After the positive response I had last month to my random rambling about the vexed and contentious issues surrounding the evil that is endorsements, I thought it would be prudent to explore it a little further.

It’s pretty much accepted that the drum companies who exercise their right to ensnare the innocent and wide eyed drummer with promises of shiny, new gear, then exploit the likeness of the poor, lost soul in order to shift more units. Equally, the artiste can expect increasing levels of adulation and respect should they secure the unlimited supply of goodies from a respected and/or desirable manufacturer.

But, I ask you; is there ever a risk of one party damaging the reputation or perhaps the goodwill of the other?

Individual drummers can be quite easily compartmentalised based on the dominating style of music they become known for and it’s true to say that certain brands have also acquired a ‘style reputation’. I’m reasonably sure if I listed a handful of major manufacturers’ names and asked a selection of drummers from all ages and experience, that the process of genre association would produce more or less, the same results.

Additionally, I can think of a few brands that would garner a mixed bag of results as they have not developed an identity immediately associated with a specific vein of music. This, in itself, is resultant from the endorsement process that has existed for years, by association, brands have become targeted as ‘the choice’ for ‘this music’.

There’s always the issue of manufacturing quality that can spell the end for a long established brand, but I’m wondering if some of the long lost brands are so because of the perception amongst potential purchasers that they ‘were/are the wrong drums for my music’? Misguided market positioning is unlikely to be the sole cause of problems for a manufacturer, but I’m sure it’s a contributory factor and will continue to be so.

Furthermore, does a high profile endorsement not only encourage purchases from the target audience, but also alienate others because of the same ‘name’? It’s difficult to illustrate without naming names, which I am reluctant to do, but we only have to think of one or two high profile punk players who, it could be argued, may have inadvertently dissuaded jazz, fusion or even metal players from considering the drums in question because of the ‘risk of association’. Additionally, would it be fair to suggest that some of the brands who are no longer around or are still around but a shadow of their former stature, were victims of the same thought processes, but were regarded as being ‘too jazz’ for punk and/or rock players?

It would be quite inaccurate to suggest that only jazz players play ‘X’ Drums and only punk players favour ‘Y’, but I have observed trends emerging recently that are reminiscent of the 1970’s when the dominant US brands had their apparently unassailable power gradually eroded by a number of new brands, which themselves, became ‘the choice’. Whilst the acceptance of an endorsement will (usually) be a business one, I wonder if an invitation has ever been declined because in truth, the player doesn’t consider the brand to be ‘rock/jazz/metal etc’ enough? I wonder if a company has declined an approach as the player in question has the wrong profile – or worse still, could damage a company’s wholesome image because of ‘extra curricular activity/ingestion’?

Mr Moon, bless ‘im, was almost exclusively loyal (with a few exceptions) to Premier, could it be argued that potential sales were lost or were Premier just so successful at the time that the antics of this miscreant mattered little, or they actually improved the brand’s credibility? Just a few years ago there was a (laughable) outcry over the use of one Mr. Thomas Lee by his then cymbal endorsers, not only was the content of the offending advert considered to be in poor taste, but many commentators asserted that Mr. Lee’s criminal convictions at the time, should preclude him from encouraging the impressionable to follow in his percussive footsteps. Many more letters of complaint than were published, I’m sure were received on the editor’s desk forcefully stating that the brand supporting the advert would not be receiving patronage because of his ‘off kit’ activities.

I’m also reminded of certain name player who had quite a rough ride some years ago doing a brand ‘tour’ and garnered a not entirely flattering reputation for being a gear whore. He went on record saying some less than complimentary comments regarding a recently ended endorsement and when his then current endorsement ended – said more or less the same thing! Subsequently, there was quite a frantic letter writing campaign in a particular drummer mag and when it all died down; I was left wondering if any other drum company would go near him!!

Whether there is any discernable back-lash from such events is conjectural, but I would imagine it’s not something drummers and drum companies can be too dismissive of. But then again, is there such a thing a bad publicity?

Mike Ellis
DM Drums