I play guitar, my son plays drums. Ive always wanted to get him a jazzette for jamming around the house. Man either of these kits would do quite nicely !👌
Gorgeous! As much as I appreciate the volume, sensitivity and attack provided by the Classic Maple sharper bearing edges, as soon as you hit the Legacy Mahogany I felt like "Home, at last"!!!!!!!
Both kits have an awesome vintage sound especially when the snares are turned off. The ride cymbal has a really cool sound. Love what you do and how you do it. Bravo!
That maple kit! It rings and sings! Those mahogany tubs are no slouch. Tone + punch. My fave, as it relates to Roy Haynes, is hands down, the maple drum kit! Nice comparison, Mr. Maxwell! You know how to break it down. Props.
I love your playing and store almost as much as I love the history that I learn from you. Thank you for keeping legacy alive and for sharing your knowledge with all of us!
Both kits are really impressive as is your playing! I know you have already published videos on tuning: nevertheless, I would really love to hear how you tune the bottom heads of toms and snare drum and the relationship between top and bottom heads.
I always tune the batter head tighter than the resonant side. The bottom is for resonance and the top for pitch. No tuning gauges or any of that stuff. I tune the top head a bit tighter than the bottom, such as: if the bottom heads are one full turn, the top are maybe 1.5 turns. I use coated Ambassadors, no muffled heads. Bottoms can be clear or coated. Also, I tune the kit to pleasing intervals, using the bass drum as a the “root” note of the chord, and the floor tom like the “third” and the small tom like the “fifth” of the chord. Don’t try to tune to a specific “note”. It technically isn’t possible since a drum set is not the same as tympani. By tuning my way the sound projects out towards the audience and, in my opinion, is ideal for acoustic playing with no “close mics”. Some players prefer the top to be loser than the bottom. If you are close mic’d that will work and the sound will go out through the house mix, but if you have no mics, that loose top and tight bottom will sound great on the stage behind the kit, but the sound will not reach the audience. It all bounces up to you. And, a loose top head limits the ability for rebound. I can get as much volume from an easier stroke than someone who has a loose top head and has to “whack” the drum like crazy. Let the drum work for you.
@@stevemaxwelldrums thank you very much for your answer, I really appreciate! I mainly play old Tamburo stave sets (I have some short videos on my YT channel) and I always tune my bottom heads tighter than the batter ones. Sometimes I find it difficult to make my toms sing the way I want them to sing, because I do not like dead sounding toms (I mean toms with no sustain): I guess sound engineers would hate me for that, but since I am a mediocre drummer who only plays some small acoustic gigs this is not a big issue ... I will try your method, hoping I will be able to get a slightly resonant sound. By the way: I also tend to tighten the snare bottom head quite a lot: I remember that in one of your videos you said you tune the snare head relatively loose compared to the batter head: but how much looser? I feel that when I loosen the bottom head my snare drums loose precision and annoying noises arise. Thanks again, it is a real pleasure to watch your videos and to listen to your comments!
El primer kit, el de la izquierda, era similar al que tenía Alphonse Mouzon en Weather Report en su primera gira. Roy Haynes uso estos kits con bombos de 18" y de 16" a finales de los 60s.
I know the video is online for quite some time, but I just discovered it. And I LOVE the sound of the kits, as well as generally but especially the intervals between the single drums. To me it seems as if the high tom is tuned an octave over the bass drum, and the floor tom to a fifth over the bass drum. I have a Gretsch USA custom with the same sizes, but I have difficulties in tuning them similarly. Perhaps someone can give a little insight?
It shows how a lot of the old time drummers, just needed a 4 piece kit to sound great. So many of today’s, have gone over the top…sometimes, just for effect and gimmicks..
There just something about that mahogany !!!
That legacy mahogany is my dream kit!
A 6.5 Supra looks great with the jazzette!
This reminds you why Ludwig Supra snares, are so good..
Beautiful toms as well..
Mahogany all day long! Sound great!
Just love the legacy mahogany sound
Steve that was a treat! Thanks and Blessings!
I play guitar, my son plays drums. Ive always wanted to get him a jazzette for jamming around the house. Man either of these kits would do quite nicely !👌
Roy Haynes: on "Now he sings, Now he sobs" (with Chick Corea) some of the most creative drumming ever; bar none. Nice drums!!
Love the Maple kit and smaller snare.
stellar drum playing, steve!
Beautiful sounding kits. A fitting tribute to the great Roy Haynes.
They are fabulous!!! 🏆🥁🏆
Gorgeous!
As much as I appreciate the volume, sensitivity and attack provided by the Classic Maple sharper bearing edges, as soon as you hit the Legacy Mahogany I felt like "Home, at last"!!!!!!!
Davvero bello il set in mogano!
Lei sempre un maestro!
Both kits have an awesome vintage sound especially when the snares are turned off. The ride cymbal has a really cool sound. Love what you do and how you do it. Bravo!
That maple kit! It rings and sings! Those mahogany tubs are no slouch. Tone + punch.
My fave, as it relates to Roy Haynes, is hands down, the maple drum kit!
Nice comparison, Mr. Maxwell! You know how to break it down. Props.
Excellent demo Steve! They are both gorgeous kits but I love the warmth of the Mahogany kit.
I love your playing and store almost as much as I love the history that I learn from you. Thank you for keeping legacy alive and for sharing your knowledge with all of us!
you had me at Roy Haynes
MAHAGONY!!!!!!!❤
Lovely sound from these two kits. The mahogany is warmer but I prefer the timbre of the maple. Both are good enough to make music on for years.
mahogany shell looks awsome
Both great, slightly different flavor, yet classic Ludwig sound, AND a great player. Nice video! :)
Mahogany para Jazz, Maple para rock.
Both kits are really impressive as is your playing!
I know you have already published videos on tuning: nevertheless, I would really love to hear how you tune the bottom heads of toms and snare drum and the relationship between top and bottom heads.
I always tune the batter head tighter than the resonant side. The bottom is for resonance and the top for pitch. No tuning gauges or any of that stuff. I tune the top head a bit tighter than the bottom, such as: if the bottom heads are one full turn, the top are maybe 1.5 turns. I use coated Ambassadors, no muffled heads. Bottoms can be clear or coated. Also, I tune the kit to pleasing intervals, using the bass drum as a the “root” note of the chord, and the floor tom like the “third” and the small tom like the “fifth” of the chord. Don’t try to tune to a specific “note”. It technically isn’t possible since a drum set is not the same as tympani. By tuning my way the sound projects out towards the audience and, in my opinion, is ideal for acoustic playing with no “close mics”. Some players prefer the top to be loser than the bottom. If you are close mic’d that will work and the sound will go out through the house mix, but if you have no mics, that loose top and tight bottom will sound great on the stage behind the kit, but the sound will not reach the audience. It all bounces up to you. And, a loose top head limits the ability for rebound. I can get as much volume from an easier stroke than someone who has a loose top head and has to “whack” the drum like crazy. Let the drum work for you.
@@stevemaxwelldrums thank you very much for your answer, I really appreciate! I mainly play old Tamburo stave sets (I have some short videos on my YT channel) and I always tune my bottom heads tighter than the batter ones. Sometimes I find it difficult to make my toms sing the way I want them to sing, because I do not like dead sounding toms (I mean toms with no sustain): I guess sound engineers would hate me for that, but since I am a mediocre drummer who only plays some small acoustic gigs this is not a big issue ... I will try your method, hoping I will be able to get a slightly resonant sound. By the way: I also tend to tighten the snare bottom head quite a lot: I remember that in one of your videos you said you tune the snare head relatively loose compared to the batter head: but how much looser? I feel that when I loosen the bottom head my snare drums loose precision and annoying noises arise. Thanks again, it is a real pleasure to watch your videos and to listen to your comments!
Both kits sounded great
Liked the deeper supraphonic better though
El primer kit, el de la izquierda, era similar al que tenía Alphonse Mouzon en Weather Report en su primera gira. Roy Haynes uso estos kits con bombos de 18" y de 16" a finales de los 60s.
Remo power stroke heads on the bass drums ?
Awesome!!! What batter head on maple kit and if anything inside?
I know the video is online for quite some time, but I just discovered it. And I LOVE the sound of the kits, as well as generally but especially the intervals between the single drums. To me it seems as if the high tom is tuned an octave over the bass drum, and the floor tom to a fifth over the bass drum. I have a Gretsch USA custom with the same sizes, but I have difficulties in tuning them similarly. Perhaps someone can give a little insight?
Is the ride a K Constantinople Renaissance 22’’?
Aw man. You didn't do the 12x18.
14 × 24 is the perfect bass drum. IMO. 'Been playing since Nixon was elected. Ka Bahm!
It shows how a lot of the old time drummers, just needed a 4 piece kit to sound great.
So many of today’s, have gone over the top…sometimes, just for effect and gimmicks..
mahogany
TOCA BIEN PERO SE ESCUCHA MUY FEO EL SONIDO