I have finally begun the slow, arduous process of overhauling my old drum set. I, or should I say my parents, bought my drumset back in 1975. It was a Pearl 5 piece set with a 14x5.5 steel snare, 12, 13, and 16 toms, and a 22 bass. They came with locally made soft cases which were so tight that I often got sore fingers from forcing them in, puny stands that wobbled with moderate use, and sheet-metal cymbals that bent the first time I played them. I always thought the set was a local counterfeit, since they were bought from a tiny (now defunct) music store in the edge of the Raon area. I have since learned from internet research that the set was a mid-line series called the "Thunder King" and the shells were indeed made by Pearl in Taiwan, similar to more recent Vision series sets. The sound of the set was never really that impressive, compared to pricier "professional" models. But I quickly developed an intimate relationship with it, for better or worse.
The first thing I changed were the heads. I replaced them with cheap local ones that were no better than the originals. I then graduated to Ludwig Silver Dot batter heads on the toms and bass drum, and an Everplay (by Premier) snare head, which was all that was available at the time from Salonga's Music Store. By 1976, I began buying Zildjian cymbals. Every month, I would visit Salonga's to audition cymbals. So by the time I entered the U.P. Jazz Ensemble, I had 14" New Beat Hi-Hats, an 18" A. crash-ride, a 22" medium ride (which I later dubbed the "infinite ride" because of its slightly trashy sustain), and a 16" thin crash (which I had Steve Gadd autograph). During this period, I also bought three Tama boom stands, generic Hi-Hat and snare stand, and a Maya pedal. In 1984, I replaced all the tom and snare heads with Remo Pinstripes. I also found a store in Sta. Mesa (Anthony's) that sold lug bolts. So I bought out their stocks and replaced them whenever one of them had a loose thread. In the late 1980's, the red oyster pearl drum wraps had started to both crack or warp around the lugs. So I took a bold move by removing them, and had the shells varnished inside and out. I was out of a job and broke at the time, so I could only have it done by a house painter working on my parents house. Much to my relief, the sound did not degenerate. I once rented the set out for a TV appearance of the Hotdog reunion band. The drummer commented that the set looked "photogenic". I played that set everywhere I giged. I brought it on tour in the Visayas with the UP Cherubim; to the Abelardo Hall, TJCC, FEU, and Los BaƱos with the UP Jazz Band; Bulacan with Captain Bakal; and various places around the city as a session player. By the late 80's the sound of my set was so identified with me that drummer friends could literally recognize the sound a mile away.
In the early 90's the same set was used for the Eraserheads' "Pop-U" album. We also used the snare for the "Circus" album because I was looking for something lively with lots of overtones. My cymbals have gotten the most use through the years, as I often made them available to drummers in albums I produced. Raimund would occasionally use them when he needed a "unique" sound, and Kaka used my ride for the entire "Tala-Arawan" album. I bought a new snare head in the late 90s, an Evans ST for the annual family New Year's revelry. I probably used this only a couple of times afterwards, and it just gathered dust. I also bought Remo Ambassador and Fiberskyn3 snare heads, which never got mounted or used at all. Except for the time when the Cherubim used the rack toms for "Awit Ni Pulaw", the set was largely unused by the late 90's. The hoops became thoroughly rusted, and most of the lug nuts developed loose threads. I kept on telling myself I would overhaul them, but 1) I never committed a budget to buy spare parts since there were more pressing expenses at home, and 2) I didn't have any gigs whatsoever, so no opportunity to play or practice on them.
Suddenly in 2007, I started playing again, first for a couple of songs for Eric Lava's daughters' high school family day at Holy Family, then with the "EraserX", composed of Raimund Marasigan, Buddy Zabala, and a few other "Admit One" regulars, then in mid 2008 with Johnny Alegre. It was then that I caught GAS (gear acquisition syndrome). I began by shopping for a pedal because I didn't like the pedal in clubs, and my own pedal was by now unresponsive. Raimund got wind of it, and gave me a brand new pedal for my birthday. I got my first real, but cheap stick-bag, to replace the gym bag I had been stuffing my gear in. I've played 4 gigs with Johnny since then, and the world has begun to hear the distinctive sound of my cymbals again.
In November, I started shopping for a cheap but nice used snare. Cymbals, pedals and snares are the most personal parts of a set to most drummers. Since snare drums in most clubs are pretty beat up, I decided to look around for a new one. But money is tight (as always with me), so I couldn't spare more than five thousand for something I wouldn't be using very often. Then while I was in the mall a couple of days ago, I suddenly decided that instead of buying a new snare, I'd overhaul my old one. I figured it would be cool to revive an instrument that had a long and colorful history, rust and all. The lugs, tension rods, snare wire, and bottom head cost about 2 grand. Unfortunately the store (Lazer, which specializes in cheap hardware) didn't have hoops in stock. I went to JB Music and all they had was die-cast hoops that cost almost 2,500 pesos for one, and I need two. I found a second hand one but was disappointed because it already had some rust. So I ended up having a ballboy in my tennis club brush and sand my old rusty ones, then oil it to prevent the rust from coming back. The rusted portions have left black stains, and it has lost all its shine, but I buffed it to the point that it wouldn't leave residue or oil on my fingers anymore. I painstakingly reassembled the drum last night with the Remo Ambassador head. It sounded GREAT! I bought a nice Gibraltar 6600 series snare stand to top things off. Before Christmas, Johnny Alegre called me again for a December 30 gig at Saguijo, so I bought a cymbal boom stand since most clubs only have 2 stands, and I've got 3 cymbals.
I spent my Christmas vacation working on the rest of the drums. I read a tip in philmusic.com that an oxalic acid bath is a great rust remover. I disassembled all the metal parts of each drum (hoops, lugs, tension rods and washers) and the stands, and soaked them in the solution. After 8 hours, I would dry them out, spray WD-40 on them for another 8 hours, then dry them off, leaving a thin film of lubricant. The process removed about 80% of the rust. The surfaces are still a bit rough to the touch, but they are now shiny. I put them away in plastic containers, awaiting reassembly. I also rubbed furniture oil into drum shells several times, and wrapped them in old cotton t-shirts before putting them away. I'm planning to get new heads for the toms and bass (Remo Ambassadors) when I get some money. I'm also tempted to get a China cymbal, which goes from 6k to 10k used, depending on the model.
Before I began work on my snare, I was planning to buy other things, such as a flash unit for my wife's DSLR, and new recording gear. But second only to getting a new pair of tennis racquets, restoring my drumset has become my current obsession. I could go out and just get a new entry-level kit for less than what I would spend to restore my old set. But then again, there is something subjectively cool about old musical instruments. I've never really thought about giving them away or selling them, because for all its aural and structural "shortcomings", my drumset is so much a part of my personal sound and musical history that I can't think of parting with it.