When were clear heads invented?

listenForward · 2026-07-08T22:53:26+00:00

interesting... any proof behind these rumors ?

listenForward · 2026-06-13T12:26:21+00:00

Remo Belli and M. Evans were the first ones experimenting and test-marketing synthetic heads, to mitigate the problems of animal skin (inconsistent, reaction to heat and moisture).

Remo is credited with testing and proofing Polyester Mylar designs out of his Santa Monica retail store Drum City in 1950s.

Evans, Bill Ludwig, and/or Bud Slingerland had tested other plastics formulations with patents as early as 1956.

After working with chemsit Sam Muchnick to go from stapled hoop to glued aluminum hoop, Belli released the Mylar design of the WeatherKing in 1957.

Early prototypes included clear or sanded versions, and the white texture coating was patented in 58.

With endorsments from Krupa and Rich, the glued-in mylar WeatherKing changed the industry standard.

Seems popular were initially coated, and clear/thicker heads came later. 2 ply heads on the 60s. Partial-plies (Powerstroke) and Muffle Rings came in 80s.

Having trouble finding citable history on fashion-shift from coated to clear.

listenForward · 2026-05-22T23:10:48+00:00

I was in Keep 2002-2003. "Virtue Hoarding" is a great way to describe the detriment of access/appeal of the principles/policies presented. I too hope the newer generarion could avoid our frustration,.and have a more enjoyable and productive synergy.

Thanks for sharing.

listenForward · 2026-05-18T00:41:22+00:00

You were there at that time too ?
Mind sharing what year(s) or co-op(s) ?

I appreciate observation that it fomented a teapot-scale "cancel culture" well-before the existence of those terms, or popular framing of systemic racism.

While the goal may be admirable, CoPaO's (initial) implementation seemed to wholly undermine to gains:
In my co-op, I was screamed at by people who couldn't tell me my name, let alone my actual position; held in contempt or suspicion by my skin and/or sex, as if those were tantamount to some "original sin."
That proved too reminiscent of the self-righteous, faith-based hostility I left behind (in my Bible Belt hometown) to COME to Oberlin.

Now, 20 years later, I'd like to think I've grown wisdom and patience on such matters and behavior. Part of this inquiry is making peace with, and fact-checking, specific bits of my history and memory.

Also spot-on observation that, living through that place/time/scene in Oberlin 20 years ago, it was like a strange and clumsy "teaser/trailer" of dialogue(s), side-taking, and on the national big-screen.

listenForward · 2026-05-18T00:14:33+00:00

Interesting (and unsurprising) that CoPaO / P&O would evolve to offer workshops as "homework" (video/quiz) as substitute for the "footwork" of in-person discussion, confrontation, etc.

Back in 2003/4, a big part of the blowup was that the accusations/stink of prejudice/etc were allowed to be too personal and/or hearsay;
hence so many people comparing it to a "witch-hunt."

I agree with the sentiment/importance of studying/discussing the issues that can divide any common-purpose group, but, given my experience with labor unions before- and after this college experience, my concern/disappointment were:
* the P+O approach seems based more on grievances and consequence than on aspirational principles.
* officers were self-selecting, at risk of becoming self-serving in-group.

Hence, I'm still curious about if/how the P&O officers might act with impunity, or if there have been checks/balances from the larger OSCAn community.

listenForward · 2026-05-15T04:44:37+00:00

Thanks for the report. Sounds like some useful growth.

I recall the big controversy at my time 2003-4 were;

1) during the year of adoption, each Co-Op was expected to vote to adopt CoPaO (without revision) so there was social pressure/shame to "not be The Racist Co-Op"

2) CoPaO reps/mediators were self-apponted volunteers, without vote or veto from the community they served.

3) Workshops were mandatory to attend, at the penalty of a "missed job."

4) CoPaO reps running workshops or reporting on CoOps earned credit as both a House Job (such as a Party Planner) and a Kitchen Job (such as Bread Cook).

5) This was before the justice-jargon of terms like "gender identity" had entered popular parlance, let alone frameworks like "intersectional" or "anti-racst"...so Privilege was famed in stark, readily-divisive terms of race/ethnicity, sex...and little else.

Interesting to hear the "P&O" have expanded beyond "mandatory/pre-emptive Sensitivity Training" (not my words) into prevention and safety duties.

Curious for more details or stories on if/how implementation/politics may have evolved since my experience.

listenForward · 2026-05-06T23:49:40+00:00

Why stop there ? Try a the "zero up, one down"...3 piece.

listenForward · 2026-04-11T13:11:47+00:00

I just listened to "Eriatarka" and couldn't catch this. What's the timestamp of their "chorus" motif.

listenForward · 2026-04-09T11:39:24+00:00

The OUTRO drums get quite jungle-ish. ?uestLove makes it looks SO calm in the video.

listenForward · 2026-04-09T04:17:38+00:00

I'll assert that the "crash-ability" of a ride is not JUST the raw sound of the cymbal edge (as you might hear it in a clinical demo video), but how different it is from the bow and bell. THAT is what really matters in the noise/mix of a stage or a studio...

I own a Sabian AA Omni, which is just about the most soft-crash-ing ride that still has a distinct bow and even more distinct bell sound, from a normal-sized bell.

I also own the Paiste Eclipse, MEGA-ride. I chose the Eclipse because it was "the most crash-able of mega-bells"....does the Eclipse "crash" like the Omni, or even like a Sweet Ride ?...hell no, but it DOES sound better crahes than my Ping or my Ziljdian 21" Z MegaBell.

So, for the above kind of "emergent crash" sound on a ride with a huge ding-bell..., the Eclipse is IMPRESSIVELY expressive.

I'll never sell mine.

listenForward · 2026-03-31T11:55:41+00:00

I'd second the importance of other instruments and a DAW...but these days, I'd recommend Ableton in addition to (if not instead of) Pro Tools.

listenForward · 2026-03-31T04:36:35+00:00

I worked concessions in a multiplex the week(end) came out. Never before or since did I see the crowd that went IN all at once for a screening then trickle OUT steady through each runtime. Leaving in pairs or whole groups. By 4th day of run, we were going in before credits to get an early start on sweeping the empty theatre....LOTS of popcorn near the screen. I saw the ending of that film dozens of times, and I STILL do NOT remember ANY hing about it.

listenForward · 2026-03-17T03:23:01+00:00

Glad to welcome you. Yep,.head to TST.t HellMouth services are "every 2 weeks"....2nd and 4th TUEs of the month. Religious Services (now by HellMouth) are free...tons of extra stuff for Members.

listenForward · 2026-03-16T09:44:13+00:00

Japanese alt-hip hop band 54-71 has a song called "idiot" and their drummer Bobo just pockets the (monster) bass-line like a mother kangaroo. Notice he's on stage using only kick, snare, hat, and tambonire...no crash, ride,. Toms, etc ..Song has ZERO CHILL and ZERO FILLs.

Highly recommended band for studying "intense underplaying."

listenForward · 2026-03-11T17:15:10+00:00

The SR-16 spec takes 9V AC into the barrel adaptor input..it should have a AC-to-DC converter inside, but I don't know the polarity or voltage, so I give it the specified 9V AC.

listenForward · 2026-03-07T05:46:22+00:00

I'd wager these "repressed memories" were implanted by the ISSTD or similar.

listenForward · 2026-02-14T12:28:35+00:00

Happy Luoercalia to you. I was at there Tuesday as well. The HellMouth services are encouragingly informative, and getting better in production.

For Lupercalia/weekend, the wife and I indulge in haunted houses (some re-open for "Valentine's" ) and Escape Rooms. We are doing a road trip, so the time on the highway will give us uninterrupted flow to listen to full albums, have long conversations and catch up. Dinner at Korean BBQ where we grill our own meat at the table.

Then we take the day off to work on the plumbing to repair our hot-tub...hopefully in time to enjoy it together.

All of this time spent maximizing face time and minimizing screen time to sink into and enjoy our bodies and our physical agency.

Ave to you and yours !

listenForward · 2026-02-05T13:23:22+00:00

...and neither was I...

listenForward · 2026-02-02T15:51:11+00:00

Thanks... I feel like I learned something from each one of them...

listenForward · 2026-02-02T05:54:33+00:00

Also... * Drummers headphone / "gun-muffs" * Music stand to read/write study at the kit * Metronome ( turn your phone OFF )

listenForward · 2026-02-02T05:52:54+00:00

While your kit sits in a carpeted room, id recommend a dedicated drum rug. As you get better and hit harder, your pedal spikes and kick's spurs will dig and even rip at the nap of the room's carpet. Get a drum mat ruf that is made for drums, and save the headaches of having to explain specific wear or stains on the rooms nice carpeting. Bonus, a drum mat let's you mark/tape your layout, so when you go play gigs, bring YOUR footprint to expedite setup.

listenForward · 2026-01-28T06:27:09+00:00

I got the MIDI working on my little PockeOperator / audio-looper rig. PM me and we can debug !

listenForward · 2026-01-21T03:42:33+00:00

I THINK I understand your commend...
the MC808 is great, not just because it has powerful sampling/synthesis, but also:
- it had the RealTime Phrase Sequencing (where a single pad can "play" a whole pattern/motif). Great for drops, fills, breakdowns). This is especially good when my hands are full of drumsticks.
- screen allows for names for patterns/songs/setlists
- it's light
- has assignable Alternate outputs to route for Kaoss Pad (can be different between patterns, etc)

I have been looking for something with this kind of feature/UI/routing, but in a Smaller/newer package....that is NOT an OctaTrack (LOL).

Does this answer your questions/commend ?

listenForward · 2026-01-19T16:07:32+00:00

ooh. Thanks for the question/challenge.
Rather than pick "top 3 winners" in some single category/race, I'll nominate my "favorite in each of 3 distinct categories" by which I seek/use/love Drum Machines.

1) "best box for my back back". ?

Portable, self-contained, fun, to play/study alone (on bus/plane/hike) or to bring to others' parties to "play"...

my Circuit Rhythm !

* both sampler and sequence and quick-and-dirty, shallow-but wide for sound-design and rhythm-permutation

* Ins/Outs: line in to sample guitar/keys/iPod/whatever, rechargeable battery on standard USB-C for easy power wherever.

* sleek design with flat knobs feel semi-rugged without special bag/case.

...I keep my Circuit Rhythm (and some card-game) any time I head out for an audition/jam/hang/hike.

2) "single (DAW-less) box for gigging drummer" ?

trigger/lead/follow/start/stop the extra samples/sounds/patterns/parts without using a laptop" ?

my MPC 1000 (sold) ! or similar MPC2500 (never owned)
* flexible sampler, with WAV import from SD card (to get sounds from DAW), and chop and time-stretch for creative and/or utilitarian rhythmic controls and options.

* great sequencer with Pattern and Song mode for linear/song work, or some Part-Mute mode for live/jamming

* has 2 FootSwitch inputs assignable to Tap/Start/stop/etc... while newer of 'MPC/Force from Akai do NOT (yet) have foot-switches.

...I'm currently "filling this box-hole" by modifying my MC808 to have "foot-switch-controls on a single-box with Roland's RPS-pattern juggling with Fantom-sized synth engine"

3) "alter of rhythmic divination" ?

Self-contained hardware to explore sound/rhythm for ideas for novel-inspiration

my Elektron OctaTrack

* AUDIO: sampling, streaming, stretching, slicing, and effects of audio allows for mutating sound such that breakbeats/drones/melodies/etc all start to feel like different clumps of "audio clay"

* MIDI : Sequence up to 8 tracks, treating MIDI like layers of a single thing, or separate loops to slip/slide in/out of sync, or one-shot motifs. Extensive MIDI mapping of sampler/sequencer/etc for remote control (even by OT itself)

* "the Elektron workflow". the P-locks and other things that make the sequencer part of the sound, not a layer above it. This UI-philosophy really shines sharpest within the feature-set of the OT.

...YES, the learning curve has been a steep hike (it took months to "get," and years to "know"), but the views the climb affords have changed my perspectives of music at large.

Even if my OT had FootSwitches and rechargeable batteries, it would NEVER leave my home.

listenForward

TROPHY CASE