Buy a repro decal? Lol

Agree with Blair, try one of the repop decals off ebay. You can always add a old skool crest with your initials. I might do that on my 40's kit. I'm not sure what the 50's SL logo was like. Didn't they still use calfskin heads with the stamped RK logo then? 60's was the smaller version of the 70's SL logo. The ebay ads have the sizes and years. Like $10 each.

http://www.vintagelogos.com/ here's the site with crests and other stuff~!

I know a few guys here who used a local sign maker but you'd need to provide a image I'd guess. They can clean it up and size it. Maybe they'll chime in for you.

I use whatever head sounds the best for that drum and batter combo. It varies so there is no canned answer. On one kit I've got a calf reso. On another I've got an Emp reso. On yet another I've got a fiberskyn reso. Etc etc etc. it will change as the batter head changes.

Eric and Forumites,

The is a company in Comstock Park,Michigan that has Bd logos for $4 each!

It's 5-10 minutes away from me!

Victory Signs it is called..they are all over eBay...

Blair

Thanks Blair I'll check them out! Cool1

Hi Guys,

Jumping in on this thread... hope ya don't mind.

I'd like to buy a Gretsch BroadKaster front BD logo like the one's attached.

Blair, Would that company you mentioned have these or be able to make one?

What do you recommend for the 26.... the big one or small one?

Thanks!

Try them....they might make you one...

Re the Gretsch....low key is usually good,so I would go with small one.

At the risk of offending some I think I would like to weigh in on the "port / no port" conversation. Before I do, I promise I am not starting an argument, however, it may be beneficial to some to hear a different point of view. My point of view is that of someone that has produced or been involved with various production aspects of every conceivable type of live event in all types of venues all over the world for the past 30+ years. In other words, I have been sitting out front for more sound checks and concerts than I can possibly count. I say this not to brag by any stretch but simply to pass on my thoughts of having seen hundreds of professional drummers from load-in to load-out.

I am of the belief that, if you fall into any the following categories:

- a gigging drummer that typically plays shows that require sound reinforcement including drum mics.

- you do not have a staff FOH and monitor engineer (in other words you are at the mercy of whomever the audio engineer is that day)

- you do not carry your own detailed mic package or cannot specify exactly what you want in your detailed and followed to the letter production rider.

- you have limited or no sound check time.

Then you should probably have a ported resonant head.

The reason is simply that it is far easier for a sound engineer of whatever caliber to produce a great or at least passable kick drum sound and do so quickly. If you prefer a non ported reso then by all means have one. It is great for practice and great in the studio so long as you have an engineer that understands how to deal with that. When you play out on large club dates, theater shows, arena and stadium concerts, then I highly recommend a ported head.

In a lot of situations audio engineers will place a PZM style mic inside the kick on the pillow (which is reason enough to have a small pillow) and then a large diaphragm mic in the port. They may also add an inverted speaker such as the Yamaha Sub Kick to accentuate the low end and "air". (If you are looking for a large diaphragm mic, it's tough to beat a 6" diameter diaphragm). We might even add a fourth mic on the batter head that is, of course, switched out of phase.

In reality, as has been stated in other threads on this subject, the sum total of a kick drum sound through a PA is quite dependent on the electronics after the fact. I just saw Jonathan Moffat the other night and his three kick drums were over 60% filled with giant pillows. His kick sound was great. I am not suggesting you should do that of course, but I am suggesting that, after sitting at the other end of the snake, I think you are far better off making it easy on everyone including yourself.

Not picking a fight at all, but I would offer that spending 20 minutes arguing with an unwitting sound man that has no stake in your gig other than an hourly wage may not be the best use of limited sound check time. Spending that time making the audio and monitor engineer your new best friend might be time better spent.

Also, the concept of mic'ing a full reso head kick drum from a certain distance does not take into account the type of mic, the type of processing available nor the output transducers. One particularly unfortunate side effect of mic'ing a solid reso is the tendency for the kick to become a parabolic reflector of sorts; gathering up much of the ambient stage volume around it and feeding that back into the mic. The science of audio is a very complicated thing and, for the lesser practitioner, generalizations can prove problematic.

In other words, I don't think this is a hill one should climb up and die on. If you feel comfortable without a port and can get what you want from your PA and monitors, that is great. If you can do that without getting into confrontations with various audio engineers on a daily basis, so much the better. I will say that this will put you in the extraordinarily small minority of drummers that play utilizing mics.

That is just my opinion, and no disrespect intended. By the way, my home kits have no ports because I like that as well. I just wouldn't tour that way.

Standing by to take cover from scathing arrows.

Sorry about my rant...I apparently replied to wrong thread. Geez.