Thank you for having me today. I’d like to jump right in—many people have this question about vintage drums: “Can vintage drums really be used in modern music?” I’d love to hear your thoughts on that...
Yes, they’re perfectly usable. Well, depending on the year and model, there are some where you might think, “Hmm, I’m not sure about this one…” but...Also—and maybe this is because it’s not part of Japanese culture—when people in Japan talk about vintage drums, they’re usually referring to ones from the ’60s or ’70s. But when it comes to something from the 1920s, like the ones we displayed at the festival the other day (*1), I think people have a preconceived notion that “drums this old can’t be used for anything other than their sentimental value.”
(*1: Drum Magazine Festival 2012)
It’s true that many people get the impression that “this is just for display, right?”
But that’s a huge mistake!!! (lol).
Well, it’s not like the older, the better, but the brass used in snare drums back then was completely different from modern brass in terms of both purity and composition. It was made from such high-quality material that it’s impossible to reproduce today. Plus, since they were designed to carry the sound all the way to the audience using only the natural acoustic resonance—in venues like opera houses without PA systems or other sound equipment—there’s no way they lack volume (haha).
That’s right. That’s exactly the kind of preconception I had—at first, I thought it might sound weak… but in reality, I was totally blown away by how loud (and how great-sounding) it was (haha).
The defining characteristics of brass snares from that era were their pleasant attack and the unique harmonic richness that followed. It’s a sound that’s loud, yet doesn’t hurt your ears even after listening for a long time (laughs).
About ten or so years ago, someone in the U.S. tried to produce a reissue—essentially a perfect replica—of a Ludiwg brass snare from that era, but it ended in failure... (laughs). It’s ironic, but even though factory equipment is supposed to be more advanced today, for some reason, it’s impossible to recreate the old ones.
It’s true that the reason vintage drums are still in demand today is precisely because they can’t be replicated. Even when they’re supposed to be made exactly the same way, the sound is strangely different. It’s a mystery (laughs).
The same goes for wooden drums. To give one example: usually, when people hear “mahogany,” many say something like, “Oh, it doesn’t have much volume, but it has a nice, soft tone,” but...
However, the mahogany from back then—to use a guitar analogy—was Honduran mahogany, which was widely used in 1950s Gibson Les Pauls and pre-war guitars. The rigidity of that wood itself was already completely different from modern mahogany, and since even more time has passed since then, the shell’s rigidity has only increased.
Try tapping the shell of a wooden snare drum from the ’20s or so with your fingers. Just by listening to that sound—without even playing it—you should be able to tell right away whether it’s a good one or not!!!!!
“What backs up the value of vintage drums? ○P○○○○○○○○○!?”
Now, on to the next question... HIRO, I imagine you’ve seen quite a few vintage drums over the years. Based on your experience, I’d like to hear your thoughts on the “advantages and disadvantages of vintage drums.”
As for the pros, as I mentioned earlier, they can produce a high-quality, unique sound that modern drums just can’t match. Also, of course, their appearance is distinctive, so they really catch people’s attention, right? Huh?
People might wonder, “What kind of drum is that?” and you’ll get a lot of attention from those around you (laughs).
Another advantage is that regular current models or recent used drums are treated as just “used” over time, so their value just keeps dropping… (laughs). But with vintage items—especially those that remain in usable condition even after 80 or 100 years—their value as vintage pieces never really declines. Well, of course, market prices fluctuate with economic conditions (laughs), but they’ll never end up being practically worthless.
I see. When you think about a span of 80 or 100 years, you could definitely call them part of America’s cultural heritage.
It’s amazing to actually have one of those in your hands and hear it play!! Even 80 or 100 years ago, someone was standing in front of those drums, raising their sticks. That’s incredible!!
Now, as for the downsides (laughs). Hmm... what do you think? Well, with certain models, if a part breaks, you might not be able to get a replacement right away, and some parts can be hard to find... However, if you buy from a trustworthy shop that has the know-how in that area, I’m sure they’ll take care of the parts supply for you.
In the U.S., vintage drums are a cultural phenomenon, so there are quite a few manufacturers producing replacement parts. That means even if you need to replace a part, it’s become easy to repair the drum without compromising its vintage look.
I see! It’s precisely because their value as vintage items is well-established that replacement parts exist. The very existence of these replacement parts actually serves as proof of that established value!!
“It’s not like we can just say, ‘If we run out of stock, we’ll make more to restock~’… it doesn’t work that way (T_T)”
Speaking of which, I heard that when you went to the U.S., HIRO, you visited vintage drum shops and even met some famous collectors. Could you share any memorable stories or your impressions of the vintage drum scene in the U.S., the birthplace of vintage drums?
I’m really, really the type of person who just goes wherever the mood takes me (laughs)—once I get an idea, I act on it right away!!!!! It’s like that—even when I was staying right in the middle of New York City, if I heard there was a good find in the next state over, or the one after that, I’d be on a long-distance bus the very next morning. And even when I was staying in Indiana, if I heard a “Black Beauty” was for sale in Memphis, I’d drive all the way to Memphis the very next day... (laughs). After repeating trips like that for so many years, I ended up becoming a “Million Miler” with a certain airline (laughs).
That much? (lol).
But by visiting all sorts of places, meeting all kinds of people, and learning along the way… that’s how I gradually started connecting with renowned collectors and famous musicians from overseas. Well, of course, gaining a wealth of knowledge about vintage drums was a huge benefit for me, but what was even more important to me—and still is—is the human connection… in other words, the encounters I’ve had through these instruments.I’m sure there are many people in Japan who respect musical instruments, of course, but in the U.S.—where it all began—it really feels like an integral part of the culture.
That’s why, even as generations change, the tradition continues to be passed down.
I see. They take pride in their own culture. We’re fascinated by it too, but they have a deeper respect for it as part of their culture.
Thank you so much for answering all these questions today. One last question: I imagine you’ve owned quite a few vintage drums over the years, HIRO. When it comes to actually using vintage drums, what’s the best way to care for them? If you have any advice based on your experience, I’d love to hear it…
Hmm... This is definitely the hardest question (laughs). If you feel the urge, I’d say, “Just buy it!!!!!” (laughs).
Whoa~ (laughs).
No, well, that sounds like a joke, but seriously, vintage instruments aren’t like current models—you can’t just restock them by making more when they run out. And since there are individual variations, in a sense, if you come across a vintage drum set that makes you think, “This is it!!!!!!,” you should buy it without hesitation (laughs). Yeah… even if you have to stretch your budget… (laughs).
But I think an instrument you buy because you really want it—even if you have to stretch your budget—is one you’ll cherish, and it’ll be a lifelong companion that you’ll never get tired of. As for how to take care of it… well… I think just treating it normally is fine.
For now, I think it’s enough to just use it while always showing respect and love for the instrument.
Is that right? So respect and love for the instrument are what matter!!
Thank you so much for sharing all these rare insights today!!
HIRO
(Drummer, Producer, Recording Engineer)
After playing in the indie band CROWLEY, he made his major-label debut in 1986 as the drummer for THE STAR CLUB. In 1993, he joined Kuroyume.
Since then, leveraging his extensive knowledge of drum tone shaping, he has participated in numerous recordings and live performances—primarily for rock bands—as a drum sound producer. He also has a deep expertise in vintage drums and is known as a specialist in the field; in the 1990s, he contributed feature articles to “Rhythm & Drum Magazine.”
From the late 1990s onward, he has worked as a producer and engineer in both Japan and the United States. At the same time, he resumed his career as a drummer and currently performs as a session drummer both domestically and internationally.In July of this year, under the name THE STAR CLUB 1990, he staged a one-night-only reunion concert at Tokyo’s 0-West with the original 1990 lineup. The limited-edition DVD featuring the recording of that sold-out show generated significant buzz, selling out during the pre-order phase.