Beverley Script Badge Drums

Every so often we buy what looks like a hunk of junk and try to turn it into a playable kit -- or even a nice kit. A few months ago (autumn 2015) I bought a Frankenstein kit consisting of two "script badge" era Beverley drums (pre-international birch with earlier lugs, 12x8, 16x16) and one later Blue Badge era (mahogany, later lugs, 20x14).

SPOILER ALERT: If you want to see the end result now, scroll to the bottom and then come back up here. Main idea: These old Beverley pre-international drums are fantastic.

Also, before I get started, I want to correct some misinformation that's out there on the net: Beverley made Pre-International sizes. Don't let anyone tell you they didn't. They did.

So back to FRANKENSTEIN, as I call him/her/it/them. Here's what the drums looked like...

Notice the following major detractors:

• Horrible sticky-foil "wrap"
• Later B&H era Beverley badges
• Extra holes in kick (typical of Premier and Beverley that originally had disappearing spurs, particularly when on a mahogany shell)

But also a few items that gave me hope:

• Lugs seemed to be in nice shape
• Chrome generally looking tolerable
• Original slotted rods and kick rods
• No extra holes in toms 
• Original "tall boy" hoops in decent condition

When I took possession, I quickly peeled back the horrible foil "wrap" to find shells in OK condition, but covered -- COVERED -- in nasty glue.

To make a very long story short, this crap did NOT want to come off easily. I had to use gel-type paint remover to get it off, but the shells remained stained.

The birch drums fared a bit better:

But the mahogany had quite a bit of glue stuck in its deeper grain:

Some outer ply came off on the floor tom. Notice the dark middle ply. MAHOGANY. Pretty obvious that this is a birch-mahogany-birch drum. That made me pretty happy. I ended up filling the "holes" pretty easily with wood paste. I've read that wood paste can crack on drums. Hopefully it will hold up. I'll report back if it doesn't.

Once I finally got the drums cleaned and sanded, I had to decide how to finish them. Since the drums are mixed (birch toms, mahogany kick) I couldn't really oil them (no natural finish). The most obvious thing to do would have been re-wrap. But as you probably know, decent wrap is expensive. I promised myself not to spend too much on this job, so I ruled out wrap.

Instead I opted to use natural SHELLAC mixed with BRONZE POWDER. You see, I had some materials leftover from my recent clean-up of my Golden Sun Premier B303, so I thought I would use them on Frankenstein.

The process is pretty simple: You simply dissolve the bronze powder in the shellac and start brushing it on. You have to make sure the powder is evenly dissolved, and you have to use a quality brush: The finish is only as good as your brush.

This is an intermediate stage. Notice it's still pretty ugly.

I applied many layers - probably about six. I did not sand between layers since I found that too much material came off during sanding, even with 600 grain.

The final stage was to spray with Talens Acrylic Varnish (Glossy 114). This gave the drums a touch of shine and smoothed over a few of the imperfections. Overall I ended up with a pleasant finish. We'll see how it holds up. The other day a bandmate hit the kick with a mic stand and the drum came out unscathed. So far so good.

Here are some shots iof the finished kit. Pardon the mismatched kick hoops. I used what I had around.

And here's an original badge as well as some that I printed with a 3D printer. They look alright, but aren't quite up to my standards. The main problem is finding a way to fix them to the drum. I need to make some time to visit a screw and nail shop. I'm sure there's a solution.

Here Comes the Golden Sun: Premier B303, early 70's

I've come a long with Premier drums since my first post about Beverley Blue Badge here on this blog. A couple of years ago I basically knew nothing about Premier except that my hero, Keith Moon, played Premier. As I've mentioned elsewhere in this blog, for most of my drumming career I didn't care about drums as something other than something to play. I didn't know the history of any of the brands and never really bothered with any geeky details.

Well that all changed big-time in recent years.

And regarding Premier, I now consider it one of my obsessions.

For a couple of years now I've been eager to get a kit with 14x8 toms (like Mr Moon), so when I was recently invited to join a new The Who tribute band down here in Budapest, I finally had a perfect excuse to finally make a move.

Stacked up at Will's Drum Shop

Using various Facebook groups, I found this lovely kit for a good price at the legendary Will's Drum Shop in Sunderland, UK, owned and operated by Will Wright. If you don't know about Will and his shop, and if you love drums, be sure to read this article from the Drummer's Journal. It's worth your time.

Anyway, all I knew was that the sizes were what I wanted (12x8, 14x8, 16x15, 22x14) and that the kit had plenty of signs of wear and some extra holes on the kick. The price was right, so I placed total trust in Will's reputation and bought the kit without much pissing around, so to speak. Here's what it looked like stacked up at Will's shop (right).

When she arrived, I realized the main issue was certainly the extra holes. A previous owner had removed the disappearing spurs and added the Premier folding spurs. The job wasn't very well done, but the spurs do the job, and holes can be filled.

The edges on the 14" tom were really horrible. As former Premier endorser John Maher from the Buzzcocks has said on the Premier Group on Facebook, Premier made great shells but did not always cut the best edges. Again, no worries. I've already had them recut.

And now I'll let the pictures speak a thousand words. You can see that I've polished them up nicely. You can't hear how great they sound, so just take my word for it. When we have "Who practice" I really find myself in the room with The Who... it is THAT sound from LPs like Who's Next and Quadrophenia. Perfect. I have G2 Clear on top and Coated Ambassador on the botom. My theory is that the clear head will be more like Moon's Everyplay Extra, but I have no proof except that I'm hearing very Moonie sounds with this head combo.

This was the key to getting these babies clean and shiny

Newly painted hoops

Mahogany shells lightly sanded and polished with beeswax

My weapons: CX-80 is a teflon spray that really brought out the shine in the wrap. 

P for Premier. Love it.

All polished and shiny. Teflon spray did the job.

The kick has a funny little cowbell holder... Another extra hole, but I don't care!

The oval mount has a small stress fracture, as is typical of this model.

Video: Pearl MHX and Ludwig Classic Maple

I managed to make some decent demo videos of my 2004 Pearl MHX (now owned by my friend) and my other friend's Ludwig Classic Maple (early 2000s).

Both were recorded with a single Audio-Technica ATR 25 stereo mic with a Canon HD10 camera. I always do a little Bo Diddley thing for these demos. That way you can focus on the drums, not the cymbals (or my playing)!

Regarding the snares used, here's a good chance to compare the much less expensive Pearl Sensitone Elite Aluminum with the famous Ludalloy Supraphonic.  Honestly, if you just need a solid player's aluminum drum and don't care about resale value, consider the Pearl. Or try to hunt down an old Beverley Cosmic 21.

We tuned the Pearl MHX nice and low to bring out the characteristics of these drums: big and fat.  We used the High Resonance relationship described in the Tune Bot Tuning Guide (bottom head slightly higher, but not too much). The tom hoops are Pearl die-cast.

• 13x9 with Ambassador X, tuned to a G with Tune Bot
• 16x16 with Ambassador X, tuned to a C with Tune Bot
• 22x18 with Powerstroke 3
• Pearl Sensitone Elite Aluminum 6.5" (SuperHoops) with Ambassador X14 tuned to F# with Tune Bot

My friend with the Ludwig puts moon gel on all heads, even the resonant side. The snare also has some. I wanted to demonstrate my friend's preferred sound. I wouldn't tune this way, but he does a great job and drums sound superb. His bottom head is quite a bit higher than the top. If we use the terms described in the Tune Bot Tuning Guide, he's at what they call Medium Resonance.

• 13x9 with Ambassador top and bottom, tuned manually to an A
• 16x16 with Emperor top, Ambassador (Ludwig) bottom, tuned manually to a D
• 22x16 with Powerstroke 3
• Ludwig Supraphonic Ludalloy 6.5" with Ambassador tuned manually.

Blue Badge Beverley Drums, Vintage (early 1970s)

After playing my buddy's Rogers Holiday, I became determined to score a vintage kit of my own. After drooling over kits on American eBay for weeks and fretting over the risks and costs of shipping overseas, I decided it would be easier to find a kit locally, here in Europe where I'm living (Hungary, to be precise).

Pretty quickly I made the move on a rather obscure kit out of England called Beverley. Or as it is written on the blue badge: BeVeRLeY OF ENGLAND.

Before making a move I read dozens of posts about Beverley drums on various sites to convince myself that "Blue Badge Beverley" kits from the late 60's are professional kits. I read great comments about the supraphonic-like aluminum Beverley 21 (or Cosmic 21) snare, one of which was included in the local offering.

Here's the kit in a nice little track from my current band. It features the main kit without the 13, but with the Cosmic 21 snare. The 12" had a Renaissance Remo head, while the 16" a coated Ambassador.

So here's the word on my Blue Badge Beverley, after a couple of weeks in my possession. It was sold to me as a 1968 kit, though I have no way to prove that. UPDATE: This kit seems to be at least a 1974 kit. The oval-shaped "lokfast" tom mount seems to have only been introduced in the 70's:

These lasted until roughly 1974 when they were replaced by the more substantial ones (confusingly called Lokfast), which we’re probably all familiar with. These had an oval down-tube, knurled L-arms, and a massive cast receiver block on the bass. 

source: http://www.drummagazine.com/gear/print/the-rocky-history-of-premier-drums


Set-up and sizes
12 x 8, 13 x 9, 16 x 15 (yes, 16 x 15!), 22 x 14, with a 5 x 14 Cosmic 21 snare
The 13 actually has a stamp on the inside that says International Size. I consider that pretty cool!

Shells 

The drums are Premier 3-ply birch with beech re-rings. All, that is, except for the 12", which is a Premier mahogany shell with beech re-rings. Clearly they are matching drums, wrapped at the same time. Don't ask me how or why the 12 is mahogany, though it makes sense according to my research. That is, Premier started to move to mahogany around this time, so I guess somehow this kit got made with a mahogany 12". Go figure. Anyway, all of the shells are perfectly round with no signs of any problems whatsoever with the bearing edges.  The Cosmic 21 snare is aluminum (or aluminium, if you prefer).

Interestingly, the floor tom seems to have a sandwich layer of darker wood, presumably mahogany. I've yet to find info about Premier using a sandwich shell of birch-mahogany-birch, but you can clearly see a dark ply in this photo.

Update: Here's a link to a site that mentions a middle-ply of "darker wood" on Olympic (Premier) shells: http://www.vintageolympic.co.uk/faq.html#q2


Wrap 
The wrap itself might officially be known as Hairline Silver, but I'm not sure.

Update: A fellow VintageDrumForum user informs me that the name of this wrap is Silver Star.

Whatever it's called, it's certainly silver and textured and very cool (clearly a subjective view, though). I had read on one forum that Beverley kits had thin wrap. This is certainly what I would call a light wrap, or maybe soft is a better word. It's not a hard plastic wrap, but almost more of a fabric-like wrap. Instead of cracking, this wrap scratches like a thick industrial wallpaper, you might say. The wrap is a bit bubbled in a few places, mainly on the 12". But you have to look closely to notice.


Badges, Serial Numbers
My band mate noticed that at a certain angle you can see a serial number printed on the each blue badge. I'll have to write them down and post them here.


Chrome.

Probably the most surprising thing about the Beverley is the chrome. Even close-up there's hardly a spot on the chrome. On some sites I read that Beverley was first known for music stands, so I guess it makes sense that the chrome is top-notch. Even the Cosmic 21 is almost flawless, but I've seen some 21's in rough shape online.

Hoops/Rims
So far this is the weak spot. The hoops are rather light, and the 12" hoops are out-of-round where the drum seems to have been dropped. The 13" is also slightly dented. I think I read somewhere that these are 2.3mm hoops, but they are not as solid as the steel rims on my new Natal, for example.  I replaced the 12" with standard Gibraltar 2.3mm hoops and it's sounding fine. Update: I also changed the 13 and 16 just to keep everything the same. Naturally I've stored away the originals.

Lugs
Somewhere on a forum someone described Beverley lugs as "space age", and I'd have to say that's fair. We're talking Sputnik 1957 space age. The one practical problem I discovered with the otherwise stylish and well-chromed lugs is that they are positioned close to the hoop and have an upward pointing "tail" that makes it hard to finger-tighten the rods. In other words, my fingers don't fit in the space between the lug and the hoop. And it's not like I have fat fingers.

Tension rods
It seems Beverley drums always came with slotted-tension rods, and mine is no exception. The original rods are in excellent shape. I got a Sonor key, so I can manage alright.  Some guys suggest that the Sonor key is not ideal on English slotted rods, and I'd have to say I agree. The Sonor key works, but it's not a perfect fit.

Strainer on the 21
The strainer is a bit flawed. You have to pull the knob up a bit before pulling the lever, and sometimes it slips off during play. Not good. I need to spend some time debugging it, you might say. UPDATE: A little teflon lubricant fixed the strainer! Easy as that.

Tom mount
Originally I had trouble figuring out how to position two rack toms mounted on the kick, but with some suffering and experimentation I managed to figure out how to get the best out of the rather old fashioned hardware. I guess this is why Keith Moon preferred  Rogers Swiv-O-Matic to any of the mounting available out of the the UK at the time?

Sound... 
Fantastic! Watch the video and listen to "Raven Girl" and decide for yourself (see above).

Beverley in the USA
My research tells me that these kits were sold in the late 70's in the US as Premier Powerhouse 6500 and Premier Kicker 6400. Same as the Beverley kits from the same period, as far as I can tell, with some variation over time (kick spurs, for example).

• Premier Powerhouse 1975 from Vintage Drum Guide 
• Premier Kicker 1977 from Vintage Drum Guide 
• After the demise of the Beverley name, it seems the kits became marketed as Premier Projector (catalog ZIP from drumarchive.com)
• Projectors have Beverley kick-drum sized lugs on all drums, including toms (the lugs have one type of insert for kick and one for toms in order to allow proper spacing between rim/hoop and rod)
• The later Soundwave is not the same as Beverley

Playlist on YouTube
I started a playlist of videos featuring vintage Beverley drums.
Feel free to add to it!




Here's some random banging showing the toms with wide open medium tuning and the Cosmic tuned somewhat lower than I play it now (not intended as a solo).

Pearl MHX - Masters Mahogany Classic

Since 2004, my main kit has been a Pearl MHX - Masters Mahogany Classic. I've got a 22*16 kick, 13*9 rack, and a 16*16 floor. I was after that vintage sound, like so many others, and I think I pretty much got it (but see below for a caveat).  Over the years I've earned lots of praise for this kit from bandmates, other drummers, and sound guys/gals.

Funny enough, there's not much about MHX available online. Personally, I love this kit. Deep? You bet! Almost too deep!  Sometimes I had Evans EC2, which made them lower than low. But that wasn't ideal. Ambassador and Emperor have probably been best, or maybe EC1, which I also have used over the years. Once I used Remo Fiberskyn, but that also deadened the sound a bit too much.

But is it really "vintage"?

I should note that this kit has 45 degree bearing edges, which means it has more attack than true old school vintage drums I've played, like my Beverley or my friend's Dayton-era Rogers Holiday. I've learned only recently never to underestimate the importance of the bearing edge! While this drums has a deep, rich tone that might be called vintage, I would hesitate to call it a true vintage sound since it really does have that extra explosion on stick impact (AKA attack).

Update: Die Cast or Triple-Flanged?

My MHX kit has Pearl die-cast MasterCast hoops. I set up my Beverley mahogany 12" (with Gibraltar triple-flanged) and compared it head-to-head to my Pearl MHX 13" with MasterCast hoops. Both had coated ambassador with top and bottom tuned to the same note. On the Pearl, the die-cast hoop clearly cut down on resonance. The Pearl had the attack that the Beverley was missing, but the Pearl clearly rang down more quickly. My conclusion is that the die-cast hoop makes the 45 degree edge sound somewhat more vintage (that is, short), yet the 45 degree edge gives some of the attack that drum with rounder edges just won't have.

So, here's a track that shows what she sounds like (with a nice little Ringo-fill intro).



The snare on this track is an old Tama Superstar birch.

Anyway, I've loved this kit, and if you ever have a chance to grab one, go for it.

UPDATE: After many years of being a one-kit guy, I recently hit a midlife crisis and picked up my Natal Maple kit and an old Beverley. So I sold my trusty MHX to a friend. Nothing against her. I just found my Natal more playable and a better match for what I'm doing nowadays. Besides, I couldn't justify keeping an extra kit on top of my wardrobe!  I guess some of you out there know the feeling?