Ringo Starr first encountered Ludwig drums in a London shop window, instantly captivated by a black oyster pearl wrap kit. When the store clerk attempted to remove the Ludwig logo, Starr insisted it remain—declaring, “You gotta leave that on. It’s American.” That iconic kit made its debut during the Beatles’ 1964 performance on The Ed Sullivan Show, exposing Ludwig to over seventy million viewers and forever entwining the brand with music history.
Today, Ludwig drums are manufactured in Monroe, North Carolina, a town of roughly 38,000 people near Charlotte. Since 1984, the company has operated out of a 150,000 square-foot facility there, producing professional drum kits, timpani, and marching drums. The black oyster wrap that Starr favored remains the top-selling color. Ludwig’s long and rich history has made it a staple for legendary drummers such as Buddy Rich and John Bonham, as well as current artists like Questlove and the drummers for Taylor Swift and Tyler Childers.
Ludwig’s origins trace back to Chicago in 1887, when young William F. Ludwig, son of German immigrants, became captivated by a marching band’s drumline. After convincing his father to buy him a drum, he became an accomplished performer and eventually co-founded the Ludwig & Ludwig Drum Company with his brother Theobald in 1909. Their invention of the retractable spring bass drum pedal was revolutionary, allowing a drummer to use both feet and hands to create fuller sounds.
Their innovative spirit extended to marketing. In 1918, the Jazz Er Up kit introduced the concept of a standardized drum set. Though Theobald died during the 1918 influenza pandemic, William continued to refine their products. In 1922, they launched a now-famous hand-engraved brass snare drum, the Black Beauty, still in production today and beloved by drummers like Art Cruz of Lamb of God.
The Great Depression forced Ludwig to sell the company to C.G. Conn in 1930. Although William stayed with the company, dissatisfaction led him to start again in 1937, founding the WFL Drum Company with his son. Financial hardships nearly sank the new venture, but a government contract to produce military drums during World War II helped it survive. Eventually, William regained the Ludwig brand in 1955.
The Beatles’ explosive popularity brought massive attention to Ludwig drums, especially after their Ed Sullivan Show appearance. Orders surged, and the company added a second shift to meet demand. Ringo Starr’s use of Ludwig helped define its sound and global reputation. The company thrived through the leadership of William II, who later sold it to the Selmer Company in 1981.
As production costs in Chicago rose and skilled woodworkers became harder to find, Ludwig explored relocation. Monroe, North Carolina, offered advantages: an existing Selmer factory, access to furniture-industry talent, favorable shipping options due to nearby mills and ports, and a mild climate ideal for storing wood. Ludwig moved operations there by 1984 and continues to produce drums in the region under Conn Selmer—the same Conn that once owned them.
Inside the factory, machines buzz and hum with precision as fifty-five workers craft over 300 kits and 700 snare drums each month. Many employees, like veteran Don Taylor, transitioned from furniture work and apply their craftsmanship to shaping drums from laminated wood. The process begins with adjusting moisture levels in the wood, then molding it into shells. The species and thickness of wood—maple, mahogany, oak—affect the sound profile. Ludwig often blends woods, using proprietary adhesives for elasticity and resonance.
A critical step is shaping the bearing edge—the contact point between the shell and drum head. Precision here determines whether a drum sings or sounds flat. Once shaped, drums are painted, lacquered, or wrapped. Some of Ludwig’s most striking wraps, such as Vintage Pink Oyster, are remakes of 1960s finishes. These are difficult to replicate, as the original color formulas were undocumented and sometimes included banned dyes. Ludwig occasionally consults collectors like Bun E. Carlos of Cheap Trick to reference authentic finishes.
For top artists, Ludwig crafts custom kits tailored to their performance needs and visual style. These collaborations continue to keep Ludwig at the forefront of both musical sound and design. For many at the Monroe plant, the greatest satisfaction comes from knowing their work reaches global stages. As one employee put it, “It’s amazing to me that I’m making something for Ringo or Questlove… It’s got my hands on it.”
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