Guide to Identifying a Super-Ludwig 400

by Ed Flack © 2017

According to legend, the Ludwig Supra-Phonic is the “most recorded” snare drum of the 1960s and 1970s. I don’t know if that is true, but it is plausible, and why not? The Supra-Phonic is a great drum, and Ludwig sold a lot of them.

The modern version of this snare drum went into production in 1958 as the “Super-Ludwig.” The first drums, named Super-Ludwig with the original Art Deco lug design, were made available in 1936 using wood shells. The 1958 Super-Ludwig was made of one solid piece of rolled brass formed into a cylinder and welded. By 1962 Ludwig changed the name to “Super-Ludwig 400” (the significance of the number 400 is not known—likely just a marketing gimmick?) The next significant design and name change occurred in 1963 when Ludwig switched from rolled brass to a spun aluminum shell, calling it the “Supra-Phonic 400.” The aluminum shell has no welds, and Ludwig introduced it as the “Acousti-Perfect” shell. At first look, the Super-Ludwig and the Supra-Phonic can be mistaken as the same model drum, yet there are significant differences. Here are some specific features to look for if you want to identify a Super-Ludwig from a Supra-Phonic. 

1. As already referenced, from 1958–1962, the Super-Ludwig was made from a rolled brass and welded shell. After the brass models, the Supra-Phonic shell material was made of spun aluminum with no welds. The evidence is seen in the bubbles, pitting, and excessive chrome peeling from the early Supra-Phonic snares’ surface. Chrome does not adhere well to an aluminum surface, but it works well on brass. Another noticeable characteristic of brass is that it is much heavier than the Acousti-Perfect Ludalloy (aluminum) shell. The Super-Ludwig weighs about 10 pounds.

2. The bearing edge on both brass and aluminum shell models is 45º. These are created by rolling the top and bottom edges inward to form a collar or “flange.” The collar also serves to strengthen the shell and help support and maintain the shell’s circular shape. However, there is a second shorter flange on the Super-Ludwig models at the final edge that curls back and slightly under the primary collar.

3. The famous Ludwig Keystone badge on the brass Super-Ludwig and Super-Ludwig 400 never had a serial number. Conceivably, there may be a very few early Supra-Phonics produced in 1963 that have no serial numbers? But since 1964, all Ludwig snare drums have a serial number on the badge.

4. The Imperial lug casings. This attractive Art Deco design originated in 1935 to commemorate the 25th year “Silver Anniversary” of the Ludwig company. The Super-Ludwig lug casings are heavier than the Supra-Phonic lugs. Ludwig also made a slight design change to the Supra-Phonic Imperial lugs.

If you view an Imperial lug from the side profile, you will notice three flat plains or levels that appear as though they are almost stacked on to one another. They create ridges between each successive level so that the top or outmost shape is smallest, and the innermost surface is the largest, forming the bulk of the lug’s figure.

Both models’ Imperial lugs are the same size, but each of the three ridged plains of the lugs on a Super-Ludwig is smaller than on the Supra-Phonic lug. The Imperial lugs on a Super-Ludwig have a smaller inside cavity and shorter spring resulting in more metal mass and lug weight.

5. The counter hoops of a Super-Ludwig are chrome over brass. The counter hoops of the Supra-Phonic are chrome over steel. A magnet will attract to the steel hoops but not to the brass hoops. The magnet test cannot differentiate the shells because neither brass nor aluminum will attract a magnet. However rare, it is possible to find an early Supra-Phonic fitted with Imperial lugs of the Super-Ludwig style. When Ludwig made a design change, they gradually used up the previous models’ leftover inventory, resulting in some overlap. 

6. The snare beds of the Super-Ludwig are crimped. The snare beds of an Acousti-Perfect shell appear less severe and not as apparent because they are gradually tapered away from the snare wire center position, and there is no visible crimp to the bed.

7. The strainer on the early Super-Ludwigs and Supra-Phonics was the P-83 model, and later models received the P-85 strainer. The oldest P-83 strainers were stamped “WFL.” The WFL stamped were gradually replaced with the same strainer showing the script Ludwig logo. The butt plate was stamped “WFL” on the older versions and eventually replaced by the script Ludwig logo.

How do these two iconic variations of snare drum compare where it matters, that is to say, in sound and playability? I would say both models perform spectacularly well. I resist using terms like “warm” or “bright,” but I will say the stick response of both shell versions is excellent from the outmost edge of the head surface to the center. I attribute this in no small measure to the fact that there are ten tuning rods per head.

Both drums have a good range of tunability, from the low end of good head response to a high and tight tuning. I do recommend that if you have an early Super or Supra that you will realize the best feel and tuning when using a single ply, coated drum head.

One characteristic of these drums is that the snare wires are quite “buzzy.” Not just from sympathetic resonance from other instruments but also in solo performance. The buzziness of the Supra-Phonic is better controlled with bottom head tuning than the Super-Ludwig. The buzziness is more manageable because the Acousti-Perfect snare bed is shallower than the deep snare beds of the Super-Ludwig. Deeper snare beds require that the rods on each side of the snare beds receive more torque in tuning to eliminate wrinkles in the snare head.

I have experimented with various snare wires on both drums, including standard Ludwig snare wires, Puresound wires, and the Rhythm Tech “Active Snare System,” which is sort of like a fake Dyna-Sonic snare bridge. Each of them has performed well, the differences are subjective, but in my opinion, the Rhythm Tech does help dry up some of the Supra-Phonic buzziness. I use Ludwig wires on the Super because those are the snares that would have been the original stock.

So, if you do not own a Super or a Supra and you find yourself with an opportunity to get one in good condition, you should do it! The Supers are relatively rare, and if they have not been abused or neglected, they hold up exceptionally well. Even a 1960 Super can still look new, and if well maintained, it will continue to look good and serve well, long after we are all gone.

The Supra-Phonic can look terrible with the bubbling chrome finishes, but that has zero effect on the drum’s sound and playability. Once upon a time, I considered that to be an ugly flaw and symbol of an inferior drum design, but I am no longer so prejudice against their appearance. I think the pitting and bubbles lend a unique character to the drums. The pitting may even work to your advantage as a buyer because most folks want to own the “pretty” drum. Another bonus of its distressed appearance is that you don’t worry so much about picking up a few extra scratches, making this drum a perfect workhorse for gigs.

Thank you for taking the time to absorb this tiny slice of Ludwig drum history. I am by no means the highest authority on this subject. I happen to own these two drums, and as a valued part of my collection, I conducted personal research to better educate myself as to what I have.