Ah! It's great to learn from someone who's so openly excited by their instruments. I was only planning to dip in to understand the actual "snare" system of these drums but this is veyr interesting stuff - thanks.
Hi Rick, I just purchased an early 90's Robinson Percussion orchestral snare - what can you tell me about these snares? Also great videos I really enjoy your presentations.
Hi Rick, really enjoy all your videos! I’m looking into buying an orchestral snare and I’ve stumbled upon Aural drums, a brand from Austria. Now they have amazing looking drums made from all sorts of wood and they also have the option of drums with wooden hoops. Have you ever played with wooden hoops in an orchestral setting? Is it any good? And maybe the most important question, how do you muffle a drum with wooden hoops and calfhead? I hope to hear from you and again, amazing videos! Very educational.
Great overview of orchestral snare drums and a great collection, thank you so much. Maybe you didn't know, Schagerl Drums is not a German brand, they are made in Austria. Probably not a huge difference ;)
Hi I purchased many of them several years ago when they had a US distributor. I don't think that's the case anymore, so you will have to get them directly from Europe. They will be expensive but they are high quality heads.
Thank you very much ! This is the most in depth orchestral snare drum comparission ive seen and I was looking also for a comparission of calf vs plastic. Just one question regarding calf what would you say matters more in the case of an audition, the sound of calf or the stability of plastic?
I enjoyed this very much. What are your thoughts on the kangaroo heads out of Australia compared to calfskin? I’ve heard they hold pitch better and are more durable than calf. At the moment I’m using a fiberskyn and am not thrilled with it. I have a 14x 6 1/2 pearl utility snare with the maple shell. I’ve upgraded to die cast hoops a Gladstone throw and a cable/wire/gut hybrid.
Hello Rick, Robert here again. I am enjoying your book and the recordings. After watching this video I have made the decision to upgrade from my current snare to a pearl philharmonic, but I also am looking to buy a great case and concert snare stand to protect and hold the drum as it is quite an investment. Do you have any recommendations for high quality snare drum cases and concert snare stands?
Hi I like the heavy Pearl concert stands which is what I use. It has a ball adjuster on the basket portion which lets me get a very specific angle and it is very heavy with great stability. As far as cases go get any hard shell (plastic not fiber) case that has inside padding.
@@rickdior Thank you very much! I ordered the heavy duty Pearl concert stand and the square Humes and Berg hard case. I saw the two tuning videos that you made for drumset drums, have you considered the possibility of an orchestral snare tuning video? I know you get tons of video requests, but I thought I would ask. Thanks again.
Hi Robert I have spoken a little about my tuning over several orchestra snare videos but they may be hard to pin down. It's pretty simple really. I usually tune the top head to an A and the bottom to an E or F#. This is because when you activate the snares it beings up the pitch of the bottom head (around a minor 3rd) when the snares are pressing on that head. I use a Remo Diplomat snare head on the bottom and either a calf head or a coated Hazy (Renaissance) Diplomat on the top. Sometimes I will also use a Skyntone head for more rudimental stuff. Hope this helps. I may do a tuning video using several pearl drums at one point. That might be fun.
Hi Rick, I love your videos, thanks! You mentioned in your Delecluze video (I think it was that one) that you saw Buster Bailey play with the NY Philharmonic. Man, I *LOVE* Mr. Bailey’s playing and his sound so very much! There are many photos and videos of him playing a black drum that looks 5” or 5.5” in depth with what looks to be a knock-off of a Gladstone throw-off design (no in-built muffler but everything else looking the same except no two-way tuning lugs, just simple tube lugs much like the Pearl Philharmonic drums you’re showing here). It’s not the Gladstone drum #0 he got in 1949 (which looks like a 6.5” or 7” drum). Have you perchance in your travels come to know anything about what that drum might be, and how he had it set up? I’d greatly appreciate your thoughts. Thank you!
Hi Dave I am not sure what drum he is playing but he did have a Gladstone. I studied a little with Walter Rosenberger at Manhattan School of Music. He was the NY Phills principal percussionist and he told me they had several different snares they would use. When I was a kid and I would go see the orchestra I was not that aware equipment-wise to be very observant. All I knew is that they sounded great! Take care Rick
@@rickdior Hi Rick, thanks very much for replying. Mr. Rosenberger was an amazing man, and an amazing musician from what I gather. The way he would organise the section was first-class. He also used to organise NYP baseball matches on tour, too, apparently! Must’ve been amazing to study with him! Thanks re the drums info too. Maybe it was a drum owned by NYP? Of course, 99% of Mr. Bailey’s sound came from the connection between his musical mind and hands, and I’m sure he could make any decent tunable drum sound great. It is interesting trying i get some intel on the drums he played. Arnie Lang said Mr. Bailey retired the Gladstone drum after not too long because the bottom head kept exploding due to the sharp edges Gladstone left when cutting the snare bed. After a while he had it smoothed out and started playing it again. Thanks for your time, and for your great videos!
Great video Rick! As a high school Band Director / educator this is extremely helpful. Do you have an opinion on the Remo Fiberskyn heads? I love them in Ambassador weight for drum set snare (and sometimes toms) and know some people also use them for classical percussion...
Hi Andy I don't normally use the fiberskyn heads on my orchestra drums but I do use one on the batter head of my jazz bass drum in the summer when its humid (instead of calf). I have been using the newer Remo Skyntone heads with the orchestra as a substitute for the Evans Strata or Remo diplomat that we normally use and they sound great. That is a similar head to a fiberskyn but more articulate in my opinion. Thanks for doing all that you do as a teacher and please stay safe. Rick
The fiberskyns are very hard to dial in on a concert snare. Skyntone is the best alternative. Renaissance snare side head as well if you trust your tuning or have someone you trust to get it done. Otherwise, the renaissance diplomat or strata 700 with a 2mil snare side is really the best thing to do for a band room setting. Very easy to dial in, relatively accepting of neglect, and relatively durable.
Hello Rick! Hope you’re doing well. What do you think about the black swamp concert snare drums? And what is the size of the first snare drum on the video? (The white one) . Thank you!
Oh,you're great teacher,i'm learning a lot of things whith You,let me ask You a question: what do You think about change the snare cables of a Majestic black concert,and put the 3 Pearl philarmonic cables on it,makes a great difference?,thanks You very much!!
It is funny how there really isn't any consensus standard on Western drum manufacturing specifications, particularly when you compare this with percussion instruments from various non-Western musical cultures where the materials and construction methods (and often sizes) are effectively standardized by craft and tradition. I find this quite a peculiar thing about Western drums. Should we not be able to agree on what the quality standards should be for orchestral, marching, drum & fife, symphonic band, and percussion ensemble? Or at least, with orchestral, by time period or ensemble size?
13:00 min in.. No way.. Not never! .. Snares all set the same... OH NO SIR!! Not without a Tensiometer they aren't!!!!! ;) I am completely kidding. This is great,. Thank you!! HOWEVER, I am wondering if in the orchestral world of snare drums, if you ever use a spring scale or similar device to ensure accurate and even pulling tension on each end of the snare wire set? ((Pulling Force in Newtons)). I am quite curious about this.. I was watching a vid (hoping to find any info on this) of someone explaining how to install snare wire (20 strand, standard snare wire) and you could easily see skewing when the strainer was engaged. .. ( ! ) And he was completely oblivious!! It got me thinking of how Orchestral Snare drums are like the Formula 1 Race car engines of Snare Drums and just wondered if there was anything at all like that. I do realize the individual snares for different dynamics are much more narrow, as well as individually adjustable, but am genuinely curious about this. (I'm sure you're like.. "??? What in the name of Samuel L Jackson is this guy on about?!?? " But if you do have any thoughts on the matter, I would love to hear them. Thanks again! (For your time, and this great vid. :) Cheers!!!
Hi Jess This is funny You may want to spend less time thinking about these things and more time working on the playing aspects of them. Over-analyzing tension on each individual snare is a waste of time since they will loosen up individually anyway over time as will the heads and so forth. Are you going to spend hours everyday measuring, tensioning and fixing? Learn about the drums you have by working with them daily (and playing and recording alot ) but going full drum anal retentive and over thinking everything is going to eventually drive you crazy. Thanks Rick
@@rickdior Haha.. yes, no worries there. I'm a commercial session, studio and touring drummer-turned snare builder and was legitimately curious about one aspect of many, (including length and breadth of snare beds, how and if they differ from kit snare drums, to bearing edges. etc..) I have been researching the building aspects for over 14 months and have started gathering equipment and the like. The details you speak of are exactly the kind of thing that goes into engineering the Pearl and all your other well made snare drums you care for. Conversely, a great many players (myself included for many years), tend to take for granted how much goes into a true, quality instrument. In any event, there is very little on the subject published on line, and was simply attempting to not overlook something, no matter how small. As this was literally the first time I've inquired on this subject from a veteran player, in a field other than my own, I will most likely direct my inquiries elsewhere. Thanks for the reply regardless. ...As for the old saying "there are no stupid questions". . .
Hi Jess I understand now. You should have stated that you were building drums in your first posting. I have had students in the past that obsess over every minute detail about their drums and they waste so much time on that that they never really learn how to play them so I guess I was channeling that. That does make a difference with your obsession with the details of individual snare wire tension. You do have to remember that once the drum is built, played on and gigged with, its going to change quite a bit. As you know over time the wood will (even with a finish on it) dry out a bit, snares will come loose and it will be for lack of a better phrase, broken in. It is very easy to replace snares on a drum. What you need to worry about is the strainer system which as I say in the video is one of the most important criteria for me when a choose a snare drum. The best sounding and most easily tune-able drums are the ones that are built to high specs with the best available hardware and shells. There are only a few companies that build a drum in mass quantities that I trust to use with a symphony orchestra day after day. I have built snare drums in the past, both stave and ply and I can tell you it is very difficult to get a drum with the same exact specs to sound the same. This is because of small details in the shell makeup as well as snare beds and bearing edges. You have to have some pretty expensive woodworking equipment to reach this consistency although with CAD machines it's getting a bit easier. As you see in the video even the Pearl concert drums that are the best mass produced drums available (IMO) differ so much with a calf head vs. a plastic head. This is compared with two of the exact same drums side by side in my video. So if you are building drums of the highest quality I would worry about head choice and strainer system more than anything else since at that level that's what makes the biggest difference and that's what professional orchestral percussionists think most about with snare drums .
@@rickdior Hey Rick :) Well..., mentioning that off the bat.. Sorta feeling out the waters regarding mentioning what I'm up to.. As a player, an avid fan of orchestra and fine engineering, there is sometimes a disconnect between the instruments artists use and their makers. I feel a well thought out, thoroughly researched and well executed design, By and For artists, could have some value to players out in the field. You did touch upon the precise reason I asked that question in the last sentence of your reply... (and thus, hence my initial question.. ((Insert chicken and egg syndrome here ;) - I have a design in the works using a dual tension, three-point strainer ( albeit for ~ but certainly not exclusive to ~ rock, pop, jazz, etc.. ) with a spring loaded pre-calibrated visual aid for fine-tuning snares for use specifically for some of what you mentioned in your video : Auditioning and fine-tuning quietly, Or for when you are not allowed to make a sound at all. Calibrating the system once finished will be based on tension readings after getting very sounds. While not for everyone, assuredly, this is a bit of fun + science/engineering + music and 'instrument enjoyment by its player'.. (A key factor for inspiration, especially for writing). I was just curious if this was at all in practice, given the amount of precision in Orchestra instruments. Cheers!
I fell in love with a 1960’s Ludwig orchestra snare drum and have never recovered from the experience.
wow, was looking into orchestral snares and stumbled upon this and was really thankful to find this video
Ah! It's great to learn from someone who's so openly excited by their instruments. I was only planning to dip in to understand the actual "snare" system of these drums but this is veyr interesting stuff - thanks.
Awesome!!! This film has opened my ears to all the nuances associated with a snare drum.
Enjoyed your playing. I played drums as a teenager and now at 83 I play classical guitar.
Hi Rick, I just purchased an early 90's Robinson Percussion orchestral snare - what can you tell me about these snares? Also great videos I really enjoy your presentations.
Sorry, but I am not familiar with that drum.
Saved up forever😂 to purchase Hinger TouchTome Tymp mallets as a high schooler. So special to study with a legend
Hi Rick, really enjoy all your videos! I’m looking into buying an orchestral snare and I’ve stumbled upon Aural drums, a brand from Austria. Now they have amazing looking drums made from all sorts of wood and they also have the option of drums with wooden hoops. Have you ever played with wooden hoops in an orchestral setting? Is it any good? And maybe the most important question, how do you muffle a drum with wooden hoops and calfhead? I hope to hear from you and again, amazing videos! Very educational.
Great overview of orchestral snare drums and a great collection, thank you so much. Maybe you didn't know, Schagerl Drums is not a German brand, they are made in Austria. Probably not a huge difference ;)
Thanks
I apologize to Austria.
hey Rick, I love your videos! I'm wondering where you source your Lefima heads from? I can't seem to find a place to order them.
thanks,
Brady
Hi
I purchased many of them several years ago when they had a US distributor. I don't think that's the case anymore, so you will have to get them directly from Europe.
They will be expensive but they are high quality heads.
@@rickdior thans for your reply! how would you recommend I go about getting them from Europe?
Thank you very much ! This is the most in depth orchestral snare drum comparission ive seen and I was looking also for a comparission of calf vs plastic.
Just one question regarding calf what would you say matters more in the case of an audition, the sound of calf or the stability of plastic?
Definitely the stability of plastic since you don't know what the climate and humidity will be like at the audition location.
@@rickdior Thank you! one more question, did you try the Grover G3T snare? in that case, what do you think of it?
I have not played on that drum but I have heard from friends that it is very good.
what do you think about the old pearl symphonic in comprasisson to the philharmonics?
Dear Rick,
Amazing video! I'm looking to buy one of them to be my first PRO Snare drum: Aluminum or maple. 14x5... Some advice?
A big hug!.
Hi
If it's a Pearl Philharmonic get the 6.5 Aluminum. Great drum.
I enjoyed this very much. What are your thoughts on the kangaroo heads out of Australia compared to calfskin? I’ve heard they hold pitch better and are more durable than calf. At the moment I’m using a fiberskyn and am not thrilled with it. I have a 14x 6 1/2 pearl utility snare with the maple shell. I’ve upgraded to die cast hoops a Gladstone throw and a cable/wire/gut hybrid.
I have heard that they are great but I have not tried them yet. I am looking forward to it.
Hello Rick,
Robert here again. I am enjoying your book and the recordings. After watching this video I have made the decision to upgrade from my current snare to a pearl philharmonic, but I also am looking to buy a great case and concert snare stand to protect and hold the drum as it is quite an investment. Do you have any recommendations for high quality snare drum cases and concert snare stands?
Hi
I like the heavy Pearl concert stands which is what I use. It has a ball adjuster on the basket portion which lets me get a very specific angle and it is very heavy with great stability.
As far as cases go get any hard shell (plastic not fiber) case that has inside padding.
@@rickdior Thank you very much! I ordered the heavy duty Pearl concert stand and the square Humes and Berg hard case. I saw the two tuning videos that you made for drumset drums, have you considered the possibility of an orchestral snare tuning video? I know you get tons of video requests, but I thought I would ask. Thanks again.
Hi Robert
I have spoken a little about my tuning over several orchestra snare videos but they may be hard to pin down. It's pretty simple really. I usually tune the top head to an A and the bottom to an E or F#. This is because when you activate the snares it beings up the pitch of the bottom head (around a minor 3rd) when the snares are pressing on that head. I use a Remo Diplomat snare head on the bottom and either a calf head or a coated Hazy (Renaissance) Diplomat on the top. Sometimes I will also use a Skyntone head for more rudimental stuff. Hope this helps. I may do a tuning video using several pearl drums at one point. That might be fun.
Hi Rick, I love your videos, thanks! You mentioned in your Delecluze video (I think it was that one) that you saw Buster Bailey play with the NY Philharmonic. Man, I *LOVE* Mr. Bailey’s playing and his sound so very much! There are many photos and videos of him playing a black drum that looks 5” or 5.5” in depth with what looks to be a knock-off of a Gladstone throw-off design (no in-built muffler but everything else looking the same except no two-way tuning lugs, just simple tube lugs much like the Pearl Philharmonic drums you’re showing here). It’s not the Gladstone drum #0 he got in 1949 (which looks like a 6.5” or 7” drum). Have you perchance in your travels come to know anything about what that drum might be, and how he had it set up? I’d greatly appreciate your thoughts. Thank you!
Hi Dave
I am not sure what drum he is playing but he did have a Gladstone. I studied a little with Walter Rosenberger at Manhattan School of Music. He was the NY Phills principal percussionist and he told me they had several different snares they would use. When I was a kid and I would go see the orchestra I was not that aware equipment-wise to be very observant. All I knew is that they sounded great!
Take care
Rick
@@rickdior Hi Rick, thanks very much for replying. Mr. Rosenberger was an amazing man, and an amazing musician from what I gather. The way he would organise the section was first-class. He also used to organise NYP baseball matches on tour, too, apparently! Must’ve been amazing to study with him!
Thanks re the drums info too. Maybe it was a drum owned by NYP? Of course, 99% of Mr. Bailey’s sound came from the connection between his musical mind and hands, and I’m sure he could make any decent tunable drum sound great. It is interesting trying i get some intel on the drums he played. Arnie Lang said Mr. Bailey retired the Gladstone drum after not too long because the bottom head kept exploding due to the sharp edges Gladstone left when cutting the snare bed. After a while he had it smoothed out and started playing it again.
Thanks for your time, and for your great videos!
Great video Rick! As a high school Band Director / educator this is extremely helpful. Do you have an opinion on the Remo Fiberskyn heads? I love them in Ambassador weight for drum set snare (and sometimes toms) and know some people also use them for classical percussion...
Hi Andy
I don't normally use the fiberskyn heads on my orchestra drums but I do use one on the batter head of my jazz bass drum in the summer when its humid (instead of calf).
I have been using the newer Remo Skyntone heads with the orchestra as a substitute for the Evans Strata or Remo diplomat that we normally use and they sound great. That is a similar head to a fiberskyn but more articulate in my opinion.
Thanks for doing all that you do as a teacher and please stay safe.
Rick
The fiberskyns are very hard to dial in on a concert snare. Skyntone is the best alternative. Renaissance snare side head as well if you trust your tuning or have someone you trust to get it done. Otherwise, the renaissance diplomat or strata 700 with a 2mil snare side is really the best thing to do for a band room setting. Very easy to dial in, relatively accepting of neglect, and relatively durable.
Hello Rick! Hope you’re doing well.
What do you think about the black swamp concert snare drums? And what is the size of the first snare drum on the video? (The white one) . Thank you!
Hi
I have a Black Swamp maple multisonic and I like it but not as much as the Clevlander or some of the Pearl drums. That first drum is 14"x5"
Thanks
This is what i wanted to learn. Thank you.
Oh,you're great teacher,i'm learning a lot of things whith You,let me ask You a question: what do You think about change the snare cables of a Majestic black concert,and put the 3 Pearl philarmonic cables on it,makes a great difference?,thanks You very much!!
Hi Mario
You should try to use different snare types. It's easy with that majestic drum. I have one and love it.
WOW great video great hands too
You studies with Fred Hinger??? That's amazing!
Yes...from 1982 to 1986 at the Manhattan School of Music. He was something else!
Excellent Rick, many thanks.
Another Great Video Rick. Thanks!!!!!
Great playing
It is funny how there really isn't any consensus standard on Western drum manufacturing specifications, particularly when you compare this with percussion instruments from various non-Western musical cultures where the materials and construction methods (and often sizes) are effectively standardized by craft and tradition.
I find this quite a peculiar thing about Western drums. Should we not be able to agree on what the quality standards should be for orchestral, marching, drum & fife, symphonic band, and percussion ensemble? Or at least, with orchestral, by time period or ensemble size?
If nashville symphony's got it I'll have to look out for it next season.
Hi Nathan
That's the National Symphony in DC, not the Nashville Symphony.
I need to learn to speak slower.
@@rickdior haha no worries sir thank you.
Great info. Thank you!
13:00 min in.. No way.. Not never! .. Snares all set the same... OH NO SIR!! Not without a Tensiometer they aren't!!!!! ;) I am completely kidding. This is great,. Thank you!! HOWEVER, I am wondering if in the orchestral world of snare drums, if you ever use a spring scale or similar device to ensure accurate and even pulling tension on each end of the snare wire set? ((Pulling Force in Newtons)).
I am quite curious about this.. I was watching a vid (hoping to find any info on this) of someone explaining how to install snare wire (20 strand, standard snare wire) and you could easily see skewing when the strainer was engaged. .. ( ! ) And he was completely oblivious!! It got me thinking of how Orchestral Snare drums are like the Formula 1 Race car engines of Snare Drums and just wondered if there was anything at all like that. I do realize the individual snares for different dynamics are much more narrow, as well as individually adjustable, but am genuinely curious about this. (I'm sure you're like.. "??? What in the name of Samuel L Jackson is this guy on about?!?? " But if you do have any thoughts on the matter, I would love to hear them. Thanks again! (For your time, and this great vid. :) Cheers!!!
Hi Jess
This is funny
You may want to spend less time thinking about these things and more time working on the playing aspects of them.
Over-analyzing tension on each individual snare is a waste of time since they will loosen up individually anyway over time as will the heads and so forth. Are you going to spend hours everyday measuring, tensioning and fixing? Learn about the drums you have by working with them daily (and playing and recording alot ) but going full drum anal retentive and over thinking everything is going to eventually drive you crazy.
Thanks
Rick
@@rickdior Haha.. yes, no worries there. I'm a commercial session, studio and touring drummer-turned snare builder and was legitimately curious about one aspect of many, (including length and breadth of snare beds, how and if they differ from kit snare drums, to bearing edges. etc..) I have been researching the building aspects for over 14 months and have started gathering equipment and the like. The details you speak of are exactly the kind of thing that goes into engineering the Pearl and all your other well made snare drums you care for. Conversely, a great many players (myself included for many years), tend to take for granted how much goes into a true, quality instrument. In any event, there is very little on the subject published on line, and was simply attempting to not overlook something, no matter how small. As this was literally the first time I've inquired on this subject from a veteran player, in a field other than my own, I will most likely direct my inquiries elsewhere. Thanks for the reply regardless. ...As for the old saying "there are no stupid questions". . .
Hi Jess
I understand now. You should have stated that you were building drums in your first posting. I have had students in the past that obsess over every minute detail about their drums and they waste so much time on that that they never really learn how to play them so I guess I was channeling that.
That does make a difference with your obsession with the details of individual snare wire tension. You do have to remember that once the drum is built, played on and gigged with, its going to change quite a bit. As you know over time the wood will (even with a finish on it) dry out a bit, snares will come loose and it will be for lack of a better phrase, broken in. It is very easy to replace snares on a drum. What you need to worry about is the strainer system which as I say in the video is one of the most important criteria for me when a choose a snare drum. The best sounding and most easily tune-able drums are the ones that are built to high specs with the best available hardware and shells. There are only a few companies that build a drum in mass quantities that I trust to use with a symphony orchestra day after day.
I have built snare drums in the past, both stave and ply and I can tell you it is very difficult to get a drum with the same exact specs to sound the same. This is because of small details in the shell makeup as well as snare beds and bearing edges. You have to have some pretty expensive woodworking equipment to reach this consistency although with CAD machines it's getting a bit easier.
As you see in the video even the Pearl concert drums that are the best mass produced drums available (IMO) differ so much with a calf head vs. a plastic head. This is compared with two of the exact same drums side by side in my video. So if you are building drums of the highest quality I would worry about head choice and strainer system more than anything else since at that level that's what makes the biggest difference and that's what professional orchestral percussionists think most about with snare drums .
@@rickdior Hey Rick :) Well..., mentioning that off the bat.. Sorta feeling out the waters regarding mentioning what I'm up to.. As a player, an avid fan of orchestra and fine engineering, there is sometimes a disconnect between the instruments artists use and their makers. I feel a well thought out, thoroughly researched and well executed design, By and For artists, could have some value to players out in the field.
You did touch upon the precise reason I asked that question in the last sentence of your reply... (and thus, hence my initial question.. ((Insert chicken and egg syndrome here ;) - I have a design in the works using a dual tension, three-point strainer ( albeit for ~ but certainly not exclusive to ~ rock, pop, jazz, etc.. ) with a spring loaded pre-calibrated visual aid for fine-tuning snares for use specifically for some of what you mentioned in your
video : Auditioning and fine-tuning quietly, Or for when you are not allowed to make a sound at all. Calibrating the system once finished will be based on tension readings after getting very sounds. While not for everyone, assuredly, this is a bit of fun + science/engineering + music and 'instrument enjoyment by its player'.. (A key factor for inspiration, especially for writing). I was just curious if this was at all in practice, given the amount of precision in Orchestra instruments. Cheers!
How 'bout Black Swamp multi-sonic?
I have one and I like it very much but the strainer can be a bit finicky.
Let me know if you ever think of selling that bubinga pearl.
Bubinga forever!