04' Policy

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04' Our Development Policy of CANOPUS Drums

Introduction | Consideration of 15"BD head
The drum sound difference depending on surface finishes | Edge shaping and shell construction

The Fundamental Policy of CANOPUS and the Zelkova Snare Drum Project

Our deep concern for better sound is our quality.

		When taking on the challenge of developing a new product, Canopus sets very specific goals. What is the sound desired? What are the problems to be encountered? How do all of the parts work in concert with each other and what modifications must be made? Sometimes only minor changes in existing products and parts are required. Other times, a complete remaking is in order.

Scheduled release dates, cost considerations, or other common pressures that can influence a product's ultimate quality have no place in Canopus' development plan. Every Canopus product carries the honest value that comes from their "no compromise, no omission" quest for excellence.

CANOPUS drums have different ply-wood shell as well as different plywood reinforcement hoops and itferent diameters.

Introduction

Canopus drums are developed from years of extensive research, experimentation and testing that reveals that even the smallest factor can influence a drum's sound tremendously.
Every possible technology has been put into the development of Canopus drums and the findings have resulted in some of the most impressive improvements since the fundamental drum set design was introduced in the 1930's.

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Consideration of 15-inch BD head.

Canopus' drum designs extend beyond the primary determining factors of a drum's sound.
In addition to its shell construction, material selection and edge shaping, a drum's finish, hardware and reinforcement is carefully selected so not to hinder resonance or diminish projection.
Even the selection of the drum head becomes a key decision in this theory.

An example that demonstrates how the smallest factors can influence tone can be found in Canopus' introduction of the 15-inch bass drum. Conventional thinking has considered 16" to be the smallest feasible bass drum size.
However, Canopus has successfully produced a 15" bass drum with exceptional tone ideal for professional recording and live performances.

Although 15" heads are available for a bass drum, to achieve the desired bass tone from what could be considered a tom tom-sized drum; Canopus selected a head designed for a tom tom in order to maximize the resonance potential of the entire instrument.
The main difference between the bass drum head and the tom tom head is found in the collar shape and how that shape is integrated into the sound of the drum.
A bass drum head collar is squared and larger than the collar of a tom tom head. It is designed to hold the hoop of a bass drum and its mass contributes to the bass tone of the drum.

However as drum size reduces, a thinner shell design is required to achieve the resonance necessary for the desired bass tones. When used with a thin shell, the collar design of the 15" bass drum head actually prevents the transmission of sound energy from the drum head. The collar absorbs the vibration and muffles the sound by abstracting the vibration to the shell. In this case, the bass drum head collar design is too strong for the desired result.

In contrast, the collar of a tom tom head is rounded, contains less mass, and fits more closely to the shell.
Combined with the Canopus designed 15" bass drum, it integrates with the shell to draw out the maximum potential resonance from the drum for an exceptional bass tone suitable for any professional application.

Why all the research to deliver even smaller bass drums? Historically the leading factor to determine the popular size of the bass drum has been the influence of motorization. The smallest size in the 1950's was 18" and reduced to 16" in recent years due to the downsizing of trunk space in a New York taxi cab.

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The drum sound difference depending on surface finishes.

Canopus has always advocated the theory that the sound of a drum will change depending on its surface finish.

Advanced research and testing revealed the need to change shell construction and edge shaping depending on the finish and color of the drum.

In fact, the recent introduction of a lacquer finish to Canopus drum kits was possible only after two years of experiments with polyester, urethane, acrylic, and nitrocellulose lacquer.

This research was an extension of earlier studies and tests that led to the introduction of nitrocellulose lacquer finishes for Canopus snare drums. Researchers were initially dissatisfied with the sound results as they applied their successful snare drum research to other shell constructions and dimensions. Initially, it was believed the results changed due to greater painted area of the larger shells, so the response was to extend the drying period for several months.
But this did not improve the results and a complete investigation was in order.

Experiments included several edge shaping adjustments, shell dimensions, and drying techniques.
It took over two years before the result was good enough to meet Canopus' demanding standards.
The conclusion of the studies determined that the edge shaping on nitrocellulose drums must differ from the designs used on oil finished and covered shells. After two years of research and development Canopus now introduces the nitro cellulous lacquer finish to a line of drum kits worthy of their name.

Canopus has discovered through practice that the color of generally accepted materials used for wrapping covered shells can also change a drumze_3" size="3">Solid colors and pearl colors(include abalone) produce a "wet" sound. Champagne sparkle and platinum produce a solid sound. Other sparkles produce clear tones with exceptional resonance and high pitched overtones. Satin frames produce natural tones like oil finish.

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Edge shaping and shell construction

Research and testing during the production of Zelkova snares revealed that using bearing edge angles dictated by popular design theories would have resulted in unsatisfactory resonance and generally dull sensitivity.
Canopus abandoned the more typical edge angles, testing a variety of options until they arrived at their unprecedented and very sharp twenty-two degree angle edge design for this drum.
It is an edge that overturns established engineering beliefs.

However, the same "Zelcova edge theory" was applied to the new solid aluminum share drum.
At twenty-two degrees the edge shaping produced very unsatisfactory results, sounding cheap with excessive high-pitched overtones.

Further testing of more accepted edge theories discovered that at forty-five degrees the drumstick rebounded, and the vibration was not effectively transmitted to the shell.
Finally, Canopus achieved the best sound from a 5 mm thick aluminum shell using a thirty-five degree edge angle and a bearing edge with a specially formed rounded top.

Canopus' Aluminum-shelled snare produces a wide range of controlled resonance from pianissimo to fortissimo and a rim shot that cracks like a rifle.

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The Fundamental Policy of CANOPUS and the Zelkova Snare Drum Project

Why do so Many Drummers Support The Zelkova Snare Drum?

Why are most snare drums made of plywood?

Why Is a Hollowed One-Piece Snare Drum Subject To Crack?

The Sound of a Hollowed One Piece Snare Drum Compared To a Plywood Snare Drum

A letter from Robert Dotto

The Zelkova hollowed snare drum is CANOPUS's flagship model. In the primary developmental process we first experimented with traditional drum crafting theory. Originally we cut the drum's edge at an angle of 45 degrees on both the inside and outside of the drum's shell.

Our first try was insufficient in resonance and was rather dull in regards to the drum's sensitivity. We continued to experiment with several different edge angles. Including 70, 60 and 30 degrees. After our trials and errors, we have finally completed an

unprecedented edge shaping process. The end result is a hand crafted snare drum with maximum resonance and a delicate yet fat sound with sharp response. (see figure)

Our new edge shaping is very sharp. This overturns existing edge shaping theory. What we learned through the process of creating the Zelkova hollowed snare drum was that traditional edge shaping theory was not comprehensive. In order to pull the best potential sound out of the drum, the edge shaping must be determined by the material, thickness and structure of the shell.

These lessons learned contributed to establish the framework for CANOPUS's developmental policy.
These encounters have shaped our attitude towards the drum crafting process.
Accordingly, when we are engaged in our drums and accessory development project we doubt the widely accepted drum production theory from the fundamental level.

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Why do so Many Drummers Support The Zelkova Snare Drum?

In order to pull out the best natural resonance, it is essential that the vibrating object must consist of a single element. In other words, a hollowed solid piece of wood is the ideal drum shell. When you compare the beating sound of a piece of solid wood to a piece of plywood the difference in sound quality is obvious.

Why are most snare drums made of plywood?

A one piece snare drum is very fragile due to its structuring. To cover up these shortcomings plywood shells are widely utilized. By plying several pieces of wood together with glue the drum shell is several more times durable than a one-piece shell. Consequently, natural resonance is therefore impaired in exchange for durability.

Throughout the world drum manufacturers have tried several approaches to combat the issue of a single element and durability. A block method is one approach and is closer to a one-piece shell. Another approach is to place a reinforcement hoop inside the bent piece of wood. One-piece wood is the most ideal in terms of pulling out the intrinsic natural resonance. Because of technical problems such as shell alteration and cracking, which may occur several years after the drums production, only a few manufacturers are producing hollowed one-piece wood snare drums.

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Why Is a Hollowed One-Piece Snare Drum Subject To Crack?

The cylindrical shape of a one-piece snare drum is inevitably fragile. Therefore, we have adapted a new method. We have found the answer in "vector".

When the force "FN" is given vertically against a curved surface, it branches off into f1, f2 and f3.
The force f1 and f2 run along straight forward, while f3 runs through the curved surface, thereby causing a crack. (See figure 1)
However, our original global shaped snare drum shell will disperse the given vertical force along the global surface. (See Figure 2)
Hence, we have achieved the desired outcome; a hollowed one-piece snare drum that is much stronger and more durable than the existing cylindrical surface of the present one-piece snare drums available.

We have spent three years for the woods natural seasoning and also have the drum in a specially designed wood drier to reduce the moisture content down to 9 percent.
This drying procedure contributes to minimize the shrinkage and cracking of the drum shell.

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The Sound of a Hollowed One Piece Snare Drum Compared To a Plywood Snare Drum


A hollowed one-piece snare drum has a distinctive fat strong sound, with good sound projection and a sharp response. Its tuning range is much wider than that of a plywood snare drum. These characteristics are major reasons why top drummers provide worldwide support to CANOPUS's Zelkova snare drum.

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A letter from Robert Dotto

The drummer came from New York city. His drum is a 6 1/2x14 in exquisite shape and was picked up the drum second hand while on his tour in California in 1993 or 1994. The sound going to tape was crystal clear with the perfect blend of highs,mids and lows. It practically sounded as if it had been pre eq'ed. The drum simply satisfies that sound of the perfect one that I have always had in my head, but have never been able to achieve from just one drum !

Robert Dotto
(Drummer and Studio owner,Detroit)

I had been travelling to America trying to promote our snare drums for quite a few years when in about 1990. And I almost had given up hope of entering the world market. The Zelkova snare drum which I left in California 10 years ago made Robert write a letter to us and it inspired me and made me decide to build full drum set and enter the world market again.

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