Ludwig 402 (14" x 6.5"):
One of the most popular snares of the era (and most recorded of all time: Bonham, Lynch, Gadd...), this versatile drum was widely available in hired gear. Carly's high & dry tuning (and sometimes playing with snares off), gave his 402's a distinct reggae sound.
The 402 has a thin, seamless aluminum alloy, chromed, beaded shell. It is naturally dry and articulate, has a high pitched fundamental tone, but speaks with depth as well.
The 402 has a high pitched cross-stick sound, and unique rimshot- a lovely distorted midrange 'honk' with harmonic pingy overtones, but very fast decay (unlike most snares where rimshots sustain for a full second or longer). Tuned high, this provided Carly's trademark rimshot & cross-stick. Carly used this with most of his kits, whatever their brand.
Carly purchased several over the years: At Manny's (circa 1979), for the Exodus recording (1977, for $318.40 [£186.42] in London)
One of the most popular snares of the era (and most recorded of all time: Bonham, Lynch, Gadd...), this versatile drum was widely available in hired gear. Carly's high & dry tuning (and sometimes playing with snares off), gave his 402's a distinct reggae sound.
The 402 has a thin, seamless aluminum alloy, chromed, beaded shell. It is naturally dry and articulate, has a high pitched fundamental tone, but speaks with depth as well.
The 402 has a high pitched cross-stick sound, and unique rimshot- a lovely distorted midrange 'honk' with harmonic pingy overtones, but very fast decay (unlike most snares where rimshots sustain for a full second or longer). Tuned high, this provided Carly's trademark rimshot & cross-stick. Carly used this with most of his kits, whatever their brand.
Carly purchased several over the years: At Manny's (circa 1979), for the Exodus recording (1977, for $318.40 [£186.42] in London)
Live circa 1980 (above photo): Note the Ludwig 402 snare (despite the new Yamaha drums), and Zildjian hollow-logo riveted 18" crash *(which was sold at auction in 2013- below).
CYMBALS
Most often rentals, in common popular sizes (14 hats, 14, 16, 18 crashes, for example):
Almost certainly: 14" new beat hihats (everyone used them): heavier bottom for tighter chick-sound and medium-thin to medium crashes in even sizes (14, 16, 18)
These are what would be for rent, and mostly for sale
"Mostly Zildjian," according to Mark Miller (BMW stage manager 1978-81)
When purchased, Zildjian hollow logo
*(also see Carly's cymbal sold auctioned by his son, Akila [a.k.a. Errol] below)
In the 1970's, the available variety and consistency of cymbal selections were more limited than today's boutique market. A narrow range of standard/common sizes were available (especially in the rental market), and two models of the same cymbal might have markedly different weights, and thus sound quite different.
Reverse engineering cymbal sizes from Carly's photos (comparing to drum diameters), he seems to have used a fairly standard set up (14" hats, 14", 16", and 18" crashes). The pingy (ride cymbal-like) quality Carly gets on his over-hihat crash on songs like, "No Woman No Cry," indicates it is a medium weight crash (or heavier, like a crash/ride).
**See a page of typically available cymbals from the era at the bottom of the page
Almost certainly: 14" new beat hihats (everyone used them): heavier bottom for tighter chick-sound and medium-thin to medium crashes in even sizes (14, 16, 18)
These are what would be for rent, and mostly for sale
"Mostly Zildjian," according to Mark Miller (BMW stage manager 1978-81)
When purchased, Zildjian hollow logo
*(also see Carly's cymbal sold auctioned by his son, Akila [a.k.a. Errol] below)
In the 1970's, the available variety and consistency of cymbal selections were more limited than today's boutique market. A narrow range of standard/common sizes were available (especially in the rental market), and two models of the same cymbal might have markedly different weights, and thus sound quite different.
Reverse engineering cymbal sizes from Carly's photos (comparing to drum diameters), he seems to have used a fairly standard set up (14" hats, 14", 16", and 18" crashes). The pingy (ride cymbal-like) quality Carly gets on his over-hihat crash on songs like, "No Woman No Cry," indicates it is a medium weight crash (or heavier, like a crash/ride).
**See a page of typically available cymbals from the era at the bottom of the page
Below: Supposedly one of Carlton Barrett's actual 18" Zildjian (hollow logo) crashes
auctioned in England Sept. 16, 2013, by Carly's son.
-it has rivets, and resembles the crash between the tom 3rd from the right and floor tom in the photo above from 1980.
-rivets were added to drier cymbals- so it is likely a medium weight (as opposed to a thin)- few used heavy crashes then
auctioned in England Sept. 16, 2013, by Carly's son.
-it has rivets, and resembles the crash between the tom 3rd from the right and floor tom in the photo above from 1980.
-rivets were added to drier cymbals- so it is likely a medium weight (as opposed to a thin)- few used heavy crashes then
|
A TOWEL BETWEEN THE HIHATS? USUALLY NOT There is ONE documented example of Carly placing cloth (stage towel) between his hihat cymbals (Rainbow Theater, London, 1977). As we do not observe this elsewhere, it is most likely a fix for a particular set of RENTAL hihats that sounded too washy/loud for Barrett's syncopated hihat riddims. He didn't regularly modify his hats this way, so others must have been sufficiently dry. |
OTHER (RENTAL) SNARE DRUMS
Due to the availability of rental gear on tour, Carlton is occasionally seen playing other snare drums over the years, including:
*Ludwig Vistalite (Santa Barbara 1978, blue)
*Yamaha 9000 Birch 14x6.5 (Santa Barbara 1979)
*Yamaha 9000 Birch 14x8 (photo- unknown location)
*Yamaha Steel SD-750MD 14"x6.5" snare drum (1980) Dortmund Germany
SNARE DRUM PURCHASE FOR EXODUS RECORDING SESSION, LONDON 1977 (BELOW)
1970's Zildjian Set Up Guide: to see popular set ups *(most use 14" new-beat hihats)