On drums...

Goki, this will serve up some idea of the differences. While not a great comparison because tunings and bass heads are quite different, the abilities of these drums are so at odds with each other that, for me at any rate, this is where each kit does what it loves to do. The Gretsch is in the most current state of tune, the Designer is caught in a state of transition trying to understand the difference between it and the Gretsch, and the teardrops are as tuned before the Gretsch started pushing things around. All are played as three pieces, with the same cymbals (Designers cheated by having a bass mounted splash). No compression, no filters, no effects, no EQ - outside of what the H4 does by normally. I think the mics in the H4 are overly attentive to high end in the cymbals, and perhaps not fully absorbing bass.

Of the three, I think the Gretsch sample sounds closest to what I hear in the room. The Gretsch certainly pick up best in the H4n, by virtue, I think, of being higher pitched.

Gretsch bop: A left hand solo.
18/12/14, 5x14. Amb weight heads around.

Designer bop: Me, wondering why the whole kit feels so soft after playing the Gretsch for weeks on end.
18/12/14 with Sig light 8x14 snare. Amb weight heads, EQ4 bass batter.

Teardrop: The bass is very punchy, with as much volume as you care to punch in. A kick mic would be useful. Tuning is lower and the drums are bigger.
20/13/16, SonorLite 7.25x14 snare. Amb weight heads, EQ4 bass batter.

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Gregory

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Cliff

River City Trio

What if we did all have the same opinions?

Yes. Maybe. Indeed and yes.

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Gregory

The H4 seems to my ears a little harsh in the high end around the 8-10K range. Then again, my ears are a little tired from working all day. I noticed that on your earlier Gretsch recording.
I think the snare is a too loud on the Designer recording. But I really enjoyed listening to your playing Greg, keep it up!

Thanks, Greg.

As to the H4, I'm not really sure where 8-10k is, but I assume it is the overly bright characteristic that annoys me a bit, and that makes the cymbals all sound a bit overly aggressive and hard. The H2 was deficient in that upper range, and everything I recorded on it required bumping the highs to make it sound alive. I think ZOOM augmented and even over compensated for those frequencies in the H4, and I would dampen them were I to EQ the recordings. The drums sound fairly accurate but the snares all have a bit of augmented ring compared to what I hear in the room. Still, for an all in one unit, the H4 is a great tool, and I prefer to have highs to soften rather than to have to push them.

As to the snare volume, I spent a lot of time working with the Gretsch and the H4, and I think I adjusted my muscles to get the most out of that kit for the playback on the recorder. The Designer and Teardrop samples were made very quickly, without retraining my muscles and without listening back to optimize balance and sonic quality, but I can tell you that the Signature light and SonorLIite felt like playing on top of a water bed after that high strung Gretsch snare tuning, and both of those bass drums were like stepping into soft moss!

The last time I spent much time playing the Designers, I almost couldn't play the Gretsch later, and it's shocking moving back to the Designers. Very interesting - and challenging - shift, one to another.

I very much appreciate your listening and comments.

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Gregory

1 - the GRETSCH = it has a wonderful round, punchy sound, which I must say, I like very much. It reminds me of the 50s and 60s jazz recordings. I admit that You scored big time there Gregory.

2 - the DESIGNER = it definitely has the "modern" vibe in to it. Sound is EQ-d by itself, the bass drum, toms, snare - everything sounds fantastic. It's what a modern bop drum set SHOULD sound like!!!

3 - the TEARDROPS = definitely more timid (and with less volume) than the GRETSCH set. I guess it would be a perfect gigging kit, at least that would be my choice...

So Gregory, when we talk about sound, I guess (for me) the Designer and Gretsch share the same place - but in a different direction. It's fantastic that You have both, because You can either go with the modern sound, or with the vintage great gretsch sound. The teardrops, on the other hand, are mild, non-aggressive, modest = and that's what makes the perfect for a kit for every gig. It would be up to You to give the final touch, regarding how You want to sound, with the teardrops...



I love threads like this. For a guy like me, who'll probably never get in touch with so many kits, they're a perfect source of valuable information regarding sound characteristics.

Thank you Gregory, for sharing these sound experiences...

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Goki - short from Goran

Let the good drums roll!!!

Goki, you're welcome, and thanks for taking the time to articulate your reactions; they help in my own assessment.

The Teardrops may be a stronger kit than the recording would suggest - but maybe not. I've got some work to do there, and perhaps the bearing edges need addressing. I agree the toms have less attack, at least as tuned. The kit felt muffled when I was recording it. I've got coated heads on it, but it may really like clear. Dunno... the jury is still out.

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Gregory

The first "Yes" was not in response to: Do I take requests?

That seemed a rhetorical question.

Rather (i) Yes (ii) Maybe if I have the time, and so forth.

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Gregory

Stop typing and start swapping stuff!

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Cliff

River City Trio

What if we did all have the same opinions?

I'm typing because it costs money and takes time to order more stuff!

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Gregory