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Slingerland 1973 Mahogany-Poplar-Maple three-ply shell with Maple reinforcing rings. Three-piece kit, comprising 13”, 16” and 22” drums, the outer Mahogany ply being refinished in a natural stain lacquer. This kit was originally sporting the notorious copper finish! The metal cladding used back then was actually a copper-plated mild-steel sheet; the tendency was for the sheet to rust below the thin copper layer resulting in rust spots and blisters. I bough the kit in around 2011 and at the time, decided I would strip the copper finish, sand and clearcoat the natural Mahogany shells; in hindsight, If I had just acquired the kit in 2024, I would leave it original, regardless how scarred it was! By the way, I bought the kit for £50 with a 1967 Ludwig 400 Supra and a stack of vintage hardware!!! In my defense, it really was in very bad condition (…I am trying to forgive myself for removing the finish okay!) It had a number of extra holes and non-original fittings, including Premier gull-wing Lokfast bass drum spurs and the often-despised oval Premier tom mount! Fortunately, the oval Premier mount had the same hole spacing as the original Slingerland Set-o-matic. The 13 tom only had one extra hole to accommodate the Premier Lokfast L-arm tom holder, and when I refitted the original Slingerland diamond receiver block, it completely covered the extra hole! Matching wood-stopping (high-grade, stainable wood-pulp filler) meant that witness marks of the filled holes was really minimal once the shells were sanded and refinished. You can hardly see where the holes were now. I will do a full renovation series on these drums – though this video is a bit of a spoiler alert! You would not believe the amount of work I needed to do to restore these shells and the painstaking internet searches (and extra expense) to source original replacement Slingerland turned-over hoops, tom arm assembly and bass drum spurs. The renovation actually took 10 years to complete, sporadically working when parts were available and when time permitted. It is fitted with Remo White Suede heads which are my new favourite for vintage American drums. They have a lovely soft rebound that really lets you dig in without any jarring feeling… if you’ve not tried them and your go-to is an Ambassador coated, I’d highly recommend giving them a try. A note on the video itself. This was a track recorded in real-time, vocals, drums and sample pad to trigger the chord sequence. There was no pre-recorded backing track or click track; all of the sounds generated here were done on location. Back at the studio, I comp'ed the final take, but there were no overdubs, substitutions or replacements. All live sound from the session. Given this is an outdoor recording, I think the drums (toms in particular) sound remarkable! This was captured with just the overheads and ambient mics with a pseudo Glyn Johns technique. There were no close mics used on toms or bass. EQ and compression was used in post-production, but this was minimal and also had to capture the cymbal transients and overall kit sound, so no extreme boosting or "colouring" of any one frequency band. It’s not completely natural, but not far off. I have played this kit on a number of live gigs and sessions and it is fast becoming my favourite kit. The thin (now lacquered) shells seem to have a wonderful tone over a large tuning range; the relatively short sustain would normally not be to my taste, but they don't sound choked or tubby. Its like this kit is “treated” already without the need for tape, moon gel, o-rings or even the fitted internal dampers engaged. A real workhorse and all-rounder. The bass drums is fitted with a Roland RT-30K trigger which links to the Alesis Sample Pad. This is used to fire a synth bass sound I design myself using a Yamaha Reface CS and a bunch of other plugins to create a rich, complex kick sound with sub frequencies and some nice attack/delay detailing. All essential to bolster the overall sonic picture of what is essentially just a man singing and playing drums outside! Enjoy!!!