OK. I said in an alternative thread, ‘semantics aside’ – but let’s put this issue to bed once and for all: What is Vintage?
It doesn’t, as is commonly believed, mean ‘quality’ in the wine industry; although it does derive from viticulture: namely, vindemia, meaning ‘to take off the vine’, and colloquially becomes the year of production.
So, vintage literally means ‘the year the item was produced’; I am sure you are all familiar with the term ‘an exceptional vintage’? Well, that is precisely where it comes from.
None of this helps the drummer’s issue though, does it? The reason for that is because, etymologically, we have misappropriated the term ‘vintage’. This is why no one can settle on a universally acceptable definition.
Back in the early nineteen-seventies, the elder-statesmen of the percussion world began to bemoan the passing of what they considered to be superior quality manufacturing, and, concomitantly, sound. It was then common knowledge that ‘round badge’ Gretsch drums or pre. CBS Rogers, for example, were a breed apart from the contemporary offerings in terms of sound quality. They sought out these vintages with the intention of playing them, entirely because of said superior sound. I hasten to add that, almost without exception, none of these players were involved in the Rock or Pop industries, and had precious little time for the young whippersnappers currently playing the day’s fashionable offerings, and co-incidentally, taking their gigs off them. Alongside this was the interest of a select few that extended to what could only be classified as antique curios, such as Leedy, W.F.L. or Ludwig & Ludwig. For the most part, they never had any intention of playing these drums, they were purely collector’s items; although, inevitably, many ignored the destructive elements of performance and took them out on the road. And that, Gentlemen, is it. Not So Modern Drummer appeared to cater to the cravings of this esteemed group of players, along with a similar periodical in the UK; and this fraternity of like minded individuals commandeered the term Vintage to encapsulate the objects of their attentions, in the same way as the automobile aficionados initially used it to refer to cars made between 1919 and 1930. So originally, it was all about sound, or curiosity value; although inevitably, the finish of these drums exemplified their character and became synonymous with their value. Consequently, if we are going to continue to employ the term ‘Vintage’ on the basis of its original adoption, then we must, strange as seems to me, consider Yamaha RCs or CBS Rogers along with DeQueen Gretsch as vintage if we believe they posses distinctive and superior sound qualities. Furthermore, and to me, equally strangely, curiosities from the Far East must be accepted as antiques and given shelter under the common canopy of our colloquial ‘Vintage’. Equally valid would be the prediction that Noble & Cooley, for example, will one day soon enjoy the ‘Vintage’ moniker if we are to continue to employ the term on the basis of its original espousal. I look forward to your slings and arrows.