy. who on first meeting, makes you feel as though you've known him for twenty - five years.

He's sincere, outgoing, personable, and totally dedicated to his chosen profession. A mid-westerner • from Emporia, Kansas to be exact • his natural inclination for drumming got him on the bands of Woody Herman and Benny Goodman while still practically a teenager. noble feat, to say the least.

A After a lifetime of vast musical experience, Roy now devotes most of his lime in the capacity of clinician for the Rogers Drum Company, a job which takes him to cities all across the country. He's very much in demand as a clinician and it's not hard to figure out why; a Roy Burns clinic is a memorable educational experience.

It's not uncommon for Roy to voice his views on the matched grip, time division, rolls, rudiments, and finger control, not to mention a wealth of ideas regarding choosing and caring for cymbals, tuning drums, and practicing techniques all within the course of one lecturedemonstration. Roy can - and often will cover just about everything a young drummer might concerned about.

have reason to be

Anyone spending time in the presence of this gentleman can't help but get the impression of a man who is bursting over with a true love for drums, compounded with a deep compassion for young drummers, with whom he feels a special kinship. The man is a study in positive attitudes reflected in a sincerity that comes across just as crystal clear as his snare drum touch. His clinics are a virtual labor of love -a sheer pleasure to watch. We caught up with Roy at a clinic sponsored by Victor's House of Music in Ridgewood, New Jersey, where after an exhausting day of two 2½ hour long lectures, Roy graciously sat with us just prior to catching a flight to another clinic city, to relax and answer a few questions. MD:You were quite young when you started playing professionally with Benny Goodman's band. What kind of an experience was that for you musically? R B : Playing with Benny Goodman's band, now that I think back, was like going to school. Isreal Crosby was the bass player on that band, and when I played with him I suddenly realized the difference between playing in four and playing in two. Kenny Burrell and Zoot Sims were both on the band at that time and just to play with those guys was a learning experience. I didn't realize just how much I was learning u n t i l five years after I left the band.

Without that "TO ME IT'S ESSENTIAL THAT YOUNG PEOPLE SEE THAT YOU CAN BE A PROFESSIONAL, UNDERSTAND YOUR INSTRUMENTS, STILL PLAY WELL, AND STILL TAKE TIME OUT TO ANSWER A QUESTION FOR A YOUNG GUY. WHEN I GET TOO IMPORTANT TO ANSWER A YOUNG GUY'S QUESTION - THEN I THINK I OUGHT TO GET OUT OF THE BUSINESS." experience, I don't think all the things I did later would have been possible. MD: What about your relationship with Benny? R B : Benny was very nice to me. Of course, he has his problems like everyone else, and we eventually did have some disagreements, but I must say for the first two or three years, he was very nice to me. It helped me a lot - there's no doubt about it, especially the big band experience. MD: Who else have you worked with during your career? R B : Buck Clayton, Charlie Shavers, Gene

Sedrick, Joe

Bushkin, Ben Webster, Marty Napoleon, and I was on Lionel Hampton's band for about a year; that was a great experience. The first record date I ever did was with Teddy Wilson, and I also spent some time with Woody Herman's band. When I joined Benny, he had just made the "Benny Goodman Story". The band was going through a big revival, and here was this young looking kid playing drums. It all seemed to work out great. MD: You were quite active in studio work in New York at one time, at a fairly young age. How did you break in? RB:

I was working in New York and doing a lot of teaching for Henry Adler - to stay alive. One of my first big breaks came on a record date Mel Lewis was doing that ran late. Hymie Schertzer was the contractor on that date, and somebody said, Hey, call that kid who plays with Benny's band - he can read and hold a band together and he lives nearby. So I went up and did the date; I did pretty well and I met a lot of people. From that, I began to get a lot of other work. MD: What kind of studio work did you do in New York? R B :

A lot of record dates. Eventually, I got into the TV scene. I did some things with NBC, and I did the Merv Griffin Show for a long time. Plus, I did the Tonight Show on Monday nights and Jack Parr, occasionally. I also did a lot of commercial jingles for a whole bunch of people. MD: How did the transition studio musician to clinician from come about? RB:

Rogers wanted me to do some clinics, but I was always tied up with a TV show or working with a group. When I was free to do a clinic they didn't have anything set up, so they offered me this full-time clinic position. We eventually worked it out so I could keep playing and still do the clinics. Now I've gotten more into advertising and developing the new products like Memrilok hardware, and writing a lot of the educational material about the Paiste cymbals. All of this has really broadened me out. It's opened my ear up to new sounds and new ways of doing things; working with the engineers and other people in our company has helped me to understand sound better than I ever did before. I think it has helped my playing, MD: Your technique is truly outstanding. RB:

Thank you. Some guy once asked me, How long did it take you to get your left hand that fast? I told him, till last Thursday. I've been working on it all my life. MD: What's life like for a full-time clinician? RB: Well, my schedule is quite varied, but one year I counted where I did over 60 concerts and clinics - not counting travelling days. It's funny because every place I go now-a-days, people say to me, Gee, it must be a drag you're not playing anymore.

One night in St. Louis, I had been to three night clubs - sat in - did maybe a total of three hours

did the clinic and two rehearsals with two college stage bands and some guy says to me, Gee, it's a shame you don't get to play anymore. I do a whole bunch of playing at once - then I'll take a week off and work inside Rogers - then go back out again. It gives me a chance to relax, practice, work on new things and then go back out and play. MD: To watch you do a clinic, it seems as though you truly love your work. RB:

I think that's pretty obvious and I think it's important that I do. To me, it's essential that young people see that you can be a professional, understand your instruments, still play well, and still take time out to answer a question for a young guy. When I get too important to answer a young guys question - then I think I ought to get out of the business. I'm really grateful that God's been good to me, along with so many wonderful people. Without people helping you - it's pretty hard. I don't think anybody does it all by themselves. I remember all the many people who helped me over the years, and that's why I try to be nice to all the young guys who come to my clinics. I remember how helpful Louie Bellson and Sonny Igoe were to me. They were very encouraging and maybe without their help and encouragement, I might not be here today. I figure if I can encourage some other young guy, maybe he'll do well and I can say - well, I didn't do the work he did - but maybe I helped him feel more positive about himself.

There are so many people making you feel negative from criticism, that a pat on the back from someone you admire can make the difference. That might get you through a lot of bad times. That's why I think what I do is important. MD: What do you find the average drum clinic-goer know?

of today wants to RB: When I first started doing clinics ten years ago, the type of question was always, How can I play fast? Today, the kids are asking things like: How do you tune a drum to get that sound; how do you know how to pick out a cymbal to get it to do this; how do you develop yourself to get this kind of coordinaation; how do you play in different time signatures. The questions are at a much higher level and you can't fool them. You can never lie to a young audience - they instinctively know. MD: Exactly how active are you now in the playing end of the business? RB: Well, I do an awful lot of work on my own. I have thoughts of eventually forming my own group, but I'm not so sure if I'm ready to take on that whole group scene. I guess it's that I felt I had a very strong musical point of view . . . I wanted to play one kind of music more than another . . . I like to play in big bands. At this point, I get to play with a great deal of college big bands more than I ever got to play with when I was doing studio work. What I really think I'd like to do is continue to develop my own style. This clinic job has really allowed me to concentrate on that, rather than just doing the studio work which I had to do to make a living. Maybe, eventually I'll do something with a group, but I'm not sure - I've got so many things in my head and so many possibilities and, fortunately, I can go in a lot of different directions right now. So, I'm just sort of laying back and enjoying it and waiting to see where it's going to take me. MD: Your book, "Elementary Drum Method", is widely used by teachers all across the country. How did you come about writing it? RB:

When I was on the Benny Goodman band, I approached Henry Adler along with a drummer by the name of Lou Malin. We had this idea to write a finger control book and we went to Henry, almost certain he was going to say no - but he said yes. We wrote the book and it's become a standard on the subject of finger control. I started playing Rogers in 1960, and Henry

Grossman who owned Rogers at the time wanted an elementary drum book that was not associated with any particular drum company something they could handle through Rogers.

Henry and I got a hold of all the elementary drum books on the market and we tried to figure out what was really necessary.

We wound up with about a one-hundred page book. The book was so expensive to print that I ended up taking less money for the book, simply because I didn't want to cut anything out. I told Henry, if we cut anything out, it will end up just like every other book.

So, we worked it out and it seems to have become a standard also. I think the best package I have out for young drummers is the "Big, Bad and Beautiful" album, with Dick Grove's band. It has a drum book with all the manuscript parts in it; how to interpret a big band part and what to do in a recording studio situation. I

MD: You've been an established professional for a long time and you've experienced a lot of playing situations. What drummers do you enjoy sitting down and listening to? RB: There are so many good players around today that everytime you put on a record man it knocks you out. I think Steve Gadd is terrific, and I love Billy Cobham, Alphonse Mouzon, Lenny White. I love to listen to some of the old Brubeck things with Joe Morello, and some of the old Woody Herman charts with Sonny Igoe, and of course I love the way Buddy plays. Some of my all time favorites are Louie Bellson, Art Blakey, Max Roach and Philly Jo. You know I really believe, there is no such thing as a famous drummer who doesn't play really well.

Somebody asked me once, Who influenced you? I could only reply, everybody I ever heard. And I mean that. If drummers would just share this thing and develop a feeling of love for the instrument, for music, and help each other. If we'd stop fighting with each other, and putting each other down, we'd all play better we'd all have more fun and the world would be a much nicer place to live. It means a lot to me when young drummers come out of my clinic and they can say, gee, I learned a lot and he plays very well, but....what a nice person. He makes me feel like being nice and he makes me want to be a part of the music business. we need more of.

That's what MD

WIEDMAN

S L I N G E R L A N D 6633 N. Milwaukee Ave., Niles, Illinois 60648

No doubt about it, Slingerland has come a long way since their old "Radio King" days. Today they enjoy the distinction of being one of the largest producers of drum equipment in the world. The 3-ply shell is well known for its rich, mellow resonance, and the 5-ply line, minus the inner reinforcing hoop, offers a unique tonal variation. Shells are maplewood with an excellent selection of sizes to choose from. Over two dozen attractive finishes are available with the "Aztec" series the newest and most refreshing addition. Veneers and maple reinforcing hoops are glued in one operation at Slingerland, thus overcoming the strain put on shells made from flat plywood and bent circular. Equipment is available in wood and chrome or copper covered wood, the latter well known for its sharp percussive bite. Slingerland saw fit to pull out of the synthetics market a few years back, viewing it as a passing fad. They prefer to concentrate their efforts on the wood shells they have been producing since 1916. The rock player will find Slingerland most conducive to his needs via the catalog stock set-up rock series, Drum-Set Shoppers Guide

PART 2 complete with over-sized toms, 24" bass drums and gutsy 6 1/2 x 14 snares. Snare drums are nicely designed with some fine strainer features, and the metals have no center bead. The entire hardware line is quite sturdy, highlighted by some extra wide bases. The "super seto-matic" tom holders are efficient and can always be counted on for unsurpassed reliability. The "Dynamo" hi-hat stand is one of the sturdiest and wellconstructed pieces of hardware on the drum market. Slingerland manufactures and processes all of its own parts, from woodworking and metalworking through plating and finishing. Counter hoops are strong, affording even tensioning, and topped off with a 5 year guarantee. Some interesting innovations include the single headed rock set-up with bass drum completely finished on the inside with rippled chrome vinyl, along with the triple tom-tom set-up mounted on one bass drum. Slingerland now also comes, standard equipped, with Remo heads, and a new and comprehensive replacement parts section as part of the standard catalog is a welcome addition. The company is well known, wellmanaged, and equipment is well built. The wide line of Slingerland merchandise is used by some of the top pro's in the world today in both the rock and jazz idioms.

• DYNAMO HI HAT
• ROCKET SNARE DRUM
• BOOM CYMBAL STAND
• ONE-PIECE FOOTBOARD
• SINGLE & DOUBLE SET-0-MATIC* HOLDERS
• SUPER SET-0-MATIC

G R E T S C H 630 Eden Park Drive Cincinnati,Ohio 45202

The Gretsch Company, for many years on Broadway in Brooklyn, is still very much alive and well. Gretsch doesn't care to move out of the wood shell market and takes great pains in maintaining their excellence in that department. Shells are 6-ply maple with each ply finger locked resulting in a very resonant and hard shell, guaranteed for the life of the drum. Finishes are stunning ranging from natural maple and ebony, to walnut and cherry redwood, all brought to an exceptionally high lustre via a painstaking eleven step process. Gretsch also uses solid die-cast counter hoops.

Hardware is streamlined and efficient with a particularly nice hi-hat pedal featuring direct pull action and an extra wide footboard. The "Floating Action" pedal has been around a long time and is a popular item among many players. The bass drum spur design offers a double pointed spur rod of polished aluminum with rubber tips. All this plus a goodly array of new concert toms round out an impressive line making Gretsch a contender in the rock market, though their forte for many years has been among t h e jazz notables who appreciate the warm sound of wood. Though facilities have changed, that Gretsch pride in quality wood equipment has remained the same.

P R E M I E R Selmer Company P.O. Box 310, Elkhart, Indiana 46514

Premier was founded in 1922. The line is manufactured in England and is distributed exclusively in this country. Though not as well-known in this country as they should be, Premier has the distinction of being the most popular line of drum equipment in the United Kingdom and is the largest percussion instrument manufacturer in Europe. The line has many outstanding features. Shells are constructed from laminated beechwood and African Mahogany. Sheets are cut to size and tapered at each end for a smooth overlap. They're then bent against the grain for maximum strength. Overlapped ends are glued, and strengthening hoops are affixed at each end of the shell. Complete assembly is wedged into special clamps insuring roundness, and all shells and hoops are sanded before final finishing, (a choice of 24) and assembly.

The company maintains a special department of formidable drummers for the purpose of design and development. This department keeps in touch with drummers world-wide, keeping Premier well-attuned to the needs of the modern drummer. One of the outcomes of this commendable idea is Premier's revolutionary manner of dealing with the modernists quest for volume in drum equipment.

Their "Resonator"

outfit has double shells - a conventional outer shell, plus a thin inner shell, separated by a pocket of air. The air pocket acts as a soundbox inside the drum and the company claims that their shell design is capable of producing

18% greater volume and can prove it by means of electronic testing. The company manufactures three lines of hardware - the "Lokfast" line is at the top and it's quite good. The snare drum stand comes equipped with a swivel arm cradle which holds and supports the drum absolutely rigid. The hi-hat is attractive and versatile with spurs set into legs, adjustable spring tension, and low angle steel footplate. Premier's concern with strength and stability is evident by a glance at the "Rockshaft" tom mount; an optional item which supports toms by running clear through the bass drum. Another interesting feature - we've never seen any place else - is a pedal design affording the player the ability to angle his pedal to the bass drum in accordance with his individual taste.

Very nice. The hardware is topped off with a strictly controlled, high grade plating process

Premier calls "Diamond Plating", acclaimed by the company for its superb quality, long life, and rich appearance. Premier may not be a household word amongst American drummers, in comparison to some of the other heavyweights in our report - nevertheless, the line has a lot to offer in terms of both sound and appearance, and the company's eyes and ears are wide open to the needs and requirements of the selective modern percussionist. Not to be overlooked, by any means.

CONVENTIONAL

RESONATOR

UNIBALL TOM TOM HOLDERS

FIBES CF Martin Organization Box 329 Nazareth, Pa. 18064

The Fibes line, a branch of the CF Martin Organization, was formed in 1966. A pioneer in the now common fiberglass shell design, Fibes continues to restrict their manufacturing to nonporous fiberglass constructed drums only. The shells are thick, sturdy, and very strong, a result of years of research. The Fibes formula and construction process produces a virtually indestructible shell, capable of highly consistant tonal response and definition, and all unaffected by atmospheric changes. Solid fiberglass reinforcement rings are used for uniformity and the total manufacturing process produces a drum with a great deal of internal vibratory response. As a result, Fibes equipment can be counted on for both brilliance and sensitivity along with luxurious appearance. The snare is exceptional in its clear cut power and smoothness, not to mention some excellent snare release design features. Much of the hardware is revolutionary in concept; tom-tom mounts with nylon fittings; the uniball concept with single locking screws that afford height and angle adjustment in one action; the "Cym-Set", allowing the cymbal to stay in position at all volume levels without restricting its freedom, and the "Sta-Way" bumper, a unique device which serves the simple purpose of preventing the snare from hitting against the small tom, (Bravo, amazing someone didn't think of that one before). Also high on the list of topgrade, attractive and durable hardware is the Fibes direct pull hi-hat stand, uniball concept snare drum stand, and 5'7" cymbal floor stand introducing a muting concept which prevents the telegraphing of cymbal vibrations through the length of the stand. All in all, a clean, well-built, and versatile line with numerous innovations available and in the making. High priced? Maybe so. Then again, you get what you pay for.

• FIBES NEW DIRECT PULL HI-HAT STAND
• CYM-SET
• STA-WAY - Snare Drum Bumper
• FIBES UNIBALL SNARE DRUM STAND

HISTORY.

We asked Alex Acuna, star drummer of "Weather Report", to put his Rogers outfit to the tape measure test. He set up-took apart-and then reassembled his complete Londoner Seven outfit plus his extra floor tom, sets of bongos and timbales, and his pair of hi-hats and five cymbals. The result: a precise duplication of height and angle that was never before possible. It means that a drummer can quickly and easily match each set-up every time-so he plays the same "Instrument" for every performance! The "Memri" gives more accurate set-ups In less time. The "Loc" keeps it there. MemriLoc hardware: it gives you more time to do what you enjoy most... drumming. See it now at your Rogers dealer.

ROGERS

Rogers Drums, CBS Musical Instruments, 1300 East Valencia Drive, Fullerton, California

MEMRILOC

E L G E R C O M P A N Y 1 7 1 6 Winchester Road. P.O. Box 469 Cornwells Heights, Pa. 19020

M I K E DOUGLAS' RON DISTEFANO CHOOSES TAMA DRUMS

Ron DiStet'ano, the young and multitalented drummer on the Mike Douglas Show, has chosen Tama as his exclusive drum set. In explaining the importance of Ron's endorsement, Tama marketing director, Jeff Hasselberger said, "Ron's gig is one of the most demanding in the business. He's got to back any act that may come on the show, from funk to pop, to C&W, to show tunes. His equipment has to look right, sound right and be dependable. We're proud that he chose Tama". Ron has high praise for Tama drums himself. "Having to change styles and feeling several times a day can be tough on both me and my drums. Tama drums help me to control tone and dynamics better than any drums I've every played. They're really the first drums to be perfect for any style of playing."

Ron plays a Tama Mars SX set which includes a 14" x 24" bass drum, 9" x 13", 10" x 14" and 16" x 18" tom toms with a 5" x 14" King Beat snare. Ron's hardware is all Tama Titan. Tama Drums are available exclusively from: Elger Company, P.O. Box 469, Cornwells Heights, Pa. 19020, in the east, and Chesbro Music Company,

Broadway, Idaho 83402, in the west.

Idaho

Falls, JUST DRUMS

L E A T H E R - G R A I N C Y M B A L BAG - L a t i n Percussion, Inc. has just added a vinyl companion to its already successful canvas cymbal bag. The new version has the appearance of leather at a fraction of the price. The material used is very heavy and promises to be a long lasting, very useful product all drummers will want to own. The Vinyl Cymbal Bag can take up to a 22" cymbal and features in addition to its heavy-duty zipper closure, a handy outside pocket to hold drumsticks.

RALPH C. PACE Box 63 North White Plains, N. Y. 10603

SET-THE- PACE PEDAL PRACTICE PADS OFFERS NEW MODEL

Ralph C. Pace has announced that in addition to his present catalog of 24 models, a new type pad will be manufactured soon. Ralph C. Pace, Jr. who is shown modeling this pad has been instrumental in developing this new model. The features of this pad are: 1) Heavy Duty Circular Bass Drum pad and, 2) Plastic moulding around each playing surface, 3) The rubber practice pad playing surfaces are mounted on an additional 3/4" plywood base in order to give the sticks a more solid reaction, especially if metal drum sticks are used. Each rubber practice pad playing surface may be detached from the practice set in order to be placed on the drum set. This is a reversible model in that when the drum set is not around, these pads may be screwed back to the practice drum set. The sizes of the detachable pads are for a 14" snare drum and for 12", 13" and 16" tom toms. When purchased separately, these same pads are listed as Models # 14, 12, 13 & 16.

LATIN PERCUSSION GRADES RAWHIDE CONGA, BONGO HEADS Effective immediately, Latin Percussion, Inc. has introduced special packaging for their unmounted rawhide conga and bongo heads, that has the unique feature of grading the weight of the head into "thin", "medium" or "heavy" categories, thus making it possible for a dealer and/or customer to obtain heads suited to his requirements. This service is offered at no extra charge and is something that should be appreciated by all concerned, according to a spokesman for the firm. In addition, the a t t r a c t i v e three-color package adds great saleability to the product. For additional information write Latin Percussion, Inc., 454 Commercial Avenue, Palisades Park, New Jersey 07650, telephone: 201-947-8067-8068.

P E T E R M A G A D I N I JOINS NORLIN C A N A D A AS P E A R L C L I N I C I A N

Norlin Musical is pleased to announce the appointment of Peter Magadini as Canada's first Pearl Drum Clinician.

LUDWIG OFFERS NEW PAYSON PROFESSIONAL TIMPANI MALLETS Ludwig Industries, the makers of the world-renowned Ringer Timpani, are now offering a top professional Payson Series of T i m p a n i Mallets. Professional timpanists hold Payson Mallets in the highest regard. They're handcrafted. Handles are made of balanced rock maple for minimum flex. Quality heads have an inner core of hard maple, and are covered with a unique seamless sack made of the finest felt. The special cover without stitches insures a consistently better sound over a longer period of time.

Color coded bands identify mallet hardness (soft, medium, hard), and make it easy to select a mallet in a concert situation. Payson Mallets cover all possible sound ranges. W i t h this latest edition, Ludwig now offers the most complete line of timpani mallets both for the professional timpanist - with the eye and ear for the ultimate quality mallet as well as all other playing levels.

The Tama T i t a n Hi Hat (Model 6895) is specifically designed for the drummer who needs extra strength and durability combined with smooth and dependable action.

REMO ROTOTOMS DISTRIBUTED F R O M HOUSTON BY PRO M A R K The complete line of Remo Rototoms and related accessories are now warehoused and sold direct to retailers from the Pro-Mark warehouse in Houston, Texas. Spokesman Herb Brochstein states shipments are now being made within 24 hours after receipt of order. Remo Rototom defies easy description because of its unique capabilities and versatility. It is neither timpani nor conventional tom tom, yet it can embody many qualities of both. Used with a timpani-type head, it is a definite-pitched instrument with a distinctive, timpani-like sound which can be rapid-tuned over an octave plus range simply by rotating it on its shaft. Used with a Remo CS, or FiberSkyn batter head, it can be tuned to produce varied and unusual tom tom effects, ranging from low to high timbered sounds and even allowing glissandos. Rototom was originally conceived as a new voice for percussion ensemble. It has found wide favor among jazz, rock, and studio performers for drumset; as pitched drums or tuneable tom toms for general percussion; as lightweight versatile marching timp-toms; as highly portable, less costly training timpani and as superior definite pitched drums for elementary music and Orff/ Schulwerk programs. The Rototoms are available in a range of diameter sizes from 6" to 18".

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If you have anything to sell or trade . .

SECRETARIES TYPISTS TEMP JOBS NOW KOLERGE PEOPLE WEOCOME bein 10 am SECPE SUBL

Lovely co

ATE AN If you are looking to buy

PER AREA

If you have a service to offer.

• You
• TEMPLOY, Inc. TRAINEE
• Advertise In Drum Market
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• • Nationwide
• Drum Market Is Read By Drummers
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Rates: 20 per word 60 words maximum MONIST

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THE MA

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• January Issue
• Closing:
• Dec. 10
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Mail your advertising copy and payment to:

SE Ha Modern Drummer c/o Drum Market 47 Harrison Street

• TAN The work is Carols
• Platform Supervis
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• Nutley, N. J. 07110
• SECUR
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