I honestly do care how it sounds. I did not miss any points here. I just see the points ... differently from most here.I play the drums. It's an instrument, as is a Strad. They are meant to be played, which they are. A silent Strad is viewed by most with sadness and disillusionment. I view silent drums in the same way. I'm not a collector, which obviously you are. That would be the variable that distinguishes our differences here. Again, this is just my take on it. You are more than welcome to have a different view. In the grand scheme of things, it really doesn't matter if we see these things from different perspectives.
I don't know how much experience you have playing a Gladstone but I assure you there is a difference. I have performed with these drums and they are remarkable. But then, who has heard of Chet Falzerano, right? Ask percussionists who have played my drums, both privately and in performance (yes I have loaned them out). If that does not satisfy you, how about:
Morris Arnie Lang, NY Philharmonic
Buster Bailey, NY Philharmonic
Arthur Press, BSO
Mickey Bookspan, Chicago Symphony
Harold Farberman, BSO (youngest player ever to become a member of the orchestra)
Morris Goldenberg, World renown teacher/performer
Wayne Pascuzzi, Pittsburg Symphony
Renzo Renzi, Chicago Symphony
Joe Sinai, SF Symphony
Gene Krupa
Louie Bellson
Buddy Rich
Cozy Cole
etc…
As far as collectors are concerned, they do preserve the heritage. Better these drums sit silently on Mike's shelf so future players will have the joy of playing them than someone mishandling/misusing them today, as so often happens. Besides, I'm sure Mike’s descendants will appreciate his efforts as well.