Drum Endorsement Tiers Explained: What Each Level Gets You

Most drum brands run endorsements on a ladder. At the bottom you buy gear at a reduced price. In the middle you may get gear for a contract term. At the top you get free equipment, support and sometimes pay. Where you land depends on the audience you can reach, not on how well you play. Below is how the levels are usually described, what each tends to include, what you owe in return, and how to pitch.

TL;DR

• Tiers are often described as A, B and C. C usually means artist pricing, B a free kit for the contract term, and A free gear plus compensation.
• Many brands avoid rigid levels and adjust support to the exposure an artist brings at a given time.
• Do not expect free gear at the start. Expect a relationship that has to benefit both sides.
• In return, brands look for gear use on stage and in the studio, credits, social and web promotion, and honest product feedback.
• A tight EPK and a patient inquiry (allow three to six weeks for a reply) do more than a long email.

Table of Contents

• What a drum endorsement actually is
• The classic A, B and C levels
• Named ladders: local, national, international
• Why many brands avoid hard levels
• Perks you might see at each level
• What brands expect in return
• How to qualify for a first tier
• Building an EPK that earns a reply
• Making contact and following up
• Our perspective
• Get the gear ready for the pitch
• FAQ
• Sources

What a drum endorsement actually is

An endorsement is a performing musician’s commitment to one brand, whose products they say they prefer to use. One industry interview describes it as a player’s public commitment to a brand’s instruments. Another source puts the commercial side bluntly: a player lends their name and influence to a company to help sell more drums.

That framing matters for how you read the tiers. A tier is not a grade of your talent. It is a measure of what the relationship is worth to the brand right now, and what the brand is prepared to put behind it.

If you are still sorting out the difference between an endorsement and a looser sponsorship, our guide to endorsement vs sponsorship for drummers covers it in detail.

The classic A, B and C levels

The most common shorthand drummers use is a three-letter ladder. One drummer-run publication describes it this way: A-level deals may provide all equipment free plus compensation, B-level deals usually provide a free drum set for the contract term, and C-level deals let artists buy at the manufacturer’s price or just above. Treat that as a general picture, not a rulebook, because each company writes its own.

The C level looks modest, and in cash terms it is. The same drummer-run source argues its real value is the personal relationship with the manufacturer that can lead to higher tiers. That is a sensible way to see it: you are not buying cheap sticks, you are getting a name and a face in the artist relations department.

Named ladders: local, national, international

Some brands label their levels by reach instead of letters. One published example from a major drum maker describes a local key endorsement at a special cost, a national key endorser for growing talent, and an international artist level with global notoriety and support.

The logic is the same as A, B and C. The wider your audience, the more the brand invests. Moving up is not about practicing more in the abstract. It is about the number of people who see you using the gear.

Why many brands avoid hard levels

A senior artist relations executive from a large cymbal and stick company has explained that brands often shy away from rigid levels and treat the roster like a family, adjusting support to the exposure a musician brings at any given time.

For you, that means two things:

1. The letters you hear on forums are a convenient description, not a promise. Ask what a specific brand actually offers.
2. Support can move both ways. A player who goes on a long tour, releases a record or builds an online audience may see the deal grow. A player who goes quiet may not.

The same MusicRadar series notes that both sides need to be flexible about what is free and which other services are available. Expect a conversation, not a price list.

Perks you might see at each level

Perks vary a lot by company, so use this as a map of what exists rather than a guarantee. Free gear is the item people fixate on, yet one artist relations executive advises that free gear should not be expected right off the bat, while other benefits can come with the relationship.

Entry level (artist pricing)

• Discounted purchases on sticks, cymbals, heads or accessories
• A named contact at the company
• Sometimes a mention on the artist page or social channels

Mid level

• A kit or a set of core items for the term of the agreement
• More frequent sample sticks or accessories
• Invitations to demo days, shows or clinics

Top level

• Full equipment support
• Compensation, travel or tour help
• Features in ads and catalogs, and input on product design

We cover the practical side of the entry level, and what you need to show to get there, in 4 things drummers must show to get artist pricing and endorsements.

What brands expect in return

Every perk has a duty attached. A Grammy.com piece on what brands look for lists these common expectations: using the gear on the road and in the studio, promoting it on websites and in interviews and album credits, appearing in advertising, hosting clinics, and sometimes helping develop products.

A cymbal-maker’s artist relations representative quoted by MusicRadar adds the paperwork side: brands often want regular activity reports, product feedback, and credit for the gear in albums, videos and on promotional websites.

In practice, a sensible routine looks like this:

• Tag the brand when you post a performance, and credit the gear in video descriptions.
• Send a short activity update on a regular schedule, with dates, venues and links.
• Give honest feedback on products. It is useful to the brand, and it keeps you in the conversation.
• Play the gear exclusively in public. Brands notice when another logo appears on your kit.

How to qualify for a first tier

The single most useful point from the research is that you need to show how you can influence the brand’s audience. The Sonicbids interview with an artist relations executive says to show how you can reach the brand’s audience and promote its products, and that the relationship should benefit both parties.

A few other points are worth taking seriously:

• Build first, ask second. A Tama representative advises candidates to focus on building their career, networking and improving their craft rather than chasing a deal too early.
• Already play the product. A Sabian representative says brands look for artists who already play their product exclusively, and that drummers shopping around for the best deal are often turned down.
• Be honest. The same MusicRadar feature recommends you be honest about your situation and why you want an endorsement. If you are a student with a few local gigs, say so and ask about artist pricing.

Our walkthrough on preparing a winning drum endorsement application turns these points into a checklist.

Building an EPK that earns a reply

Your electronic press kit is the document an artist relations team will actually open. The Sonicbids interview says a press kit should briefly introduce you, note major accomplishments, include photos and links to relevant online content, and that it should exist in print and as an EPK. Your website should show an active performance schedule and audio samples.

A separate MusicRadar guide lists the contents as a brief bio, photos, audio and video samples, press coverage, equipment specs, and tour or performance dates.

Put that together and a strong drummer EPK has these parts, in this order:

1. Two-paragraph bio. Who you play with, where, and for how long.
2. Best two videos. Live footage with clear audio beats a polished studio clip nobody can find.
3. Gear list. Exactly what you play now, including sticks, cymbals and heads. This shows you already use the brand’s category.
4. Proof of reach. Audience numbers on the platforms you actually use, venue sizes, streams, students taught.
5. Upcoming dates. A short, current schedule.
6. Press and credits. Reviews, features, album credits.
7. Contact details. One email address, one phone number.

Save it as a PDF small enough to email, and keep a linked web version. The Sonicbids source recommends having both a printable and an easily emailable or downloadable version.

Making contact and following up

Approach the brand with your press kit and a short explanation of why you want to work together. Keep it to a few lines: who you are, what you play, what audience you reach, and what you would like to talk about. The Sonicbids source advises you to allow three to six weeks for a response, because brands often receive hundreds of requests.

While you wait:

• Keep playing and posting. Your next inquiry or follow-up will include fresh material.
• Do not send the same message to five rivals at once. A brand wants someone committed to it.
• If the answer is no, ask what would change it, and come back with new results.

Our perspective

We distribute handcrafted cymbals and drumsticks, so we see endorsement from the side of the gear as well as the drummer. Our view is that a tier matters less than a clear relationship. The drummers who do well are the ones who know what they play, why they play it and who hears them play it.

That is why we think the ladder starts well before a contract. Playing quality sticks and cymbals every night, documenting it, and building a small audience gives you something real to show. Our exclusive lines, London Drumstick Company sticks and Alchemist cymbals, are made for exactly that kind of player: the working drummer who wants a consistent feel and a sound they can be proud to put their name next to.

We also run artist endorsement partnerships alongside our trade accounts and membership options, because we believe the best partnerships grow from honest conversations, not from forms. If you are not sure where you stand, start by playing the gear and telling us what you think.

Will

Get the gear ready for the pitch

Before you send an EPK, make sure your gear list is something you are happy to see in print. Our custom drumsticks let you configure a pair to your hands, and our Alchemist hand-hammered cymbals are built for players who care about tone.

If you buy sticks often, our membership plans are worth a look: Pro Member is £4.99 per month and VIP Member is £9.99 per month, and there is a Free Member option too. See the membership plans on our homepage, or read which rewards tier pays for sticks before you choose.

FAQ

Do I need to be a touring drummer to get an endorsement?

No. Entry-level deals are usually aimed at working local players who can show some reach. What matters is the audience you influence and how consistently you use the brand’s gear. Build a record of gigs, videos and credits first.

Will I get free gear at the first tier?

Not usually. One artist relations executive warns that free gear should not be expected right off the bat. Entry deals more often mean artist pricing and a direct contact, with free items arriving as the relationship grows.

Can I endorse more than one brand?

That depends on the category and the contract. Brands prefer artists who play their product exclusively, so ask before you wear or play a competing logo. Different categories, such as sticks and cymbals, are often handled separately.

How long should I wait after sending my EPK?

Allow three to six weeks before following up. Brands often receive hundreds of requests, so a polite check-in with a fresh update is better than repeated messages.

Is an endorsement the same as a sponsorship?

Not quite. Endorsement centers on you publicly committing to a brand’s products, while sponsorship tends to be a broader financial or promotional arrangement. Our article on endorsement vs sponsorship sets out the differences.

Sources

• An Interview With Joe Testa, Vice President of Artist Relations
• Endorsements: who gets them, Drummersblog
• Session Drumming Month: Get an endorsement, Part 3, MusicRadar
• Session Drumming Month: Getting an endorsement, Part 2, MusicRadar
• Make money from playing drums: the dos and don’ts of endorsements, MusicRadar
• What Do Brands Look For In Artist Endorsements?, Grammy.com
• How to Get an Artist Endorsement Deal, Sonicbids

Recommended

• How to Prepare a Winning Drum Endorsement Application
• Endorsement vs Sponsorship for Drummers: What’s the Difference?
• 4 Things Drummers Must Show to Get Artist Pricing and Endorsements