Vintage Snare Drums - Vintage Tom Mounts

Since it was introduced, the R.I.M.S idea has won respect from professional studio drummers and performers alike. (Photo 36) By the mid-1990s, budget-level drums were the only set-ups not equipped with some form of isolation tom holders. The original Gauger R.I.M.S. design has spawned a variety of similar ideas from every maker.

1980s Gauger R.I.M.S. tom suspension holder

Photo 36

Pearl introduced their I.S.S. Isolation Suspension System in 1995 as a minimized support that clamped onto the tom’s top counter hoop to suspend the drum. (Photo 37) It worked well, but was no good for use with die-cast hoops, which were growing in favor in the mid-1990s. (Photo 38) Die-cast hoops would crack and break under the stress of bearing a tom’s weight with the I.S.S. system, so Pearl developed a new type of isolation mount called OptiMount. The OptiMount holder suspends the tom using four of its tension screws, between two at the top and two at the bottom. (Photo 39) Thick rubber grommets cushion all of the contact points, (Photo 40) which protects the tension lugs and screws from metal on metal damage, as well as quietly securing the tom. Older style isolation mounts are being used now on many mid-level drum sets.

Pearl 1995 I.S.S. tom suspension holder	Pearl 1997 I.S.S. isolation tom holder	Pearl 1998 OptiMount suspension tom holder	Pearl 1998 OptiMount tom suspension holder

Photo 37	Photo 38	Photo 39	Photo 40

The basic R.I.M.S. style is still the most widely used isolation system. (Photo 41) There are even a few variations of suspension mounts designed for the players who like floor toms with legs, especially those who use vintage gear and want to get maximum efficiency without the need to alter it in any way. And air-suspenion rubber feet help to reduce any loss of projection and resonance from transferrence. As the year 2010 approaches, isolation suspension mounting is still king, and the purity of wide open resonance reigns supreme. But not every player goes for the latest gear when it means compromising from the old “tried and true.” Buddy Rich had no interest in isolation systems or drum racks.

R.I.M.S.- type 1990s floor tom suspension holder

Photo 41

(Photo 42) Not long ago, drum racks were all the rage, at least while enormous drum sets were common. The modern rack idea is a lot like the big console rails of the 1930s. (Photo 43) Most of those older rails clamped onto the bass drum at three or four points in a span from one side to the other, supporting a vast array of toms and cymbals, as well as whichever traps a player used - all without the need for floor stands.

Pearl 1999 Masters Custom set with rack	1939 Gretsch-Gladstone outfit with console rail

Photo 42	Photo 43

Modern racks do the same thing in eliminating the need for so many tripod bases, and in freeing the bass drum from having so many holes drilled and brackets mounted on it. But using a rack, or wanting a virgin bass drum - especially one with a thinner shell - is all just a matter of personal preference. Some go by brand, and some by designs. (Photo 44)

Tama 1990s single-stage drum rack

Photo 44

Only a few decades ago, most drummers would just accept whatever tom holder came on their drum set. And then there were those who always liked the good old “stand by” method of using snare stands to hold toms - especially drummers who used a larger bass drum, where any type of mounted holder was too high up. Often a player might resort to a snare stand if his rail consolette proved unreliable. Some guys used to drill a hole and put a screw through the rail. But some players just always liked using a snare stand instead. (Photo 45)

Yamaha 2008 snare stand

Photo 45

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