{"id":63,"date":"2021-09-05T12:39:54","date_gmt":"2021-09-05T10:39:54","guid":{"rendered":"https:\/\/www3.adoro-drums.com\/?page_id=63"},"modified":"2025-05-21T17:44:41","modified_gmt":"2025-05-21T15:44:41","slug":"faq","status":"publish","type":"page","link":"https:\/\/www.adoro-drums.de\/en\/faq\/","title":{"rendered":"FAQ"},"content":{"rendered":"
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FAQ<\/strong><\/h1>

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\n \n \n Why do you build less loud drums?<\/span>\n\n \n
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Any instrument builder should reach for building the best possible instrument. But at drums I was surprised to learn that often \"sound\" is being confused with \"volume\": it is considered as compliment when someone confirms that your drums are infernal loud. If you have to fight against 4x12\" Marshall stacks, you might doubt that playing low volume really is something good. But if you often perform in sensible places as churches, small clubs and theaters, places with awful acoustic situations, you know how important it is to have a drum set that is sensible enough to excel these tasks, since regular drums usually are just too loud and not sensible enough. This is why I built the first worship set, and why we continue to build them until today.<\/p>

The advantage of less loud drums, besides the obvious, is that you are able to set your monitors at a less loud level, resulting in a way more comfortable volume level for practice and performance for the whole band, even when the event is at regular rock concert volume. Your communication profits as well as the overall band sound, especially live, as the stage sound is less dominant as it used to be, and especially at small gigs, your sound engineer can do a much better job. If he wants to, he can run the event up to 80% less loud, as he does not have to amplify the drums for a good band sound.<\/p>

Less loud drums give me the freedom to play in acoustically not perfect situations as good as possible. If I use sticks or brushes is a matter of what sound I want, not anymore a matter of how low volume I have to play!<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n How much more silent are Adoro Worship Drums compared to regular drum sets?<\/span>\n\n \n
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To answer this question, you have to notice that volume has two sides to it:<\/p>

1. physical measurable volume<\/em>
-this is simple: if the volume meter shows less decibel, the signal is less loud. Due to the construction, our drums are in fact less loud, but not for the sake of good sound. If played the same way as regular drums, due to the construction and less headroom our worship series is appr. 4-5dB less loud. But that is just half of the concept.<\/p>

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2. die \"gef\u00fchlte\" Lautst\u00e4rke<\/em>
dies ist der eigentliche Knackpunkt. Ein unangenehmes Ger\u00e4usch werden wir, solange wir es wahrnehmen k\u00f6nnen, als zu laut empfinden. Wer also generell ein Problem mit Schlagzeug in der Gemeinde hat, wird, solange, wie man das Schlagzeug noch aus der Musik heraush\u00f6ren kann, es als zu laut empfinden, unabh\u00e4ngig davon, wie leise es tats\u00e4chlich ist. Und ich \u00fcbertreibe hier nicht: ich habe wirklich Gemeinden erlebt, bei denen die e-Drums so leise gemischt wurden, dass ich den Drummer zun\u00e4chst f\u00fcr einen Pantomimen hielt; erst, als ich realisierte, dass dieser in Wirklichkeit hinter einem Schlagzeug sitzt, konnte mein geschultes Geh\u00f6r die zugeh\u00f6rigen Ger\u00e4usche aus der Musik filtern und dem e-Drum zuordnen. In dieser Gemeinde war es, wo ich fr\u00fcher als Drummer so leise spielen konnte, wie ich wollte, und immer gesagt bekam, dass ich zu laut sei. Nachdem ich diese Demonstration ihrer Vorstellung von \"vern\u00fcnftig laut gespielten\" Drums bekam, wusste ich allerdings zweierlei: erstens, ich hatte nicht wirklich zu laut gespielt, in dieser Gemeinde hatte man bis vor 20 Jahren noch geglaubt, Drums w\u00e4ren vom Teufel (ich wurde mit einschl\u00e4giger Literatur versorgt, die diesen Standpunkt unterstrich), und man hatte scheinbar immer noch ein Problem damit. Es war gut, dies zu wissen, da ich mir immer M\u00fche gegeben hatte, leise zu spielen, und fast an mir selbst verzweifelt w\u00e4re.
Zweitens: ich gab sofort meinen urspr\u00fcnglichen Plan auf, die weltbesten e-Drums f\u00fcr Gemeinden zu bauen: e-Drums sind in etwa so erotisch wie ein Strandball, und es macht einem echten Drummer ebenso viel Spass, sie zu spielen, wie einem Pianisten das Casio-Keyboard gef\u00e4llt. W\u00fcrde ich das e-Drum revolutionieren, k\u00f6nnte der Drummer beim Spiel wieder mehr Spass haben, das eigentliche Problem allerdings, das merkte ich, lag in der Gemeinde, die dem Drummer einfach den Saft abdrehen w\u00fcrde, und ihn somit, wie oben beschrieben, zu Dasein einer l\u00e4cherlichen Pantomime verurteilen w\u00fcrde. Und ich hatte nicht vor, die Schlagzeuger zu bestrafen, die in Gemeinden und Kirchen spielen... Also strich ich -vorerst- den Plan der utimativen e-drums, und konzentrierte mich auf das eigentliche Problem: die gef\u00fchlte Lautst\u00e4rke.<\/p>

Also, Menschen, die Drums ansich zu laut finden, wird es immer geben. Daher beschloss ich, diese zu ignorieren (sonst w\u00fcrde ich heute Gitarren bauen...). Da das Schlagzeug in der Kirche aber meist akustisch in sehr ung\u00fcnstigen Positionen ist, und zu allermeist NICHT mit Mikrofonen (zumindest nicht freiwillig) abgenommen wird, legte ich den Schwerpunkt auf ein in sich in der Lautst\u00e4rke abgestimmtes Instrument. Denn wer kennt es nicht, das Problem: die Snare ist viel zu laut, die Floor Tom und die Bass Drum hingegen setzen sich kaum durch... ein ausgewogenes Set klingt irgendwie anders; allerdings sind Drums auch normalerweise zur Mikrofonierung gebaut; sie klingen gut, wenn man dahinter sitzt, aber auf gro\u00dfen B\u00fchnen geh\u00f6ren sie mikrofoniert.<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n What is the concept behind worship drums?<\/span>\n\n \n
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The concept is pretty simple: we do not want to make our drums loud, but build a drum set that sounds balanced and well rounded,. even when not mic'd.<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n ...and what is it that we do different than other drum manufacturers?<\/span>\n\n \n
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It's pretty simple. We do not try to build a loud drum. We do the opposite. As with every attempt to make drums louder, we lose the full and rich sound in favor of more loudness and attack, we really wonder that we seem to be the only ones who value a sensible, low volume drum set. Strange enough most major manufacturers indeed are on the eternal quest to make drums louder. I thought that's what mikes are for...<\/p>

What else do we do? We make our own drum heads, and especially the heritage drum heads have a lamination that produces less attack and high overtones, and gives a well defined warm tone. Those heads can be used with any drums, by the way, and can be purchased separately. They do not make your drums more sensitive if they are regular arena drums, but most drums do profit from them sound wise.<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n Are Adoro Worship drums quiet drums for practice?<\/span>\n\n \n
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Nope. They are still an acoustic instrument and pretty much audible, though a lot less loud than most drum sets. To keep the peace, maybe consider giving your neighbours some ear protections :)<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n Should your church use acoustic or edrums?<\/span>\n\n \n
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Ich gebe zu, es klingt verlockend, dem Schlagzeug einen Volumenregler zu verpassen. Wer das e-Drum wegen seiner Vielseitigkeit braucht, wird es zu sch\u00e4tzen wissen, wie der Keyboarder seine Synths. Aber Hand auf's Herz: das ist keine dauerhafte L\u00f6sung. Zu allererst kostet noch immer ein gut spielbares und klingendes e-drum ein Vielfaches von einem normalen Drumset. Und f\u00fcr den Drummer ist es eine zweifelhafte Freude: man ist nun absolut von der Technik abh\u00e4ngig. Spielt man ohne Kopfh\u00f6rer, braucht man einen Monitor, auf dem man sich h\u00f6rt, somit ist das Schlagzeug dann doch wieder auf der B\u00fchne zu h\u00f6ren. Zudem ist die Ausdrucksf\u00e4higkeit des Schlagzeugers stark eingeschr\u00e4nkt, er verkommt zum Tastendr\u00fccker. Die Optik der meisten e-Drums war bisher ein ausschlaggebender Punkt f\u00fcr mich, keine zu spielen.<\/p>

Many worship leaders recognized the better sound and volume control they gain with Adoro Worship Drums. If still in doubt, contact us and ask for a try out month for churches, so you can compare our drums to your edrum system and see which one makes audience and drummer more happy. E-Drums only sound good when played in a loud enviroment, played at low volume they usually are instantly recognizable as fake drums...<\/p>

If someone plans to buy an electronic drum set, these arguments sure will not keep him from doing so, and I admid it is really tempting to be able to play drums with nearly no noise emission. But who would have expected a pledoyer for e-drums from us? See..<\/p>

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Dennoch gebe ich zu bedenken, dass das e-Drum bis heute eine Randerscheinung geblieben ist, ein \u00dcbungsschlagzeug allemal. Wann haben Sie das letzte mal bei einem Livekonzert mit guter, handgemachter Musik ein e-Drum erlebt -ausserhalb von Kirchenmauern? Und: w\u00fcrde sie ein Orgelkonzert auch aus den Lautsprechern der bereits zitierten Spielzeugkeyboards beeindrucken? Wenn uns etwas ber\u00fchrt, dann ist es meistens etwas ehrliches, unvermitteltes. Das Schlagzeug ist ein Instrument, dem unendlich viele Kl\u00e4nge inne wohnen, und jedes Adoro Set brennt darauf, dass diese von Ihnen entdeckt werden!<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n Which cymbals fit best to the concept of the Adoro Worship Series?<\/span>\n\n \n
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Even more than drums, the cymbals are usually working in the frequency band where we consider loudness, so it makes sense to pick cymbals which produce less loudness, and have a warm and mellow sound. While we get drums less loud by reducing the shell sizes and diameters, with cymbals the opposite is true: larger thin cymbals usually sound less loud than smaller cymbals. Also they react less explosive and are therefore easier to control. The less loud you play a cymbal, the better it has to be. While at high volume your cheap tin lids might work well for a rock band, at more sensible passages of the music they will show their lack of musicality. So it is no surprise that a more expansive cymbal often also sounds way better. Anyhow, it is not enough now to just spend a lot of money, we have to keep in mid that most drummers pick their instruments for a semi acoustic purpose, so cymbals for an acoustic purpose should be picked wise. Some manufacturers specialize in such low volume cymbals, as Dream does with their Bliss and Vintage Bliss series, which has such mellow and warm sounding cymbals both at crashes as well as rides.<\/p>

The Crash cymbal should not be too small. A larger cymbal is better controllable in volume and sensitivity, and usually lower in pitch. It should neither be too thin nor thick.<\/p>

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At Dream Cymbals, the 17\" -19\" Bliss Crash\/rides are great for most churches. The ride might be a smaller one, too, if you like the ride to have not a too dominant ping. But some flat rides and semi-flat rides in larger sizes, as the Dream Dark Matter Flat Ride 22 or the Dream Bliss Small Bell Flat Earth (24\") are so controlled and quiet, no matter how long you play them.\u00a0Dream Cymbals<\/a>\u00a0For HiHats, we also recommend thinner and larger ones, as the Dream Bliss 15\" or 16\" HiHat. A larger Hihat sounds less high pitched and less aggressive than a smaller one, and will fit more smoothly into the mix.<\/p>

Generally spoken, when you want to play less loud, avoide thashing away on ride and crashes and minimize the use of slpash and effect cymbals.<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n <\/div>\n <\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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General questions \/ Adoro<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n \n \n What (shell) materials do you use? Which shell sizes are possible?<\/span>\n\n \n
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At Adoro, everything is possible. We use shells from our own production, usually made from beech, maple or walnut. These have been proven to be good musical woods providing a warm and rich sound while being good to work with.<\/p>

With our serial drums, in order to get an as large as possible variety on sound, we use maple and walnut; maple for being still brighter than beech wood, while walnut gives us the lowest possible resonance. As a shell is not being played directly but function as resonator, the influence is only audible in their extremes. Thus our main reason to use different woods would be for decorational purpose.<\/p>

Shell sizes are debateable, but we have much experience with the building of drums and can tell you what sizes have which influence, so when your desired drum sizes will have opposite results we will at least warn you, and maybe even showcase you the drums before we build them for you. Your custom drum set shall not become an expansive experiment. Whatsoever, if you want a 26\" kick, you shall have it...<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n Do you practice \"timbre matching\"?<\/span>\n\n \n
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Short answer: Yes, but we do not knock the shells, we match the shells by chosing the right diameter, and it fits tonally.<\/p>

Long answer:<\/p>

Why Knocking on Drum Shells (\"Timbre Matching\") Is Redundant: A Builder\u2019s Perspective<\/p>

One of the long-standing myths in the drum world is the practice of knocking on raw drum shells to determine their pitch, then matching them accordingly to create a \u201cmusically tuned\u201d drum set. A certain brand has leaned heavily into this process, using it as a cornerstone of their marketing. But let me be blunt: this isn\u2019t craftsmanship \u2014 it\u2019s theatre. As someone who has built thousands of shells, I can tell you with certainty: this ritual doesn\u2019t make sense when your manufacturing process is consistent and intentional. If you know what you\u2019re doing, the resulting tone is already built into the design.<\/p>

Here\u2019s the Truth About Shell Matching<\/p>

Yes, every drum shell has a natural tone. That much is true. Also true: the pitch of each shell matters musically, just maybe not as much as some drummers might think. But here\u2019s the part most drummers aren\u2019t told: the pitch of a drum shell is determined primarily by its diameter and construction specs \u2014 not by some unique fingerprint that you have to figure out by knocking on it.<\/p>

When making a batch of 30 shells using the same wood type, ply count, grain orientation, thickness, and press settings, their pitches will be almost identical \u2014 maybe within half a semitone of each other. That\u2019s not magic. That\u2019s good manufacturing.<\/p>

Now, when I take those shell tubes and knock them (say, 10\u201d, 12\u201d, 14\u201d toms), something very predictable happens: the pitch drops by about a third per 2\u201d size increase, as long as the shell construction is identical. This natural progression already creates a musical interval across the set \u2014 by default. (This also explains why most drummers instinctively prefer 2\u201d steps between tom sizes today; 12\/13\/16 has become kind of an odd ball..)
In other words, you don\u2019t need to \u201ctune\u201d the set by matching pitches \u2014 because the diameters and build specs do that for you. Whatever the pitch is on the 10\u201d shell, when keeping all parameters the same and just changing the diameter, all other shells will perfectly match!<\/p>

So why knock on shells? The only reason it would make sense is if your production tolerances are inconsistent \u2014 if you can\u2019t reliably predict how a shell will sound because your process isn\u2019t under control.<\/p>

Alternatively, it may serve another purpose altogether: creating a compelling story for customers. There\u2019s even speculation that it has been used as a way to detect \u201cdead shells\u201d \u2014 shells with air pockets from poor gluing \u2014 which would mute resonance. In any case, knocking isn\u2019t about musicality; it\u2019s quality control disguised as mysticism.
But if you\u2019re building with modern hot-press methods and tight control over materials and specs, you already know what your shell will sound like before you knock on anything.<\/p>

Customers Still Ask \u2014 And we Still Have to Explain<\/p>

Still today, we regularly have drummers come into our showroom asking if we tone-match our shells. And I tell them the truth: we don\u2019t need to. The pitch is already engineered into the drum before we cut the first shell. If we want a higher or lower tone, we change the build: use thicker plies, alter the grain orientation, add reinforcement rings, or choose a different wood species.<\/p>

In our shop, we work with three wood types for a reason:<\/p>

\u2022 Maple: Bright and articulate
\u2022 Walnut: Deep and warm
\u2022 Beech: Balanced in between, versatile for custom builds<\/p>

That\u2019s all we need to achieve the tonal goals of nearly any drummer. We don\u2019t need to knock on shells to find out what we already engineered into them.<\/p>

TL;DR<\/p>

Timbre Matching is a great story \u2014 but not a necessary step in precision drum manufacturing. If you build shells intentionally, with consistent control over materials and methods, you already know how they\u2019ll sound. The rest is, frankly, for show.<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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Unsere Kinderschlagzeuge kommen mit Hardware. Die anderen Serien k\u00f6nnen optional mit Hardware geliefert werden, wie bei professionellen Drum Sets \u00fcblich. Bei allen Toms sind allerdings immer Tom Halter inklusive.<\/p>

Our premium hardware and pedals can be found above too, check out our hardware section!<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n Where can I purchase an Adoro drum set?<\/span>\n\n \n
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Prices and availlability can be checked at our dealers and retailers which can be found here: >>>Dealer<\/a>.<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n How can I become an Adoro Endorser?<\/span>\n\n \n
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We get asked this regularly by professional and semi professional drummers, and get biographies and PR material from interested musicians that want to endorse Adoro Drums. And for a reason: We started with nothing less than the promise to build the perfect instrument for the working musician. In many countries our drums are already embraced by professional musicians, and so we are honored to learn that drummers identify with us and want to help endorse us.<\/p>

Endorsements are advertisement contracts, and require an already large audience for the musician. Easier to get are endorsements for events: we do sponsor events we like with drums, and these do not have to be huge events. We love small stages, where the drums can shine and show their full potential. Huge shows with international artist sure are nice, but everybody knows the drums on stage are mic'd, and might be manipulated, while at small events usually both audience and the band are blown away by the unexpected good drum sound. We do depend on such small events where the acoustic nature of an acoustic instrument can be exposed.<\/p>

You can send us your endorsement requests to artists@adoro-drums.de. artists@adoro-drums.com<\/a>.<\/p>

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\u00a0<\/p>

Silent Sticks:<\/strong><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n \n \n Did you invent Silent Sticks?<\/span>\n\n \n
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For many years, Adoro has been distributing the Lidwish Sticks, an invention by Hawaiian musician Lazaro Quillion. We had long been searching for a stick manufacturer willing to further develop this brilliant invention \u2014 which was still in its beta stage at the time \u2014 but unfortunately, no one could be found.<\/p>

With the onset of the pandemic in 2020, we decided \u2014 in agreement with Lazaro \u2014 to take development and production into our own hands. This turned out to be a fortunate decision, as the global events that followed suddenly created a demand for solutions to make drums significantly quieter. Unlike many other drum manufacturers, we experienced rapid growth during that time, which enabled us to realize the further development of the sticks and beaters in-house at record speed.\n\nThe fundamental, patented concept of the sticks hasn't changed much: we still use a polycarbonate tube with a loop as the stick tip \u2014 now made of nylon. However, the excellent rebound behavior, the stick and grip thickness, as well as the shape and construction of the beaters, have been improved based on feedback from our customers and endorsers. In addition, we now produce very comfortable anti-slip grips (X-Grip) for the sticks. These were first introduced with the \"SSX\" series but have since been added to all models.\n\nSilent Sticks have become so popular in such a short time that many drummers don\u2019t even realize we are actually a drum manufacturer.<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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Silent Sticks sind tats\u00e4chlich wohl die leisesten Sticks auf dem Markt. Wir haben die Lautst\u00e4rkeunterschiede messen lassen, und im direkten vergleich zum leisesten Stick und selbst Rods sind sie ca. 4-6dB leiser, im Vergleich mit normalen 5A Hickory Sticks sogar bis 9dB leiser.<\/p>

Wir sagen, dass die Sticks bis 80% leiser sind, aber tats\u00e4chlich verdoppelt sich die Lautst\u00e4rke alle 3dB. 6dB entsprechen also vier mal leiser (400%) 9dB sogar 8fach (800%). Allerdings empfinden die meisten Menschen Lautst\u00e4rke nicht linear, subjektiv empfinden sie die Stick ggf nur als halb so laut. Lass dich nicht t\u00e4uschen: die tats\u00e4chliche Reduktion der Lautst\u00e4rke wird deiner Band auffallen, und das Sound System braucht auch entsprechend nur halb so viel Leistung. Da man aber mit den Silent Sticks noch wesentlich leiser spielen kann, da sie sehr leicht sind, kann man damit sogar auf Cajon-Lautst\u00e4rke spielen, und sich nebenher unterhalten, oder unverst\u00e4rkt Gesang und Gitarre begleiten. Unsere Kunden sind begeistert! (siehe \"Reviews\")<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n Can you play with Silent Sticks as with regular sticks?<\/span>\n\n \n
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Kurze Antwort: Ja.<\/p>

Lange Version: es kommt darauf an, womit man vergleicht. Spielen sich Silent Sticks wie dein Lieblings-Stick? Nope. Sorry.
Sind sie stabiler als Wood Rods? Jepp, etwa 3-4x langlebiger. Sind sie leiser als Rods? Jepp. bis zu 6dB. Sind sie besser zu spielen als Rods? Heck ja. Klingen sie besser (-> wie Sticks) auf Becken als Rods? Aber sowas von. Lassen sie sich besser spielen als klobige, schwere Rods? Was f\u00fcr eine Frage!

Silent Sticks sind so nahe an normalen Sticks, dass man schnell vergisst, dass unsere bisherige L\u00f6sung zum leise Schlagzeug spielen von uns zahllose Kompromisse erfordert hatten - uns Drummer verbindet zu Wood Rods eine innige Hassliebe. Wer ohne sich zu verbiegen einfach deutlich leiser spielen will, hat mit den Silent Sticks wohl die beste erh\u00e4ltliche Option f\u00fcr Drummer...<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n Why are Silent Sticks so light?<\/span>\n\n \n
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Das reduzierte Gewicht spielt eine gro\u00dfe Rolle bei der Lautst\u00e4rke-Reduktion, wobei unsere Dual Loop Reflex Tips (die Spitze der Sticks) den gr\u00f6\u00dften Anteil an der Lautst\u00e4rkereduktion haben.<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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Nicht nur einen. Wir haben einen Beater f\u00fcr e-Drums und einen f\u00fcr Acoustic Drums.<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n Why are there two versions of the beater?<\/span>\n\n \n
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Der ASB-M Beater (e-drum Beater) hat neben dem Metall-Schaft einen flexiblen Teil, der diesen Beater gerade f\u00fcr den Einsatz an e-Drums (aber auch Cajon etc) pr\u00e4destiniert, weil dieser so maximal die Imact-Lautst\u00e4rke reduziert und die Instrumente und Pads schont.

Der ASB-F Acoustic Drums Beater hat einen durchgehenden leichten aber steifen Schaft, welcher f\u00fcr lauteres Spiel ausgelegt ist und so f\u00fcr den akustischen Einsatz pr\u00e4destiniert. Er ist zwar immer noch deutlich leiser als normale Beater, aber etwas lauter als die e-Beater.<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n <\/div>\n <\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Adoro Drum Heads
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\n \n \n Why do you make your own drum heads?<\/span>\n\n \n
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Without producing your own drumheads, you have little influence\u2014as a drum manufacturer\u2014over what is arguably the most important aspect of the instrument. And since most manufacturers aim to make their drums as loud as possible, we felt it was necessary to produce our own drumheads that focus not on volume, but on sound.

The result is our Heritage drumhead \u2014 a synthetic calfskin head that replicates the warm, pleasant tone of traditional calfskin while preserving all the advantages of modern synthetic materials.\u00a0<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n What kind of heads does Adoro offer?<\/span>\n\n \n
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First and foremost, our Heritage heads.

These are also available with a dot (in all sizes, called Heritage PD) for added control; for snare drums, we also offer the Heritage PDX with a dot and X-patches.<\/p>

Our SP-Classic heads come in both clear and white-coated versions; they correspond to a simple 0.250 mm plastic head. These are especially suitable as resonant heads but also work well as batter heads, offering a wide tuning range and a pleasant tone.

Our DP Classic heads (also available in clear or white-coated) are double-ply heads with two layers of 0.180 mm thickness each.<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n Are the Heritage heads made in Germany?<\/span>\n\n \n
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Yes, our Heritage Heads are our own design and actually made in Germany.

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\n \n \n What is so special about the Adoro Heritage Heads?<\/span>\n\n \n
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Due to its construction, the Heritage head can be tuned significantly lower than comparable heads, making it an excellent choice as a batter head for those seeking a modern, warm, and pleasant acoustic tone that sounds mic\u2019d up even without a microphone.

We achieve this through a special patented fiber blend that noticeably reduces the attack, emphasizes the tone, and makes the heads easy to tune, stable in pitch, and durable. The Heritage head is very easy to tune, offering about a third more tuning range and allowing for significantly lower tuning.<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n What are Heritage PD Heads made for?<\/span>\n\n \n
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The Heritage PD heads (PD stands for Power Dot) were specially designed by us for drums that are only headed on one side, such as concert toms. The Heritage PD heads offer significantly more sustain and can be played much louder, while regular heads on these drums tend to quickly overdrive and sound dead. <\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n What are Heritage PDX Heads made for?<\/span>\n\n \n
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Our PDX Heritage heads are specifically designed for snare drums. The central power dot adds extra punch to the sound, while the X-patches control overtones without choking the head or making it sound lifeless. The result is a perfect balance of open tone and controlled damping \u2014 full and warm in character, yet, as with all Heritage heads, highly sensitive and quick to respond.<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n Are Heritage Heads good for brush play?<\/span>\n\n \n
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Yes! We treat each head using a special process that textures the surface without applying any coating. This gives it a more natural calfskin feel, allowing for beautifully articulated brushwork.<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n How long lasting are Heritage heads? Will they get crinkle?<\/span>\n\n \n
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One of our greatest challenges was adapting the design of the Heritage heads so that they retained the outstanding sound we loved\u2014without developing the same waviness over time that plagues other synthetic calfskin heads.

Unlike other manufacturers, we do **not** laminate our Heritage heads. As a result, they offer significantly greater durability than other heads, which tend to stretch and become wavy with playing over time.

This makes our Heritage head miles ahead of the competition \u2014 not only does it sound much closer to real calfskin, but it also outperforms others in sensitivity, longevity, and tuning range.

That\u2019s why we even guarantee our customers: 100% satisfaction \u2014 or we\u2019ll take the heads back and give a full refund! <\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n Is there a guarantee on Heritage heads?<\/span>\n\n \n
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Yes*!

Although drumheads are wear-and-tear items and typically cannot be returned once played, we offer exactly that!

Our Heritage drumhead is miles ahead of competing synthetic calfskin heads \u2014 not only does it sound significantly closer to the original, but it also surpasses them in sensitivity, durability, and tuning range.

That\u2019s why we guarantee our customers: 100% satisfaction \u2014 or we\u2019ll take the heads back and issue a full refund! We\u2019re so confident in the sound quality and durability of our drumheads that we\u2019ll even accept returns after they\u2019ve been unpacked and played!<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n <\/div>\n <\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Hardware<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n \n \n Is the Lotus Hardware available in the USA?<\/span>\n\n \n
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Die H\u00e4ndler, die unsere Hardware vertreiben, sind in der H\u00e4ndlerliste entsprechend markiert.<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n Are there any patented features in the bass drum pedals?<\/span>\n\n \n
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Thanks for asking. There are nine (9) pending patents on our double pedal design.<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n Why is your hardware not also availlable in regular music stores?<\/span>\n\n \n
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Man kann, theoretisch. Tats\u00e4chlich ist es heute sehr schwierig, \u00fcberhaupt in Musikgesch\u00e4ften gefeatured zu werden, da man nicht nur sehr gute Produkte haben muss, sondern auch nicht unerheblich viel Werbung schalten, wie es nur sehr gro\u00dfe Unternehmen machen k\u00f6nnen (Werbung in der Gr\u00f6\u00dfenordung eines Jahresumsatzes oder zwei...). Ohne solche Werbebudgets sind Produkte nur relevant, wenn sie spottbillig sind.

Nun kommt bei Hardware noch hinzu, dass sie sehr schwer ist, was den Versand erschwierigt und teuer macht. Deshalb haben ausserhalb von Deutschland nur wenige H\u00e4ndler unsere Hardware im Programm, und wenn, meist nur unsere Pedale.<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n <\/div>\n <\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\"\"<\/p>

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