Drumheads
The single greatest innovation in the history of drumheads happened more than two decades before MD’s fi rst issue appeared. That was the mid-’50s introduction of the synthetic head, which replaced the calfskin models that had been used for centuries. Marion “Chick” Evans is credited with the invention; Remo Belli is credited with taking it mainstream. The earliest synthetic heads were
single-ply, general-purpose models. But by the late ’70s the demands of rock music had led to twin-ply heads designed for greater durability, as well as for the muffl ed sound that was prevalent at the time. Remo and Evans (and later Ludwig,
Aquarian, and Attack) heads were made of Mylar or a similar plastic fi lm. But that
Percussion
Because Modern Drummer was brand-new in January of 1977, that fi rst issue understandably carried very few advertisements. But there was one incredibly signifi cant ad. It depicted the single product that can be credited with launching today’s gargantuan hand and drumset percussion market: the Latin Percussion fi berglass conga. Afro-Cuban congas and bongos made of
wood had been on the music scene for generations, but they were generally imported (which made them expensive) and handmade (which made them somewhat fragile). LP’s fi berglass congas, on the other hand, were less expensive and much more durable than wood models. They were also louder and more penetrating, making them especially applicable in the context of amplifi ed music. And because they were made of fi berglass, they could be off ered in “sixteen beautiful fi nishes,” which gave them eye-candy appeal. They were congas for the masses, and they revolutionized hand drumming, laying the foundation for the explosive popularity of ethnic drums of all kinds that we see today. By the October/November ’79 issue, MD was carrying plenty of
ads, including one for LP’s Everything rack. This was the fi rst stand-mounted device available to multi-percussionists for putting all of their bells, blocks, chimes, triangles, and other “toys” in one convenient—and hands- free—playing position. Drumset players soon wanted in on the action, which led to a slew of devices from diff erent manufacturers for mounting tambourines, bells, and blocks around a drummer’s kit. Percussion chugged along quietly for a
generation, focusing primarily on traditional instruments like congas, bongos, and timbales, used mainly by professional musicians. But in the early ’90s the drum-circle movement changed all that. These activities involved people who just wanted to bang on portable hand drums for the sheer fun and social
interaction of it. Ethnic drums like West African–style djembes were just the ticket. But like the original Cuban congas, imported djembes were expensive and hard to come by. Enter the Remo company, which, as was stated in the July 1995
MD, “dove head-fi rst into hand drumming.” Using synthetic Acousticon shells and Fiberskyn heads, Remo created djembes, ashikos, and even some totally original instruments, all designed to provide good sound, light weight, and low cost. The other major percussion companies quickly saw a market for
djembes. Meinl wood models appeared in MD’s August ’95 report on the Frankfurt Music Fair; a Toca fi berglass djembe was shown in the April ’96 issue; and LP Bantu “African style” (djembe-like) drums debuted in May ’96. For several more years, djembes dominated the hand-drumming scene. By 1997, hand drumming—and what was now called world
percussion—had exploded to the point where Modern Drummer ran a major supplement on the subject. It included a treatise on the health benefi ts of hand drumming, playing tips, and a showcase of ethnic instruments from large and small manufacturers around the world. In May of that same year, MD’s NAMM Show report listed more than two dozen manufacturers off ering hundreds of percussion instruments. Signifi cant among those instruments was one of Peruvian origin,
off ered by Gon Bops. Its name in Spanish described it perfectly: a box. This was the cajon. Easy to play and super-portable (it acted as its own seat), the cajon quickly supplanted the djembe as the go-to percussion instru- ment for social gatherings and “unplugged” band performances. Its unique sound lent itself to all sorts of recording situations as well. Over the next decade the cajon was off ered in literally hundreds of styles, materials, and specialty designs. Today it’s a mainstay of most major percussion brands, including Meinl, Tycoon, Pearl, LP, and Toca.
Remo Belli’s foray into world percussion helped grow not only his company, but the very role of hand drums in modern culture.
January 2016 Modern Drummer 49
wasn’t the only way to create synthetic heads. Cana-Sonic fi berglass heads debuted in the April ’78 MD and lasted for quite a while. Duraline Superheads (August/September ’79) were made of Kevlar (used for bulletproof vests) and were touted as being unbreakable. Hard on the hands and very limited in sonic range, Kevlar heads didn’t prove popular on drumkits—but they totally took over the marching-drum market.
MD’s October ’77 issue depicted Remo’s fi rst
Pinstripe model, along with the Evans Hydraulic heads. Both are still in their respective company’s catalogs, in addition to literally
hundreds of other models dedicated to virtually every playing style and musical taste.
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