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Ultra loud with Ferrari looks, this reissue deserves to be goggled at but should definitely be tried before you buy
The MusicRadar Team, Tue 23 Oct 2007, 12:12 pm UTC
Staccato drums first appeared in 1977. They were designed and hand built by British artist/inventor Pat Townshend, who says the idea came from a painting of a tree that he once did. With the bright red fibre glass and Staccato badge, the look is also reminiscent of a Ferrari. Which is hardly surprising since Pat, as well as being a musician, has long been involved with motorbikes and cars, both racing them and working on designs and inventions.
In the'70s, drum manufacturers tried out allsorts of synthetic materials and fibreglass North drums from the USA hit the headlines when they were played by Billy Cobham, the leading drummer of the day. Staccato took the North idea further. North drums had an alpine horn shape while Staccato shells are more complex. The bass drum in particular has even been likened to a pair of clown's baggy trousers.
Unsurprisingly, the original Staccatos got loads of attention. They were launched at the Red Lion pub in Fulham with none other than Mitch Mitchell at the helm. John Bonham and Keith Moon also used them and Nicko McBrain and Chris Slade (Robert Plant's drummer) were both involved in the original company.
Staccato's history, though, is as convoluted as the drums. Suffice to say production ceased around 1984 as drum machines took over.
Colour impregnated
Pat Townshend decided to give Staccato another go. The relaunched drums are made in exactly the same way as the originals. The standard shells are made from multi-layered glass reinforced plastic (GRP/ fibreglass), but Staccato also offers two further options in more expensive, lightweight carbon fibre.
The first has a similarly impregnated colour finish to the fibreglass drums. The second is a "gloss transparent finish that allows you to see the holographic effect of the carbon fibre weave". This is the same effect sometimes seen on Formula One cars.
Carbon shells don't come cheap. Small toms cost 50 percent more than the fibreglass models, while the bass drums are almost three times more expensive. Mind you, the carbon drums are also said to be 40 percent louder than the fibre glass, so you're getting plenty of extra volume for your money. The review kit is in standard fibreglass and each shell is reinforced at the stress points, making it virtually indestructible.
The original Staccato lugs were Haymans and the ones fitted today are similar but slightly conical. Standard finishes are white, black, yellow, red and blue, but since the drums are hand built you can also choose from more than 100 custom finishes at a nominal extra charge. Custom artwork is also available.The colour is impregnated in the drumshell so it can't scratch or chip off, and shallow marks can be polished out.
Surface tissue
The toms come in 6" to 16" diameters. The review kit had 10"and 12" mounted toms and a 16" floor. The mounting brackets for the two small toms were on the back of the drums rather than the side. This made setting-up on the accompanying Gibraltar stand a bit awkward, but the brackets can be mounted wherever you ask. The 16"floor tom has two stabilising legs, but unfortunately, because of the curve of the shell, the legs angle inwards instead of out. Still, the front end sits on the floor and is stable enough.
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This kit has a super loud bass drum and the most amazing wow factor.
The lack of resonance on the smaller drums will not suit some players.
Staccato claims these are the loudest drums ever made. They need to be to justify carrying around that massive bass drum! The bass and floor tom are unquestionably deafening, but we're still not sure about the smaller toms. They have impact, but their lack of resonance is disconcerting. The drums are beautifully finished as you'd expect from a manufacturer steeped in the custom bike/motor trade, and that's the clue really.
All MusicRadar's reviews are by independent product specialists, who are not aligned to any gear manufacturer or retailer. Our experts also write for renowned magazines such as Guitarist, Total Guitar, Computer Music, Future Music and Rhythm. All are part of Future PLC, the biggest publisher of music making magazines in the world.




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