Our Development Concept for CANOPUS Drums

Reinforcement Hoop and It's Effect on Sound | Balance of Reinforcement Hoop to Drum Shell
Analogy of String for Drums | Mid and Low Sound Elements in Muddy Sound(Poor Sound Projection)
"Core" of the Sound | In the last

Our starting point for the development of CANOPUS drums is to re-examine existing drums manufacturing theory. We fundamentally doubt accepted assumption to create the drums for demanding drummers.

		In the process of our development project for hollowed Zelkova snare drum, we learned a lot of lessons. At first, we cut the edge at 45 degree both inside and outside of the drum shell in accordance with traditional theory. The result was far from our expectation of one piece scooped out snare drum. The sound of it was not projecting with poor resonance. Later, we have tried the cutting angle at 70degrees, 60 degrees, and 30 degrees. In the process of trial and error in different edge shaping, we have completed the maximum resonance and sensitiveness with enough depth in the sound. We gained unprecedented lightening fast response. This is our perfection of totally new edge shaping. (See the picture)

This edge shape has very sharp angle and it fundamentally overturns existing theory. What we have learned in the process of Zelkova snare drum is that traditional edge shaping theory is not comprehensive one. In reality, edge shape should be determined by several factors such as material of shell, thickness, one-piece wood or plywood in order to pull the very best out of the shell's potential.

Generally, coated ambassador head is considered very close to the real calf skin and best head to enjoy the shell's intrinsic resonance. In reality, many drummers use muffling to reduce the unwanted high pitch overtone unlike real real calf skin head or try different drum heads. Unfortunately, muffling often can impair drum's inherent resonance. If muffling impairs drum's resonance, why can't we control overtone without impairing resonance? We have come up with the idea of letting edge shape play that role. Also, it is quite questionable that tom tom, floor tom and bass drum have the same edge shape because each drum has different sound role in terms of range and tone in total drum set. Therefore, we have made different edge shapes on different drums by controlling both the original sound and it's overtone. In this way, we can clearly define the role of each drum. We believe that it is possible to make an excellent drum set without relying on muffling in this design concept.

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Reinforcement Hoop and It's Effect on Sound


There are various elements that determine the sound of the drums. The establishment of sound control theory by edge shaping is the most important element for us, CANOPUS. In that process, we have found that there is some limitation in controlling every sound by edge shaping. Upon we carry out research of shell itself in the process of establishing sound control theory. We asked some fundamental questions by our selves. "How today's diameter and depth of drums had determined from the historical point of view? "Why do we need a reinforcement hoop? It is no exaggeration to say that the history of drum shell development is the history of advancement of plywood technology and cost reduction. There have been several types of variations in drum development such as one piece scooped out drum shell, one piece solid wood with reinforcement hoop and 2 or 3 plywood with reinforcement hoop. In 1980's, today's plywood shell drums without reinforcement hoop had completed. (Gretch had adopted 3 plywood drum without reinforcement hoop in 1938.) Although the technical completion of shell manufacturing for the purpose of
"cost reduction and mass production" has achieved, it is also true that some part of good old day's sound have lost. Recently, reinforcement hoop has got fair attention for it's effect on sound. Not a few manufacturers adopt it as one of sound character. Reinforcement hoop, which had originally developed as physical reinforcement of drum shell, had eventually fallen into disuse. Unfortunately, there are hardly any record or reference information about reinforcement hoop and it's effect on sound is available. Consequently, CANOPUS conduct experiment over and over to control drum sound and we are committed to establish best drum sound theory with reinforcement hoop.

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Balance of Reinforcement Hoop to Drum Shell

Let's say here is a very well balanced drum of 8"X 12" (depth X diameter). When we try to make another drum of 13"in diameter with that good resonance, probably should we make every part (including even screws) magnified by it's ratio and play with proportionate power? In a sense, it is a correct statement, but in drum set situation, player has to play each drums differently. Considering availability of parts, cost and looks of it, this is not a realistic answer. CANOPUS got the idea that we can adjust those unrealistic areas with reinforcement hoops. As a result, each drum shell will have different reinforcement hoops. Generally speaking, we can control sound's confinement, solidity and core by reinforcement hoop combined with edge shaping.

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		Analogy of String for Drums

		The relationship between drum shell and reinforcement hoop will be well illustrated with analogy of strings on guitar. Let's assume that "a" is a string on the guitar and "b" is bridge of the guitar. When string "a" is longer, the amplitude of the vibration will be slower creating low pitch sound element. Here, bridge "b" has to be firm, otherwise the vibration of the string will be disturbed When we extend the "b" part to make it firm, string "a" will be shorter and tune will be changed accordingly.The effort of having firm bridge "b" without changing the length of string "a" means having more plywood in reinforcement hoop on the drum shell. Reinforcement hoop has to be used in a limited way not to hinder power conduct (air vibration). In drum set we figure out the optimal point with consideration of sound balance between individual drum and surrounding drums.

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Mid and Low Sound Elements in Muddy Sound
(Poor Sound Projection)

The drum with this reinforcement devise of picking up vibration of shell may have rich mid and low sound. But it still may have muddy or poorly projecting sound. Generally, "muddy" or "confined" sound of drum is not considered desirable. We can compensate missing high pitch sound by edge shaping just like sliding fader of mixing console.

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"Core" of the Sound

We tried 4-ply, 5ply, 6ply 8ply and 10ply with and without reinforcement hoop before we decide our specifications of CANOPUS drum shells. After our careful study, we have reached a conclusion that demanded sound in contemporary music scene is thin shell with reinforcement hoop.

The advantage of thin shell drums is rich and warm sound. The advantage is too great to give in. Possible disadvantage is insufficient power and rather limited audibility. Reinforcement hoop is very effective devise to compensate this weakness and yet produce sound with core.

"Core" is the essential element to determine the sound projection of drum sound. Now, what is the difference between CANOPUS drum and other manufacturers' who adopt reinforcement hoops. To be sure, sound character is very close, but there is a crucial difference there. That is "the shape of core" in the sound. CANOPUS drums do have this "core".
We make well balanced drum sets by adjusting each "core of the sound".

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In the process of manufacturing drums, it is impossible to evaluate the drum sound mechanically.

		Based on our accumulated expertise of more than 25 years, we make our prototype drums carefully examining with our ears. Those drums are tested by cooperation of our monitor player under studio and live settings to determined the ideal sound under any circumstances.

"You have to rely on human ears to evaluate the excellence of drums."
CANOPUS drums, listen and you will see it.

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