Tsuchi's "Taiko Kidan" Part 9 | Capture the sound of that moment

Hello everyone who is reading the JPC newsletter. This is Tsucchi, the familiar drum player.
This is already the ninth installment of this series.
Manager Nishio of Drum City asked me to write in a relaxed manner, and I have continued to write sincerely, but from time to time I receive very grateful comments such as ``I look forward to reading this series every time!'', and while I am truly happy, I also feel sorry for having to write a series like this lol.
But like this! This was a request from Manager Nishio, so I couldn't bend it. Now that I've passed the blame game, let's get down to business. In the first place, has there ever been a main topic in this series? I was about to get lost in thought, but then I pulled myself together...lol

The other day, I received an email from Manager Nishio, saying,REMOI tried the Smooth White Snare Side.If you like it, would you like to try it? ” was the email.

「REMO'Smooth White Snare Side'

What can I say, it's outrageous, no, it sounds fascinating lol
``I like smooth white, but I can't sweep it when using a brush on the hitting surface...For kicks, I can only think of smooth white Emperor.'' I said, ``I like smooth white, but I can only think of smooth white Emperor for kicks.'' I was impressed by the sense of manager Nishio, who hit on my taste with Donzuba.
First of all, isn't the name cool?
Is it a "smooth" and "white" head?
It's not "smooth" at all. It's "smooth".
Marvin Gaye The groove that runs through the entire album on the super famous album “What’s Going On” is a “smooth” groove.
``Smooth White'' has the image of a soul man from the 70's wearing a white Italian-collared shirt with a wide open chest and a double-breasted jacket, singing sexyly. Dazzling white that stands out against brown skin.
From there, a jet-black groove unfolds... I can't stand it lol
So, I had the urge to try it out right away, but when I looked at my schedule, I just couldn't find the time to go to Asakusa. However, perhaps due to some kind of guidance, I suddenly found myself with free time in the evening, and I immediately drove to Asakusa.

For some reason, I've always had doubts about the transparent snare side, and I was wondering if it was the Ruddick white snare side I saw a long time ago, the Weathermaster? It all started when I fell in love with its look and sound at first sight. It had a plump, crisp snare sound, and I had always been curious about its existence, but since it was a discontinued model, it was difficult to find, so I just played it with the same clear snare side as everyone else. Ever since auctions became popular, I would often check on eBay and other sites to find a dead stock Weathermaster White and get it.

Recently, Toshimitsu Shirai of Shirai Music, a musical instrument store in Toyohashi City, Aichi Prefecture, asked me for some advice as I am making a coated snare side.He said something very nice, and I was able to cooperate with him a little.I have been using the thick coated model as a prototype for a long time.
Of course, Shirai Snare Side is also the best, but this is where I get greedy lol

``I wonder if there will be a new snare side like that Radick, which is not coated but smooth white.''

At that time, I received an email from Manager Nishio. Well, you're a bolt from the blue, I've been waiting for you! Yay! Japanone! That's why I installed the smooth white snare side I had acquired on the Acrolite 6.5 that debuted at the JPC seminar. As for the sound...

It sounded so good that I found myself muttering something incomprehensible, saying, ``This is what I've been living for, Patrasche, do you understand?''

She's cool but also soft and sweet, 3.50% tsundere, 30% dere, and the remaining 2.50 is self-sufficient and independent, giving the impression of a cool beauty like Yo Yoshida. What is this?
In any case, the grain is good and the ghost notes are beautiful, so when you need to avoid unnecessary ghost notes, you can just say "Sara", and the backbeat is just like Bill Withers' "All Because Of You" played by Russ Kunkel. Does it feel good with or without a rim? The other 60's acrolite 5" has a Shirai snare side, and the main 6 and a half has a smooth white snare side, and this is it for this summer! I wrote this in a hotel room in Nagoya, and the next morning, when I left the hotel, a black sedan pulled up on the road in front of me. I thought that maybe some scary people would come out, but then I saw a baby-faced guy who I saw somewhere.
Ah! Isn't that Mr. ODNK from TAMA?
Ah! That's right, now I'm going to the TAMA factory! Remembering this, I headed straight to Seto City.
The TAMA factory, located on a peaceful hill, was a lot of fun. Coincidentally, after the production line had finished, there was a sense of relaxation and relaxation inside the factory, and I guess that kind of feeling suited me. I had been asked to come visit sometime, so this was my long-cherished desire to visit the factory.
I had a lot of conversations with the people in the development department, and although 80% of the conversation was just casual talk, as usual, there were a lot of interesting product ideas, and I was able to cheekily share my opinions.

However, making musical instruments is a difficult task.
In order to mass-produce, we have to take every step in order to maintain the balance between supply and demand, but that "step" is really important, so we purposely prioritize the perfection and quality of the musical instrument over commercial balance, and we assemble various woods into musical instruments and breathe new life into them. I was able to observe the delicate work being done, but when I saw the painting process repeated over and over again, I couldn't treat it roughly. real.
That's how the instruments in the practice studio were born, and I realized that the reason why I feel a pain when I see a drum set covered in scratches is because it took so much time and effort.

By the time this issue comes out, I think the autumn winds will have deepened.
This time, I wrote the manuscript in three different time periods: at a hotel in Nagoya, at home late at night, and at home in the afternoon, but each time it was cool and a slightly dry autumn breeze was blowing, sucking away the summer humidity. It's a pleasant time.
I often hear people say, ``It's so humid today that the drums won't play.'' It is true that humidity and temperature issues are a formidable enemy for us musical instrument techs. It's not just drums. Guitars, basses, pianos, percussion, and all kinds of acoustic instruments struggle with humidity. If done poorly, even a synthesizer could short out due to excessive humidity, ending the life of the instrument in an instant.

But, but, right?
Is humidity really the bad guy?
A world with 0% humidity is a bit disgusting, isn't it?

Just as there is a word "appropriate" for everything, I think without any basis that the appropriate humidity for musical instruments is around 20%. That's about it for wine, too.
But here's the thing: I don't dislike the sticky sound caused by humidity, but I do actually like it.
It's what we commonly call a "wet sound."
Low pitch atmosphere with muted effect. I love dry and heavy sounds. In a recording studio with a spacious and luxurious space in the crisp air of the West Coast of the United States, my drum sound was a bright sound that I had never heard before, like the bright blue sky of Los Angeles, and in a recording studio on the East Coast in New York, it had a calm, adult atmosphere, or a very dark, garage-like sound. London has a dense, dead sound, Tokyo has a clear and orderly sound. I've experienced a lot of different sounds.
Of course, I can't generalize, but I like the atmosphere of the studio, the way the engineers speak, and the food we eat at the studio!
This might be the most different lol
There are various delivery services and going out to eat.
At one point, we conquered all studio delivery menus! I was doing something like that lol

The story went off the rails in a big way, but I think it would be best if we could take advantage of the humidity, capture the sound of that moment, and enjoy it. I'm always praying to the God of music as I turn the screws. ``I hope the power of wonderful music descends upon me.'' Once those prayers and tuning have gone well, the only thing left to do is send the musicians out on stage and have fun.
I always think it's a strange job.
I don't have to be there, but I'd be in trouble if I wasn't. I don't have to do anything in particular, but just having them there makes me feel at ease. You can say that. This is extremely important for the rear guard.
That's why we don't get complacent; we just complete the craftsman's work diligently and with all our heart.
Well, tomorrow is our first big stage performance in five years. It's already late at night.
I fall asleep while being caressed by the cool night breeze.
See you again in the next newsletter.
Good night then...zzz