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    Lienio Medeiros
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    138 views60 pages

    Sonor 1982

    Uploaded by

    Lienio Medeiros

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 60
    ? SONOR’ The Drummer’s Drum. In this In the constantly changing world of todays music, drummers and percussionists are Cat alogue placing more importance on the quality of their instruments than ever before. A drum set needs to be versatile to allow the musician freedom to play rock, jazz, fusion, country or any other kind of music. Of course, as the technical standards of music have DRUMS LD. ses prom sop Hicreased, so have the technical requirements ares. wasast, cHicaco, iL eos Of a drum Set. a Ta Ese7 eee) This catalogue is designed to comply with these requirements. It shows how a high standard of quality can be achieved by the right mixture of scientific research, modern technology, and a constant exchange of ideas and experiences with you, the drummer. In this catalogue, the professional musician will find everything needed to keep his or her equipment current, while the beginners will find important details to help them select their first set. ‘Table of Contents ‘Sonor History 1 | Percussion. . . 7 Research 2-4 | Hardware 3-90 Features 56 | Accesories... SL Drum Setup 7 | Cymbals 2-33 ‘Snare Drums 8-12 | Sticks,Mallets,Brushes 54-55 ‘Signature Series 13-20 | Drum Heads 56 Snare Drums 15} Master Series Chart a Bass Drums 15 Tom Tors 8 Floor Toms .... . 18 Drum Sets... 0 Sonorlite ....... 21-28 Snare Drums. B Bass Drums. = Tom Toms . . . 6 Floor Toms .... . 26 Rg ta a pn Tt i Phonic and Phonic Plus 29-36 Graphic Design Advise: ‘Snare Drums ara ‘Wermer Harzer, Heimut Scala Bass Drums... -. 31 [iste Syme Wane Tom Toms Mu reer ay a Foo he x Dra en, ate Drum Sets % eee ere Johannes Link, born in 1847 in the small The Sonor Bavarian village Forheim near Nordlingen, History was a wood-turner and a tanner. These crafts were the basis for the percussion instruments factory he founded in 1875 in WeiBenfels/Saale, in what is now East Germany. Atthe beginning there was only research and development one employee working atthe _programhas been ime tested factory where natural hide drum throughout our history, as has the heads and military drums were creative efficiency of our crafts- produced. However, only a few ‘men, musicians, and designers. Yearslte, the small workshop This lend of old and new of fad tobe enlarged, By 1900, the tration and progress, isthe 5 factory already employedS3-_comerstone ofthe Sonor i craftsmen. The company manu- trademark ye factured tympani, concert drums, Ae xylophones, glockenspiel, nine tambouries, cymbals, triangles Be PREIS-[ISTE |) and sound tess a My i A catalogue issued in 1907 shows CRI OTE PAN ey ie tstinesconbind ) SSE ‘mechanism for playing the bass - = MS tp frum and eymbals, which is 07. 1425) 4 usu) enone [Seas ac : GrfieZrommeljabeitBWeifen: Weissentfele pedal and hichat. The fist fel8 Jobs, ink, Aeiseniets. se ‘complete drum sets were builtin Mnmeldung dom 16, 4. 1907. Cine ae the early twenties. Their com- tragung am 1. 7. 1907. - ponents were already similar to .; aa 4 Ha Soe umd Beriried vow those ofa contemporary cuit: | vgeens Atontmetn, Lambartind, Bait, Teoommet snare drum, tomtom, | fete, Sifaginfieumente aller Met und deren 3. = cymbal, bess drum pedal and also i bottom cymbal, aswell asa Registration ofthe Sonor trademark : number ofsmall percussion athe Imperial Patent office in instruments, At that time L4Sem- Munich on July It 1907 ployees were working for Sonor. Consul Otto Link, son ofthe founder Johennes Link and his father’s successor, lead the enter- prise securely and resolutely through the great depression, war, and post-war toils until the factory was expropriated in 1950. This was when he and his son Horst Link moved tothe freedom of West Germany to establish anew, modem factory in ‘Aue/Westphalia By 1955 acatalogue with 100 pages, presented a complete range of instruments for drummers and | Ilesraion above: percussionists Cover of one the first Sonor ‘Today, Horst Link leads the catalogues from 1899 company together with a dynamic | Below young staff. Todays Sonor << Combined mechanism for playing instruments are the result of bass drum and cymbals froma yore than 100 years of experience catalogue of 1907 in drum making, Oursystematic Research Frequency spectrum ofa drum without resonating head (T 13 CW) with fndamental tone (89 hz) and overtones In the past, acoustic properties of drums had hardly ever been studied. The decisive factor for judging the sound quality of a drum set was and still is subjective, and often influenced by current trends. In order to provide a generally accepted, impartial criterion for classification, scientists of the German Federal Institute for Physics and Technology have been and are continuing to do thorough research on drum acoustics on behalf of the German Association of Music Manufacturers. In their laboratory for musical acoustics, the scientists have answered the crucial question of how the materials, form and size of a drum interrelate and affect the sound quality of the instrument. The sound ofa drum a perceived by the auditor consists of fundamental tone aswell s the overtones belonging ot Basically itisthe fundamental tone that makes us hear low ot high pitched sounds. The over- tones ae responsible for the characteristisound ofthe instrument. The more overtonesit has the brighter and more brilliant the sound. With fewer overtones, the sound will be softer and darker The head and shell ofa drum have different functions which contribute to be sound, Picture on the right: petite Measuring with a frequency Tee eum bet ‘analyzer in a laboratory with nnon-reflecting wall Te drums sound starts with the hhead. The air above and below the head will start to vibrate when itis stuck or, a the scientists say, stimulated, This means that the head isnot only the sound the head can vibrate, the more effective the energy can be transformed into sound. Research Furthermore the sound quality of a drum isinfluenced by the material ofthe specific drum hea. Depending on the mass and stricture of ahead, the overtones have a longer or shorter decay. Drum heads with short overtone decay (such as Pin Stripe, CS) seem to have more distinct fundamental tones and sound softer and darker. SS a= ‘bimm r1ehies 500) Hz-Terais| Ambassador . 30 03. 09 as Diplomat wo | 025 08. a Emperor Ce ce PinStripe [py @un| oss 10 ry Controlled Sound 0 03/04 0 | A comparison of the decay of fundamental ones and overtones of the various types of drum heads The shorer decay of overtones of Pin Stripe and Controlled Sound heads cam be clearly recognized. Bibigrphy Prof DrIng. gen Meyer: Dring ingiton nel dng von atastchon Opticranseraic fr Supi nd Membrarnsramerte Drelng. Ing Bork DeServngugseraion von Trommetelsuné-kesen Dex Msiisramen, He 1, 18 Prot Dr Ing. igen Meyer Aku undimustsche Ashman Michel Disaster Derkling der Meskistanente Prof De Inn G Roederer Physick un pense Grenlgen der Mis Steven Walker: AraitieDrum Tasng hctoaraps by coutesy ofthe German Fedral ttl for Fat ad Testoloy, Braunschvel berate ‘According to scientific discoveries the drum shel itself is acoustically passive. The shell does not contribute notably tothe sound projection, rather, the frequency ofthe drum’s sound is determined byits dimensions The bigger the drum shel the eater the vibrating air column above and below the head will be. Accordingly the fundamental tone of bigger drum wll be lower than that ofa smaller drum, providing they ae tuned the same way. Therefore, the shell influences ony the vibrations of the head and is sound projection. Tord to fulfil this function in the best possible way, the shell of drum fas to meet the following requirements: ~ The shell must not vibrate, in ‘order not to deprive gy ofthe drum head by its ‘own vibrations = The shell must have a igh Alectional resistance: the higher the flectional resistance, the Jess chance of the shell producing its own vibrations ~ The shell must have a great mass, thus making the decay cof the drum sound toa large Scientific esearch on drums Measuring with a Third Octave Analyzer and a Beat Frequency extent independent from the ‘way its fixed to holders and stands. Furthermore, it favors an efficient projection ofthe fundamental tone ~ The fictional loss atthe inside ofthe shell has to be kept as small as possible, A low frictional loss means a more effective transformation of the Jhead vibrations into sound, ~ The edge ofthe shell must be finshed in such way that the vibrations ofthe head are muffled as litle as possible Friction at the edae of a shell causes a mung ofthe igh sound components, The least possible mutflng is achieved with a narrow edge, whereas wide edge causes a stronger smffling The harder the ‘material ofthe shell, theless the ‘overtones are muffled. This is the reason why snare drums vith metal shells have a more distinct range of overtones, than those with wood shells ‘The stability ofthe drum shells is very important, as only a solidly built shel with hard edges allows optimal vibrations of the drum head, Wall thickness of the drum shell Apart from the dimensions ofthe shel, the wall thickness also influences the sound quality of the fundamental tone. ~ The basic frequency will be more muffled when the sell has thin wall, so that the upper frequencies emerge. The sound ‘seems to have more overtones tobe more brilliant and sustaining. ~ Shels with a thicker wall and equipped with the same type cofheads have the same spectrum ‘of overtones as thin shell However the projection ofthe fundamental tone is better. ‘The sound seems to be softer and fuller. Features The Sonor drum shells is ensured by ability ofall igh level of wood. Ilusrated below isa 12-ply Signature shell Sonor wood shells Basis fora better sound Beech and birch, being two of the worlds strongest timbers, are the basic materials for ll Sonor drum shells. Both woods have a uniform density, so that their surfaces are smooth, frm and resistant to wear Because oftheir outstanding acoustic properties and their ibility and resilience, they are idcally suited for the production of drum shells Construction ofthe wood shells The highly solid Sonor shells proxiuced bya special forming procedure. This process includes the cross laminating ofthe separate ples. There are also no Sound resrining reinforcement, hhoopso sell supports, so the shell has a minimum of vibration and the same level of stability at every pint floating hea Inorder to allow a drum hi ‘vibration unaffected by secondary Physical properties of varios types af wood wed in dram making Typeatweoa| Bubing ry Boosh o Birch 5 Maple tal Pop Modulusoelastiiy Pressureresistance Fetonal strenght Hardnes: Nero noise, we use the principle of Red Lauanis sometimes alld “Philippine Mahogany a a4 ® % 9.690 1 [a Factor ofproprtonaliy for theinrereation of power rnibendngsran ‘Thepressueaplied othe wood nthe point of resking uh point of Meaeforhe sin when pressed perpendicular to the grain . rmapobesto Power Surfs although iis not jonient Hol, No, vibrations are pro floating heads, which is also used for concert tympani. The izes of the Sonor shells and ms prevent a possible way when thereisan angle ‘of 45° from the edge ofthe shell to the head, Accordingly, the topand contact of the drum head rim to the bottom edges of Sonor shell arc shell. Measurements show that Features Cutaway ofa Sonor lug Sonor metal shells are made seamless of ferro-manganese steel Like the wood shell, these shells are designed to have minimal vibration of their own, allowing an optimal vibration ofthe head. A fat see discs formed into a perfectly round shape ona projection machine, Cold forming ensures a regular wall thickness and a high stability ofthe shel. Inthe following galvanization process, evry shellisfirst copper: plated, then nicke-plated and finally chrome-plated Fittings The drums, rims lugs and tension screws re pats that take the most stress. Therefore, special care is devoted to their production. Similar to the snare drum shell, the rims are formed seamless from ferro-manganesestel. The flanged rim with is beaded upper edge allows clean rimshots and preventsa hgh breakage of sick. Sonor tension screws for snare «drums, tom foms and floor toms have the characteristic slotted cylinder head and can even be tured with a coin f there is no key at hand. ‘The inside ofthe drum lugs consists of: © Thread housing made from nonferrous meal, to prevent high wear ‘Snap-lock” fixing the thread to prevent the head from going out of tune © Tension spring asa bedding for the thread-housing, ‘© Foam lug insert to prevent rattling sp Lock” (patented) The *Snap Lock” system, developed and patented by Sonor, {sanimportantinnovaton in drum ‘making. It prevents th tension screws from loosening and causing the drum head to come out of tune during play. The system isas simple as itis effective ‘A clamping ring above the thread housing is pressed against the tension screw, which lattened ‘ontwo sides. When the screw is tightened it wll ock at every half tur, securing its postion. The tension screws ofthe snap lock can be turned easily with a Sonor ddeum key, incontrastto the lock nut system which isa dificult and ‘more time consuming process For best results in head changing we recommend spin key 2 5070, For tuning we recommend keys 25071 and 25072 peel icsny The shell mounts on tom toms and bass drums are holersin two respects Fist, on ll Sonor shell. mounts the tom holders are fixed by tightening a wing screw down ‘ona spring loaded and tel rein- forced nylon wedge. The shel ‘mount holds horizontally by the vege, ands doubly secured by means ofa fix clamp. Second, the mountisheld securely on the drum by 2point driling of the toms and 4-point drilling of the bass drum. The mount has & full outside and inside allowing tremendous weight to be ‘mounted onthe bass drums ‘Without the mount loosening, Bass rum spursandfoortomlegs (0GM) Bass drum spursandfloortom legs are adjusted by prism clamps, which enclose a section of the spur orleg making slippage virtually impossible. Te prism clamp itself fixed tothe shell at3 points. The spurs are of superior non-creep” design, and are quickly adjustable from rubber feet to metal spikes to keep the bass drum rigid on any surface. The floor tom les are equipped with solid rubber fet Gidawayoftom tom mounts (op) «nd bass drum mounts (center Prism clamp for floor tom legs (botom) Drum Set-up The drum set is a very personal instrument. Tt has to meet the individual requirements of every drummer. In most cases the purchase of a complete drum set means a large investment planned for several years of use. The person who wants to make that decision should therefore be able to answer a number of important questions: eee ices playing? ‘When choosing the equipment, the kind of music toe payed and the number of musicians pl in the band shouldbe take consideration, For example, in most cases apiece st with 18” bass drum, $3" snare drum, 12" or 13” tom tom and 14” floor tom willbe suitable for the traditional jazz band, Playing in a rock band, however, requires a drum set with larger drums. ‘What kindof ound do you want? very drummer has indi ideas regarding sound, Thisis why Sonor offers types of drum shells wth diferent sounds, When these are combined with the many’ types of drum heads available there sa neatly unlimited Variety of drum sounds, The individual aii drummer are the criteria forthe choice of equipment. The beginner should start wth a standard set, consisting of bass drum, snare drum, one or t¥0 tom toms and floor tom. The set can later be enlarged with additional drums. po exer rs a oY Unfavorable surroundings some- times prevent the set-up of a large drum set. There are alternatives: tothe traditional set-up which help to avoid problems ina narrow room: the double bas drum pedal HLZ538, the Vatio-Camp system, the quadruple tom tom holder Z.5518b, as well as the double eymbal stand Z 5278. How will you transport and store our drum set? Covers and cases help to preserve the value ofa drum set for a long time. Ifthe position of the setis not changed very often, itis suicient to use drum covers for transport. For drummers who travel aot, the purchase of fibre cases willbe worthwhile Before composing a drum se, ‘one should know the different components and their use: i; The Snare Drum isthe most Lee mportant component ofa

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