What I love most about the drum set is how varied the set-ups can be. From a four-piece jazz kit, to the monstrosity that I play, to everything else in between, these configurations have one thing in common - they're all correct.
In this respect, other instrumentalists simply can't enjoy the same freedom that drummers have. Not to rip on other instruments, but for keyboardists, a piano is a piano. Certainly there are different quality levels of a piano, from a basic upright to a $100,000 Steinway & Sons grand piano, but the manner in which they are configured remains unchanged and cannot be altered. Essentially, it's still eighty-eight keys and three pedals. A pianist can't say, "You know, today I'm going to shift these three black keys to the right side and eliminate these four white keys altogether and add another pedal." The same can be said about flutes, violins, saxophones, and trombones. Those instruments are what they are. Their configurations are set. They're specific and inflexible.
In fairness to other instruments, our vast set-up options are relatively new. The first recognizable ancestors of the modern day drum kit were born in the North American Vaudeville era of the 1880s through the 1930s, and developed out of necessity - pecuniary and theater space considerations demanded that fewer percussionists cover more percussion parts. Our instrument is literally a contraption, which is where the term "trap kit" comes from. It was (and continues to be) pieced together.
Although the drum is arguably the oldest instrument on the planet other than the human voice, the drum set itself is less than one hundred years old, and is still changing. Through this process of evolution, we have been given relatively unlimited flexibility in terms of how our kits can be constructed. It's this flexibility that works to our advantage in configuring a personalized set-up, thus making every drum kit really unique and one of a kind.
So go on and mount a pair of bongos where you would normally place your rack tom, like Pat Mastelotto of King Crimson. And run that remote twenty-six inch bass drum to your left, like Stanton Moore of Galactic. Or forget about using a normal bass drum and just kick the bottom head of your floor tom, like Wilco's Glenn Kotche. And even play on one knee, like Trilok Gurtu if you'd like. Most important, have fun and appreciate how fortunate we are!
Want to share your love for your drum set or talk about ideas of how to improve your kit's set-up? Feel free to get in touch. I'm always here to assist!
In this respect, other instrumentalists simply can't enjoy the same freedom that drummers have. Not to rip on other instruments, but for keyboardists, a piano is a piano. Certainly there are different quality levels of a piano, from a basic upright to a $100,000 Steinway & Sons grand piano, but the manner in which they are configured remains unchanged and cannot be altered. Essentially, it's still eighty-eight keys and three pedals. A pianist can't say, "You know, today I'm going to shift these three black keys to the right side and eliminate these four white keys altogether and add another pedal." The same can be said about flutes, violins, saxophones, and trombones. Those instruments are what they are. Their configurations are set. They're specific and inflexible.
In fairness to other instruments, our vast set-up options are relatively new. The first recognizable ancestors of the modern day drum kit were born in the North American Vaudeville era of the 1880s through the 1930s, and developed out of necessity - pecuniary and theater space considerations demanded that fewer percussionists cover more percussion parts. Our instrument is literally a contraption, which is where the term "trap kit" comes from. It was (and continues to be) pieced together.
Although the drum is arguably the oldest instrument on the planet other than the human voice, the drum set itself is less than one hundred years old, and is still changing. Through this process of evolution, we have been given relatively unlimited flexibility in terms of how our kits can be constructed. It's this flexibility that works to our advantage in configuring a personalized set-up, thus making every drum kit really unique and one of a kind.
So go on and mount a pair of bongos where you would normally place your rack tom, like Pat Mastelotto of King Crimson. And run that remote twenty-six inch bass drum to your left, like Stanton Moore of Galactic. Or forget about using a normal bass drum and just kick the bottom head of your floor tom, like Wilco's Glenn Kotche. And even play on one knee, like Trilok Gurtu if you'd like. Most important, have fun and appreciate how fortunate we are!
Want to share your love for your drum set or talk about ideas of how to improve your kit's set-up? Feel free to get in touch. I'm always here to assist!
About the Author:
Victor
Salazar is with Vic's Drum Shop, an
internationally renowned drum and percussion store
in Chicago, Illinois. The wide range of knowledge of drum gear that he has acquired over his forty year
career has made Vic a useful resource - and his store
a well known shopping destination - for beginning drummers,
drumming hobbyists, professional drummers, and many of the world's top drum superstars.
Salazar is with Vic's Drum Shop, an
internationally renowned drum and percussion store
in Chicago, Illinois. The wide range of knowledge of drum gear that he has acquired over his forty year
career has made Vic a useful resource - and his store
a well known shopping destination - for beginning drummers,
drumming hobbyists, professional drummers, and many of the world's top drum superstars.
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