It's incredible how certain things seem to have hit their ceiling when, suddenly, someone comes along and opens new paths. In the late '60s, people thought the definitive leap in drum construction had been made when Japan's Takashi Hagiwara came up with what was then a new system for bonding the plies that make up the shell, achieving unprecedented improvement in aspects such as sound quality and the durability of both the shell and the tuning.
Since then, if you look closely, the most notable developments have been based on the type of wood used, or on hardware or suspension systems, but the actual construction of the shells remained practically the same as in the early '70s. I said it right: "remained." In the mid-'80s, Tullio Granatello, an Italian drummer and craftsman, began experimenting with a new way of building shells. The traditional construction method is, broadly speaking, the same for all brands: sheets of wood are taken, moistened to make them flexible, shaped and glued. This fine craftsman devised a different technique, cutting the sheets into long strips and gluing them side by side to form a cylinder; the same system you can see in a barrel, to put it simply.
The result of this idea is the polyhedral finish you can see in the photos. He built only five models with solid wood sheets and, in 1989, decided to use plywood and other woods (beech, poplar) in order to create a new series more accessible to the public.
The '90s were very prolific, as they saw the birth of the Studio, Opera and Linea models, all of which used quality woods (maple, birch, beech) perfectly combined with the new shell construction system. Today, every component in every series is made in all kinds of sizes, as well as complete kits in different combinations, so you can be sure to find the one that best suits your taste among them.
The success is clear and the support of the musician community is unquestionable, backed by a growing list of endorsers that you can see, along with the rest of the detailed information, on the brand's website. A price list is available, and it's remarkable how the maple and birch kits (the high-end ones) are priced closer to mid-range kits.
Our review
We had the chance to test the Opera Custom model in White Sunny Pearl, consisting of a 22x18" bass drum, a 14x5" snare, 10x7" and 12x8" rack toms, and 14x12" and 16x14" floor toms. It comes with legs for the floor toms and two tom holders to attach to cymbal stands. This kit was made to order, and the Opera series (like the original series) is handmade. Its price is €6,150 + VAT.
The kit comes from the factory with Evans heads in the following configuration: on the toms, G2 White Coated batter and G1 White Coated resonant; on the snare, G1 White Coated batter and Hazy 300 snare side; and on the bass drum, EQ4 Clear batter and EQ3 White Coated resonant.
Evans is undoubtedly always a good choice, and it's notable that white heads are used almost everywhere. I know musicians who claim they give drums the best sound, although that's always debatable. What is clear is that they give the drum a crisp, defined harmonic response, different from what you get with clear heads, which tend to have a little less attack and more body. Another interesting construction detail worth highlighting, incorporated into models from the mid-'90s onward, is a wooden hoop wrapped around both ends of the shells as a containment ring, helping to hold the strips firmly in position.
In addition, on the Custom models, like the one we had the opportunity to test, this set of strips with the ring is covered by a plastic crown to soften the contact between the head and the shell. Now we come to the most interesting topic: how much the new construction technique influences the sound of the kit. To begin with, I have to say that it came to me by road from Italy, and when I set it up, it was perfectly in tune, both individually and in the relationship between the toms. This is not the first time this has happened to me, but it is a very notable fact, given that it had been subjected to the jolting of the roads, along with the inevitable temperature changes.
So this can only speak well of the construction. Everyone knows that over time all drum kits settle in and their tuning holds longer, but it seems this construction gives the wood more notable stability than the traditional system.
It also shows that the components have been through a tuning process at the factory itself, which is another extremely important detail. Each one comes with the heads already fitted, as is logical with custom kits, saving considerable setup time. This is certainly welcome, as a kit is rarely "set up and go."
As you'd expect, it uses the prestigious die-cast hoops, characterized by the section designed to house the tension rod. In recent years they have been convincingly shown to make tuning more precise and longer-lasting than other, more traditional types of hoops.
And since we're talking about hardware, the rounded shape of the lugs that receive the tension rods, adorned with the brand's T, deserves mention. On the bass drum, these have rubber pieces attached that cushion contact with the (wooden, of course) hoops that hold the head. Finally, the suspension system is RIMS-style, consisting of metal brackets mounted on the tension rods that hold the shell reliably and efficiently.
The sound
This is a model that could be used as an example of how a drum kit should sound. It gives the impression that the stave construction helps air move between the heads. There's no need to tame any excess: you just have to set it up and play to discover a very notable balance between overtones and body. It is crisp on ghost notes and powerful and forceful on accented ones.
On the bass drum, the combination of the EQ4 on the batter side (one thick ply with an inner ring) with the EQ3 on the resonant side (two inner rings of different diameters) stands out. Using both models provides a fantastic balance of overtones, as well as very considerable volume.
I was lucky enough to have three days for this review and was able to see that the tuning did not change significantly, remaining stable and balanced.
Conclusions
This is a kit that pleases the eye and wins over the ear, making it clear that the new construction technique is a success. The sound is powerful yet subtle, the tuning finally holds, and the wood's response also seems favorable. This is a very special model because it is "made to measure," but the most important thing is to understand that Tamburo's working philosophy is an evolution and a revolution in drum construction. You can find it on the market in more affordable kits, even with top-of-the-line woods, built using these patterns.
I'm sure that in a few years we'll see drum kits from this brand performing at the highest level, as well as models from other brands inspired by the evolution Tamburo offers.
