Vi posto un articolo tratto dalla rivista "Not So Modern Drummer", scritto da Kirk Higgins (un esperto di batterie Vintage Rogers e Ludwig):
The Best Snare Drum Ever Made?
By Kirk Higgins
The Ludwig Supra-Phonic 400 (and its 6 ?? brother, the 402) has been the most played, recorded, and purchased snare drum of all time. Especially coveted are the early brass models made in the late ?50?s and early ?60?s. Technically, these drums are not Supra-Phonics, as that name was coined for the seamless spun alloy shell models introduced in catalog #64. Prior to that time the drum in question was called the Super-Ludwig. But first, the background?..
Our story begins in 1959. Bill Ludwig Jr. had just bought back the family name from the C. G. Conn company in 1955, and wanted a new metal snare drum for catalog #60. Included in the purchase was the beautiful Imperial Lug design, first used by Ludwig in 1935. The company went to work developing a basic ten-lug metal shell snare drum using imperial lugs and a rolled seamed brass shell. The new Super-Ludwig was born. These very first Supers sported the old WFL keystone badge, and were available in chrome and lacquered brass. The earliest drums supposedly sported the old ?50?s WFL strainer. This was similar to the P83 seen on all ?60?s Ludwigs, yet with a triangular piece protruding from the left side of the throwoff and a larger arm. This strainer, along with the lacquered brass model drum, can be seen on the cover of the Ludwig #60 catalog (published in 1959). The old style WFL P83 strainer did not last long (indeed, I have not been able to verify its existence on a Super of this period). The old strainer was soon improved to resemble the ?60?s P83 we all know and love, yet still bearing the WFL logo. This improved ?60?s WFL P83 usually shows up on the earliest Supers. To make matters more confusing, the #60 catalog shows the old ?50?s style WFL strainer on the cover and on many snare drums inside, yet the catalog shows only the new ?60?s style P83 on the parts page. Supers with WFL badges seem to be extremely rare, but they definitely do exist. Price for the 5? model in chrome or brass was $88, while the 6 ?? was $90.
Soon after the introduction of the Super-Ludwig, the company came out with the Transition badge in late ?59. This was a slightly larger brass keystone with ?Ludwig? in blue oval. Supers with this combination of Trans badge, ?60?s WFL P83, WFL butt, chrome finish, and knob muffler show up occasionally and usually command prices in the $500-$600 range. Many collectors consider the Transition Badge Super to be the one to own (that is, if you think hell will freeze over before you find the WFL brass lacquered model!). The transition model is one nice drum, dude!
The next change for the Super was the switch in late ?60 to the standard small brass Keystone badge, no serial # of course. These drums still had the knob muffler, and continued to utilize the rolled and welded brass shell. If you find a pre-serial keystone Super with knob muffler, rest assured it is a brass model.
Next comes the introduction of the ?Baseball Bat? red felt muffler (P-4067) in 1962. Catalog #64 (copyright 9-63) shows this muffler on about half of the drums: the new Acrolite on page 7 and on toms included in some of the newer sets. This is when things get sticky. For years it was assumed that all pre-serial Supers with the old style crimped bed and BB mufflers had brass shells. Recently it has come to light that Ludwig developed the spun alloy shell soon after the introduction of the BB muffler. The Acrolite snare, which features the same spun alloy shell as the mid ?60?s Supra, was first mentioned in a Spring ?62 Ludwig Drummer magazine. This seems to be the first time the new ?Acousti-Perfect? shell appears. The same aluminum shell used for the Acrolite was then chrome plated and replaced the Super?s rolled brass shell. Therefore, a number of pre-serial red BB muffler crimped bed Supers/Supras actually have alloy shells. This drum (with aluminum alloy seamless shell) was the first true ?Supra-Phonic? and was introduced in catalog #64. The title ?Acousti-Perfect? referred to the fact that the shell was spun, seamless, and perfectly round. These first alloy shells still had the old crimped snare beds. These beds can be seen on both the brand new Supra and the Acrolite in catalog #64. If you compare the catalog #64 Supra photo to the one of the Super in the #62 catalog, it is clear that a new photo was used in #64. The gradual rolled-in snare bed was introduced to both the Supra and the Acrolite soon after the alloy shell came out (but after the photos for catalog #64), probably in response to the similar gradual bed previously introduced by Rogers on its Powertone model.
So is your drum brass or aluminum alloy? The only drums in question would be the ?no number? keystone with BB muffler and crimped beds?all prior drums (early knob muffler, earlier badges) are brass while later drums (gradual beds and serial # keystone) are alloy. The best way to check for brass versus alloy is to remove a lug and then carefully file or ream a lug hole till you see either brass or aluminum shavings on the file or reamer. Scratching the chrome is an ineffective method for two reasons: it is difficult to scratch through the chrome; in addition, there is the possibility of copper pre-plating under the chrome that will look like brass. If the drum is relatively heavy and has ABSOLUTELY NO pitting, it is probably brass. Conversely, if the drum is lightweight (I know, a disgustingly relative term) and has ANY pitting whatsoever ON THE SHELL (ignore the rims and lugs), it is most likely aluminum. There is some controversy over the weight of the brass shell adding to the overall weight of the drum. If you don?t believe it, just go to the hardware store and pick up a sheet of aluminum, then pick up a same size piece of brass. Big difference. I smile when folks who are selling Supers or Supras state that the drum must be brass because a magnet won?t stick to the shell! Magnets only stick to iron or steel, and there has never been a steel supra.
But why an aluminum alloy shell? The stuff does not like to be chrome plated, as all Supra lovers know. To find a ?60?s alloy Supra with no pitting is virtually impossible. The chrome reacts with the aluminum, and pits terribly?the dreaded case of ?alloy acne?. I have even seen chrome peeling off in large chunks. When discussing Supra shell manufacture with a local metal-working expert (Jeff Davidson, Phoenix AZ?thanks, Jeff!) I commented on the chrome-plated aluminum Supra shell. Jeff retorted, ?Impossible. You can?t chrome plate aluminum?. I guess nobody ever told Bill Ludwig Jr. So again, why aluminum? Would aluminum be easier to spin form than brass? Not so. Brass is slightly easier to form, according to the metal guy, aluminum being a stiffer metal. Then it hit me while buying a sheet of aluminum at the local hardware store for a home project. The aluminum was $2, while an identically sized brass sheet was $5. It was economics, nothing more. If a year?s supply of aluminum shells cost $10,000, the equivalent in brass would be $30,000! Remember also that Ludwig went on to use the alloy shell for ALL metal drums in the ?60?s, Supras, Super- Sensitives, and Acrolites. The fact that the shell was spun rather than welded was simply another economic decision?it was cheaper and easier to spin aluminum than to heli-arc weld it.
Fortunately for Ludwig, the new spun seamless alloy shell drums sounded great. There is something about the combination of the seamless lightweight, yet stiff, aluminum shell coupled with the perfectly formed bearing edges and snare beds that created a magic drum. This drum was to become king of ?60?s and ?70?s stages and studios.
In ?68, the BB muffler got the boot (never really worked anyway. I always hooked mine in the ?on? position with a paper clip) in favor of a new knob model, easily identified by its larger knob and plastic washer. This was followed by the introduction of the Blue-Olive badge and the ?70?s P85 strainer. There are some early ?70?s B-O drums that are brass?these have a ?B? or ?BR? by the muffler and a cut-down badge to fit the old keystone hole spacing. Supposedly Ludwig also chrome plated some of the leftover reissue black beauty brass shells in the late ?70?s. So there are some chrome/brass Blue-Olive drums floating around, but these are definitely rare birds. Other codes on Ludwig shells are BZ for bronze, and AG for Anti-Galvanic (alloy).
I have a mid ?70?s B-O 5? alloy Supra that just amazes me with its versatility and depth. I also have a 1978 5? brass black beauty reissue (list price in 1978?$184!), and hear little difference between the two drums, although I believe I actually prefer the alloy model. I recently picked up one of the earliest pre # alloy shell Supras with the crimped bed and the red BB muffler. This drum, while very similar to mid ?60?s and ?70?s alloy models, doesn?t have the roundness of tone and ease of snare tensioning found on the later models, most likely due to the difference in snare beds. Now if I could just find me a Transition badge brass model, then a ?70?s B-O hammered bronze, plus I still need a 6 ? keystone alloy, then there?s always the lacquered brass WFL???.
Thanks to the guys on the DCI forum?Tom, Jeff, Charlie, even you, GAZ!
Thanks also to the Phoenix guys from whom I got Supras?Johnny and Vince
Thanks to Clay for asking for an article and providing the #60 catalog
Lastly, thanks to John Aldridge for having the patience to publish a great magazine that I was able to steal lots of info from (NSMD, of course!)
Kirk Higgins is a veteran vintage drummer and collector who bought his first snare drum (Rogers WMP Powertone) in 1968 and his first set (1965 blue sparkle Ludwig Hollywood) in 1970. He is a rabid Rogers snare collector with more snare drums than he wants to admit. His articles have appeared in Not So Modern Drummer and can be seen on the rogersdrums.com website. So why the heck is he writing about Ludwig? Kirk lives in Prescott AZ with his wife and daughter and can be emailed at
krhiggins@qwest.net
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