MusicRadar

The eight double-ended pipe lugs are made specially for Robert.

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• Review

More and more British craftsmen are making custom drums, and Robert Daniels' Fine Drums are probably the most exclusive. Robert only makes two or three snares a year, but the list of stars who have bought one is impressive.

Evelyn Glennie has an early model in recycled mahogany and Gilson Lavis has an ebony piccolo. Other customers include Gary Wallis, Karl Van Den Bossche and Rowland Rivron.

Heads on the block

Robert uses the stave block construction method, so his drums have solid, rather than ply, shells. They are at least 1/2" thick for strength. Each block is cut, butted together and 'rub' joined.

"You put PVA glue on one side," Robert explains, "butt it up against the other and rub it together so the glue is squeezed out and pulls the timber together. The joint becomes stronger than the wood itself. When the shell comes out of the mould it is multi-faceted. It is then turned on a lathe while power sanded. "That's a minimum of machinery usage and a maximum of hand tools."

Robert has only ever made around 25 drums and each is a one-off. The three examples reviewed here are wildly different. The bog oak that the 14"x5" drum is made from is, according to Robert, at least 4,500 years old. It was obtained from the Cambridgeshire fens where farmers sometimes discover bog oaks up to 100" long while out ploughing.

"It may actually be pine or birch but it's still called bog oak," says Robert. "Bog oak that is actually oak is rare. This one is bog oak oak, so to speak. I got a load of logs but all I could get out of them was this one drum!" The drum is smooth inside and out, the shell is 3/4" thick. All metal parts are bought in so the strainer is the superb, aluminium/stainless steel Trick.

The eight double-ended pipe lugs are made specially for Robert. They are 1/2" diameter solid stainless steel, fixed centrally using high tensile steel cap bolts. Unlike most modern drums, which have sharp 45º bearing edges, Robert's drums have a beautifully graduated inner curve that falls smoothly into the drum. He suggests it has a 'loudhailer' effect on sound projection. The air hole - or sound hole - is also smoothly rounded and 1" in diameter. The idea is again to project the sound, particularly the bottom end.

The drum shell is dark brown, almost black. It is not stained, however, but treated with a finishing oil, a varnish with Tung oil, "a natural, hard, waterproof finish. The bog oak will absorb and release moisture, so it needs something that will hermetically seal it."

Sound-wise the drum is a dream. With the batter fairly loose it has a gorgeous resonating, clangy, wet sound. Tune it up a bit and the sound becomes taut and clean with much less spread, but still responsive.

This is one super flexible drum. You can roll on the (rounded) bearing edge, the centre, sweet spot backbeat is fat and deep, and rim shots have a buoyant, Gene Krupa-style ping.

Everything about this drum speaks class.