Talk about a special build!!! Johny Ligon asked us to build something in honor of his dad. We used some lumber his dad worked with and some from one of his homes. Mixed in some medals and dog tags and this was the result!!! Thank you Johny for this one of a kind opportunity!!!! Watch Video Here
When Michael Outlaw first decided to try using building-reclaimed lumber from a centuries old building, he, by chance, chose the original estate remains of a former Confederate veteran. That soldier, Charles Edward Wilder, enlisted in the 17th GA Infantry, part of Benning’s Brigade in the Army of Northern Virginia. Upon returning from the War, Wilder built his home from the wood of the native pine trees that grew on his land.
At that time, those trees were over 200 years old, dating back to the 1600’s. Trees of this age and type provide extremely hard and dense wood with a very tight grain pattern. Taking up residence in a building for 150 or more years would also provide even-curing and drying to that old timber.
With all that in mind, it made perfect sense to me that those historical origins should not be forgotten, but rather, celebrated. I suggested to Michael that he should make a special set of drums celebrating those early roots by embedding Civil War Era bullets into the shells alongside all-else that makes Outlaw drums so special.
Putting our minds together, it was decided to make the first drums a matching set of snare drums. We took into consideration that many aspects of the drum design should there-fore be mathematically kindred in order to achieve balanced, complimentary instruments. That philosophy played out well. The Primary Snare measured 6” x 14” with ten tube lugs, the Secondary Snare at 6” x 10”, had six tube lugs. Construction of the shells was to be a stave design with reinforcing rings for added strength. Michael uses what I think is a very interesting bearing edge that seems like his own “hybrid” approach, falling somewhere between a rounded vintage edge and something more modern. Whatever he considers it, I have to feel that along with everything else he does, helps to creative that “Outlaw Sound.”
Both drums were made from the same board of reclaimed lumber. In doing so, we would absolutely know that they were of the same tree and survived under the same conditions. The idea was to timbre-match the drums as close as possible, making them a matched set.
Hardware for both drums was employed with the same strategy. The 2.3 mm counter hoops, retro tube-lugs and air vent, were all black nickel-plated. Matching Trick 3-position snare strainers and butts were mounted along with PureSound Snares. Outlaw Drums impressive maker’s badge that mimics the U. S. Forrest Services badges rounded out the metal parts.
For these first two drums of the series, I was able to find a set of Civil War Era bullets that matched as close to the specs that the drums were designed too. All four bullets were wood-struck: two hit dead-on, producing a mushroom shape, the other two hit at about a 45 degree angle. Two of them were Confederate and two were Union bullets. This would allow me to place one Confederate and one Union bullet to a drum, each with a different configuration.
To finish off the design, we went with a rough wood exterior and an aged white and blue plaint motif to give that weathered look that harkens back the history of an old building. Showing through the weathered paint is the bare, natural wood, again exemplifying the age of the wood and the building it must have come from. A dab of dark, blood red paint was applied around each bullet-strike, to high-light the projectiles. The blood-color was also added to help represent the terrible cost and history of the conflict. When all three a hues are taken into consideration, the drums fly the colors of both sides of our History: red, white, and blue.
How a drum looks is a very important quality in its desirability. But most importantly, it needs to be a great sounding drum as well. With Outlaw Drums I certainly have a winner here. The stave shell construction of hard, aged Heart-Pine wood, gives these drums a very reflective, lively sound. That “lively” quality is a very controlled openness, void of any unpleasant overtones or ringing.
While being incredibly sensitive, they are earthy and warm, loud and responsive, crisp and deep. These drums have a powerful presence to them so they won’t be lost in a mix, nor do they have any unpleasant, over-powering tendencies. Especially well suited for outdoor stages and loud environments, but versatile and sensitive enough for any application.
The secondary snare worked out especially great! Tuned properly, it’s a higher octave version of the primary snare. Very effective for accents, effects, or adding grace notes. When needing to maintain a subtle backbeat, it becomes a thinner, smaller sounding version of an awesome snare drum.
Outlaw Drums Heritage Series brings a lot to the table with these superior instruments. No detail was over-looked. For those who identify drums with history, this is something you’ve been waiting for. For those who just want a really bad-ass set of drums, well, Outlaw has something for you too. Outlawdrums.com.
- Benny Greb is One of my favorite drummers of all time! We want you to become the best drummer you can possibly become. If you are like me when I see other great drummers play it makes me want to jump behind the kit. This has a very good exercise that I never thought about Watch in see at 16:18 into the video.
- Our friends at drumeo posted this cool video of Benny Greb that caught my attention. It just keeps getting better and better at Drumeo! There link is on the bottom. “The Art & Science Of Groove”.
What kind of wood do I need for my drum? I get asked this question more than any other. After playing 1000s of different wood drums; it’s safe to say I have an ear for sound. Some drummers might like a wet sound (which is a long decay); another might like a dry sound (which is no decay or lingering sound). To each his own. I like a drum to sing and to have body.
Keep in mind that the thicker the shell, the higher it will sound. The thinner the shell, the lower. Stave drums are thicker so they will have a higher sound. Segmented will have a lower sound. This is imperative to know when looking for a drum. It could save you lots of time when you are trying to find “that sound”.
This number will determine how well the woods hold up to dents and wear and tear as well as overall density and hardness. It’s basically the amount of pounds that are forced down in one spot on a bearing then measuring how much force is needed to embed the bearing halfway.
Maple wood– Uniform amount of highs and mids, somewhat warm lows. Very bright and punchy. Great for all-round drumming! The industry standard for drums. Janka scale: 1450 pounds of force
Oak: Mid highs, all-purpose with a very quick decay and less overtones. Great work house drum very durable and strong. It’s great for rock, country, pop and R&B music. Janka scale: 1290 pounds of force
Cherry: Highs, forceful midrange, average low end. Responsive and bright. Mild decay. Very good for ghost notes and jazz playing. Janka scale: 950 pounds of force
Poplar: Highs and mids, increased low-end. Great tonal wood with medium to low decay; very dynamic. This wood is a soft hardwood and the sound goes away fast. This is great for punk rock music, less muffling needed. Janka scale: 540 pounds of force
Black Walnut: Identical amount of highs, mids, and lows. This is an all-round wood that is very consistent and fat sounding with great punch. Very dynamic with a longer decay great for jazz, rock, country, and gospel music. Janka scale: 1010 pounds of force
Mahogany: Soft highs, level midrange, warm/rich low end. Lively and warm. Great for studio recording and low light playing. Janka scale: 1070 pounds of force
Heart pine: Matching amounts of highs, mids, and lows. Very consistent and fat sounding with great punch due to the high resin content. Very little sap wood. Mid-range decay. Great for all kinds of music. Rock, country, R&B, gospel, and pop. Janka scale: 870 pounds of force
Douglas Fir: Easy highs and mids, increased low-end. Great tonal wood. This wood can tune deeper than most. It’s a softer wood that moistens the over tones. Great for all kinds of music. Mid-range decay. Janka scale: 620 pounds of force
Chinaberry: Soft highs, level midrange, warm/rich low end. Lively and warm. Great for studio recording and low light playing. Great for all kinds of music. Janka scale: 990 pounds of force
Sapele : Soft highs, level midrange, warm/rich low end. Lively and warm. Great for studio recording and low light playing. Great for all kinds of music. Janka scale: 1410 pounds of force.
PurpleHeart: Uniform amount of highs and mids, somewhat warm lows. Very bright and punchy. This hard wood is very bright and punchy. Janka scale: 2520 pounds of force.
Just watch the video in the link.
Outlaw Drums is proud to present our kick drum beaters that will get you noticed! Using end grain boards, much like chopping blocks, gives a harder, deeper sound. Each comes with a polished stainless steel rod, plus a replaceable felt pad. We can even engrave your initials for an additional $10.00. The wood is born of the same first generation heart pine wood; The wood that has become the signature of the company. These Hammers provide a larger kick presence than ordinary felt beaters. The Hammers incorporate two different angled impact sides that provide two different impact results. One side remains round while the other is angled on a perfect 9 Degrees to meet the kick drum head straight on. Meeting the kick head “straight on” provides maximum coverage and contact with the head, increasing the effect on the strike-zone. Utilizing an angled beater also extends the life of the drum head. Buy it once, play it forever with Life Time Warranty!! To buy click HERE
Black Friday starts early this year!!! Starting today thru December 24th buy one get one free beater!! That’s Right 2 Outlaw Drum Bass Beaters for $39.99!! Buy HERE! Outlaw Drums is proud to present our kick drum beaters that will get you noticed! Using End grain boards much like chopping blocks, gives a harder, deeper sound. Each comes with a Polished Stainless Steel rod, Plus a replaceable felt pad. We can even engrave your initials for an additional $10.00. The wood is born of the same first generation heart pine wood; The wood that has become the signature of the company, these Hammers provide a larger kick presence than ordinary felt beaters. The Hammers incorporate two different angled impact sides that provide two different impact results. One side remains round while the other is angled on a perfect 9 Degrees to meet the kick drum head straight on. Meeting the kick head “straight on” provides maximum coverage and contact with the head, increasing the effect on the strike-zone. Utilizing an angled beater also extends the life of the drum head. Buy it once, play it forever with Life Time Warranty!! To buy click HERE
Finding the sound that defines you as a drummer might not be as easy as you think. Not having a $1000 laying around is common these days. So here are some tips on making your snare drum sound great for under $50.00.
- Replacing heads- Changing your drum heads and strainer. It may sound so obvious but it often gets overlooked. By adding a new drum head with a thinner head; I like a evens G1 coated on your batter side and a hazy 300 snare side; it lets the drum breath and sound wetter. It brings the natural tones of the drums to the surface. Plus, you can always add muffing to the head if you want to dry it up. This by itself will make a huge difference, you can reach a more dynamic range.
- Strainers -In my opinion you don’t need to spend $50.00 on a strainer to find your sound. Most of the time the cheaper ones sound way better and last a long time. If you want to try a different count, do so. It does help but you need a trained ear to really tell the difference.
- Bearing edges (Only for wood drums)- While your heads are off, check the bearing edges. These can be worn down from years of vibrations and stick hits. You can sharpen the edge with some sandpaper or a file. The sharper the edge, the brighter the sound. The thickness of a sd card works fine on the top and bottom, you can play with this. I would keep it sharp on the snare side. If you wanted to add more vintage sound on the top you can make it wider. Add some wax to the edge and let it dry.
- The tension is everything! I know I’m going to get hated on here but after building 100s of drums I can say this… When tuning the lugs and the head, I go by feel. The bottom head I tune really tight, almost where it’s scary. Getting the bottom tighter than the top makes a significant difference in sound and tuning. Once the bottom is tight, it is sensitive to the snare wires. If you use a tune bot its 400 on the bottom and 300 on the top. Once the bottom is set I can then tune the top low or high, however I want it.
- If you have tried tuning and there is still a snare buzz you that won’t go away (Like a gnat in south Ga) try this to fix it:
- Swap strings to ribbon if it will let you. You can buy ribbon at Walmart or Hobby Lobby that works great. Make sure you get the one with the ridges on it. It’s only a few bucks and there are lots of colors to pick from.
- Change the wire counts on the snares or try a different brand. Sometimes just by changing out brands you will find one that works better. It has a lot to do with how it sets on the drum and having the right snare wire angle that will fit into the snare bed tight. If you can get the snare to fit in the bed nicely you have a winner! You can also adjust the strainer so you can make it tighter. You don’t want it too tight because it will choke the drum out making it sound like a tin can. After you have done all this try loosening up the four tension rods that surrounds the snare wires a bit.
- More info on this from www.drumeo.com, making your drum kit sound fat , Tuning your snaredrum , Make your cheap drum set sound good
This snare has shotgun shells built in for vents. This drum was inspired by the sharp pop of a shotgun blast. Having ten vents on the drum shell dries up the overtones for clarity creating a one-of-a-kind sound great for concerts with that little bit of extra crack. The shell is made of centuries old lumber making it a true piece of Americana. This drum has 1/8 radius on the outside and a 45 on the inside. This drum sold before we could even put it on the market. We managed to get a quick sound file before we shipped it. We can customize this drum to any size.
We took on this unique project transforming this antique door into a drum. We started by disassembling all the hardware, pulling all the nails, and prepping the wood. Then it was time to start milling and exfoliating the wood. After an in depth finishing process, we were left with a beautiful finished product. It gives us a sense of deep satisfaction to repurpose wood that would otherwise be destroyed and give it new life as a one of a kind, hand-crafted drum. Looking at the finished product you can’t help but wonder what this piece of antique wood could tell you about the journey it took from a sapling to a resonating work of art in a drum. This is what we do. Outlaw Drums.
If you want to see more on our kits click here Rase littlefeild build
Outlaw Drums lets us see behind the scenes on the drums they build.
This drum kit was a slow build that took weeks to build. It was filled with so many obstacles and ideas to go through. My favorite part was having complete control of the turn out. The Outlaw kit was a mixture of Douglas fir and old virgin growth heart dating back before the 1800’s. The drum kit has a weathered textured feel, just like a old barn from years and rain. It was a 18×24 8×12 9×13 16×16 with all the joints are overlapped for ultra strength. The segmented shells will never go out of round or oval. The aged wood is locked in place and milled to the 64th of a inch for accuracy. The timeless timbers don’t flex, its very consistent. It took about 120 man hours to complete this project start to finish.