comparing tom suspension mounts

Have any of you guys done any side by side comparison of the various suspension mounting systems? Is there really much difference (in sound) among the various implementations?

I haven't compared side-by-side per se, but I've used/tried many of them. Most are Gauger clones and as far as I can tell work equally well. Some are uglier than others, but most are quite ugly.

Don't know about the non-RIMS clones, such as Yamahas.

The kid has a Pearl kit, my first exposure to optimounts. I like 'em. I think most guys would say that the RIMS clones let the drums ring a bit more, but on the other hand the optis hold the drum pretty solidly (no bouncing around, which I hate) and they are also less ugly and less obtrusive generally. They also let you position the rack toms a smidge closer together, if that's an issue for you.

Just for the nerds.

Gauger RIMS hold the drum by attaching to the existing lugs.

Gauger RIM patent information:

http://www.google.com/patents?id=jAA3AAAAEBAJ

Tama Starcast hold the drum by attaching the hoop.

Tama L-rod mount patent information:

http://www.google.com/patents?id=cWImAAAAEBAJ

Tama Air-Ride patent information:

http://www.google.com/patents?id=H88fAAAAEBAJ

Tama Starcast patent information:

http://www.google.com/patents?id=49YZAAAAEBAJ

DW STM hold the drum by attaching to the lug casings.

DW STM patent information

http://www.google.com/patents?id=2codAAAAEBAJ

Yamaha YESS holds the drum by attaching to the shell at specific nodal points that eliminate crosstalk between hardware and eliminate sympathetic vibration between drums.

Yamaha stand mount patent information:

http://www.google.com/patents?vid=USPAT5357838

Yamaha floor tom mount patent information:

http://www.google.com/patents?id=f7UnAAAAEBAJ

Most of the suspension mounting systems out there are variations on those four designs.

Yes, and they were all equally a pain in the ass.

My preference, from best to worst:

Tama Starcast - can remove tom with two little knobs, no impact in tone, good sustain without too much vibration, requires tons of expensive hardware if you retrofit

Gauger RIMS - no impact in tone, very bulky, cheap, easy to retrofit

Pearl Optimount - too stiff, shortens sustain a bit, fairly slim, somewhat easy to retrofit

Mapex ITS - too stiff, shortens sustain a bit, very slim, proprietary

Pearl ISS - warps the hoops, large drums fall off, wrecks tuning, but slim and easy to retrofit

Drill through the shell - ruins the shell, kills the sustain, never a good sound

Haven't tried anything else.

Any thoughts on the Gibraltar add-on system?

i really like yamahas YESS system. doesnt kill sustain IMO and so much easier to work with. increases positioning capabilities and surprisingly sturdy.

I like yamaha YESS mounts the most. Small, unobtrusive, don't kill sustain, and are completely out of the way. DW mounts are a close second, but they are somewhat large. They don't get in the way of mic clips, but I don't really like L-rod mounts.

I hate RIMS mounts, their clones, and just about all the others. RIMS get in the way, you can't clip a mic to 'em (unless you have a clamp like the shures), and are a pain because they get in the way of head changes.

Pearl optimounts are too bulky, their ISS mounts are a joke.

I hate how tama starcast mounts to the hoop, yuck. Get in the way of mic clips.

Snare stand is the best

I don't know as I don't have any. All I ask though is that when you get RIMS type mounts, do not put pinstripes on them! Or any muffled head or tape bar napkins to them. Kindof defeats the whole purpose, don't ya think?

I like lug based mounting systems like DW uses. No extra holes drilled into the drum, no extra pressure on the hoop, and you can change the top head without even taking the tom down. It just makes sense.

Noble and Cooley have the best implementation of the RIMS style mounts. ``

I prefer 'em, (good ones), to anything else. Their vertical opposition to the load makes the most sense.

Well, the makers of suspension systems convince consumers they're a must-have, but as you note, it's a contradiction. Very few players find the sound of a fully-freed tom desirable. Effective suspension does, (can), make a favorable difference, but its importance is vastly overblown. My old Rogers 5-ply toms are violated by gigantic Memri-Loc holes, brackets, and pipes, but they sing just the same.

Just make sure that, with your suspension mounts, you carry a bag of moongels plus a roll of duct tape - which you plaster all over the coated pinstripe powerstroke blackdot heads you're using.

Thanks for the replies and discussion! This is the type of first hand opinions I was looking for.

I had a Starclassic kit and used e609's for years on the mic clips with no problems. Also had just about every other type of mic clip on the kit without problems. I think sometimes I'd clamp on to the mount and other times I'd sneak around the side.

I've done some recording with my PDP kit at a friend's studio. He, too, uses e609s and I found that lifting the drum up causes the RIMS-type mount to rest against the top of the lug, thereby increasing the space around the rim allowing the mic clamp to affix itself to the rim.

I once had a RIMS mount setup.

Now I have YESS mounts on my Stage Custom Standard set, and they are the best sounding drums I've ever had. I do have Pinstripe batter heads on the toms, though I retained the clear Ambassador on the 10" tom. It's possible that I will put Ambassadors all around next time I change heads.