From “Rush Gear & Gizmos” by Jim Geiger, originally published by The Camera Eye.
Of the three, Neil has probably gone through the most radical change in equipment, and change in manufacturers of his instruments. We will look at his ever-evolving setup first.
If we could be transported back to Neil’s first few tours with Rush, we would see a relatively large set of silver Slingerland drums, and some cymbals, clearly patterned after Keith Moon’s double bass drum setup, with a few odd extra cymbals and a cluster of cowbells that Neil had collected over the years.
In Rush’s unsynthesized early years, not much more was needed than that. Rush was more or less a perennial second-tier act with the ability to headline a small concert hall.
However, the band’s fortunes changed, dramatically, with the release of 2112 and All the World’s A Stage, in 1976. The band found themselves with hit records, a large cult following in the UK and Europe, and a newfound confidence in themselves (not to mention some well-deserved money in their pockets).
Neil took it upon himself to add various percussion and orchestral instruments to his drum set, to add some spice and variety to the new music they were creating. He also found himself with a new set of black Slingerland drums with Rush’s easily recognized logo emblazoned on the bass drum heads, in full color. This titanic new kit, with its tubular bells, glockenspiel, temple blocks, and whatnot, would take him across Europe and North America, seemingly nonstop for the next two years.
1979 saw a new direction in songwriting, for Rush, and Neil decided to try some new drums, once again. He received a set of Tama Superstars, which gave his drum tone a slightly “throatier” sound. Other than the conspicuous percussion that he continued to carry, on tour, there was one notable holdover from the original Slingerland kit; he continued to use his old snare drum, which he had grown attached to.
In 1982, Neil changed to Tama’s Artstar drums, which had much thinner shells, allowing for a more resonant sound.
After this tour, such concert stalwarts as “Xanadu” were retired. The forest of percussion that he had surrounded him for over six years was no longer necessary.
I will never forget the audience reaction when Neil’s drum riser did a 180-degree spin revealing his new set of Simmons electronic drums, on the Grace Under Pressure tour. As if the “Live Rush Experience” needed another added attraction. Neil integrated the new set, seamlessly, into his playing. It would open the door to even greater heights of creativity from “The Professor.”
This tour also saw the beginning of the tradition of Neil’s bass drum heads displaying the art for what was the album sticker (remember those?). Even after album sticker art went the way of the dinosaurs, the art for his drumheads still looked like it would have been made for such a purpose, with the exception of the psychedelic “Neil Face” heads.
A trip to a Rush concert in the late 80’s would give the fan a look at Neil’s snazzy new white-pearloid Ludwig drums. His ubiquitous solo spot during the show now had a very tongue-in-cheek title, called “The Rhythm Method.”
Neil was now using his various electronic percussion pads to play all manner of sampled and synthesized sounds. His kit also now included a controller that was laid out like a xylophone, or marimba, called a MalletKat.
Neil obviously started to rethink how he wanted to present the drums with the tour for Roll the Bones. He decided to use only one bass drum, while experimenting with the size and placement of his other drums. A beautiful dark purple was chosen for the color of his drums shells, for this tour, which were still made by Ludwig.
On the ensuing Counterparts tour, the color was changed to a dark cherry red.
The biggest change in Neil’s setup came with the Test For Echo tour. After using Ludwig drums for several years, he decided to switch to Drum Workshop. The DW’s were finished in a totally retro-looking red sparkle finish, as a fop to his very first set of drums he owned as a boy. The way in which his toms were aligned and even the number of drums had changed, drastically, to go along with the new traditional-grip technique Neil was learning.
The old Slingerland snare was retired after serving Neil for some 25-odd years, as well, but one constant in Neil’s setup, over the years, has been his unswerving devotion to Avedis Zildjian cymbals.
