Pearl Musical Instrument Co.: Eight Decades of Japanese Craftsmanship Driving the Future of Drum Innovation

Let’s begin by discussing the Japanese manufacturing spirit, known as monozukuri. It embodies a deep dedication to craftsmanship, meticulous attention to detail, and a commitment to continuous improvement. Your company has been closely engaged in manufacturing for over 80 years, nurturing this monozukuri spirit in Chiba. Could you share your interpretation of monozukuri and how it relates to the work your company does?

The essence of monozukuri can be seen as a pursuit of high quality, and Pearl has upheld this standard nearly 80 years through the production of exceptional instruments. Frankly, our longevity isn’t the result of luck or a miracle. It stems from our continued efforts and unwavering commitment to our goals. One of our distinguishing qualities is that we have never strayed from our core business. For eight decades, we have remained firmly focused on music, with our passion passed down from generation to generation. Music lovers have naturally gravitated toward our company, enabling us to create the unique, one-of-a-kind products we offer today.

With 80 years of history centered on a core business, rather than branching into other areas, your company has clearly been able to focus deeply on the technical excellence of its products. Could you tell us more about some of the key technical milestones you’ve achieved over the course of your company’s history?

Looking back at the history of Pearl Musical Instrument, we were founded in 1946 as a manufacturer of music stands. In 1953, we expanded into drum manufacturing, offering a full range of marching and Latin percussion instruments; a major breakthrough in our corporate history. That same year, we also began exporting internationally, serving as an OEM manufacturer for other brands.

Mitsuo Yanagisawa, Katsumi's son joined the company

Another key milestone came in 1966, when we launched our own branded products with the Pearl President Series drums. This series quickly gained recognition and acclaim among professional musicians.

In the 1970s, musical preferences shifted toward a more natural drum sound. In response, we diversified our product line and introduced wood-based shells, experimenting with various models. This period led to the development of our proprietary Superior Shell Technology, or SST. SST has become a cornerstone of our approach to professional drum manufacturing, enabling us to produce a distinctive, high-quality acoustic sound that is unique to Pearl.

This process involves special machinery that simultaneously applies heat and pressure to the plywood, while a proprietary adhesive is introduced to form the shell. The pressure reaches 1,000 PSI, equivalent to the pressure found 680 meters below sea level—far beyond human endurance. The plywood is also subjected to temperatures of 100 degrees Celsius, which evaporates moisture and prepares the surface for bonding. This results in an exceptionally strong and perfectly round shell that allows for a high level of resonance, giving rise to the iconic Pearl drum sound.

Thanks to this technology, we have successfully launched multiple product lines, including the MASTER Series and MASTERWORKS, offering a unique sound tailored to both amateur and professional musicians.

e/MERGE represents your new venture into digitalization—an area many industries are now striving to navigate. Earlier, you spoke in depth about the manufacturing processes behind your proprietary SST technology, but some of that craftsmanship can risk being overlooked as the shift from traditional to digital unfolds. In the context of drumming, to what extent do you see electronic drums gaining prominence in the future, and what kind of feedback have you received from the community? Do people still value analog instruments, and do you believe they will remain popular going forward?

The digitization of music is widespread across the globe, and interest in digital music continues to grow. One emerging trend gaining traction is hybrid drums, which combine the best of both digital and acoustic elements. However, digital drums still cannot fully replicate many aspects of acoustic drums—such as the tactile feel and sound that musicians experience when striking them. Elements like sound pressure and resonance are also difficult to reproduce in the same way.

Take cymbals, for example—a complex component of the drum kit with high-frequency characteristics. Accurately replicating their sound and nuance in a digital format remains a significant challenge.

That said, the market is evolving. Many end users, including first-time drum kit buyers, are increasingly turning to electronic drums. As a result, sales of entry-level acoustic drum kits are on the decline.

You mentioned e/MERGE, our collaboration with KORG. This partnership allows us to draw on their strengths in digital technology and combine them with our deep expertise in acoustic instruments. The result is an innovative drum product that has resonated well with the public.

1956 Japan Factory

Earlier, you spoke about your proprietary SST technology and how it has contributed to core product lines such as the MASTERWORKS Series. While you also noted a decline in sales of entry-level acoustic drums, there must still be strong demand among professionals who seek the highest quality sound and performance. What kind of emotional response are you aiming to evoke through the MASTERWORKS Series?

As I mentioned earlier, 1953 was a pivotal year for us—it marked our transformation into an integrated drum manufacturer. This led to the launch of our first branded professional products in 1966. Then, in 1988, we introduced MASTERWORKS, which has become our flagship product.

We take a premium and flagship brand approach because we want to be recognized as a maker of high-end instruments. Pearl Musical Instrument is known for delivering exceptional products, and the MASTERWORKS Series represents the pinnacle of that commitment. By offering these top-tier drums, we continue to be the choice of leading musicians around the world. This strategy has also helped us secure the strong market position we hold today.

While demand for acoustic instruments is expected to continue, what matters most to us is being chosen by top professionals. These artists have a responsibility to create truly original music, and as instrument manufacturers, we play a vital role in supporting them. Our mission is to provide the tools they need to express their individuality. This is the foundation of the MASTERWORKS Series identity.

MASTERWORKS drums are fully customized to suit each player’s preferences, right down to the finest details—such as the type of wood, shell thickness, and bearing edge shape. Hardware, finish, size; the list of customizable options is extensive. Even small variations in components can significantly impact sound, depending on the player’s unique style. With every trial and every experience, we move closer to achieving the ultimate drum sound.

1968 Super Deluxe drums introduced

Turning to global expansion, we see that you now have manufacturing hubs in Taiwan, Thailand, and China, in addition to your base here in Japan. Could you share more about your corporate strategy for international growth, and which products you are prioritizing as you continue to expand overseas?

Our strategy can be summed up as “Think globally, act regionally.” Whenever we consider a new approach, we begin with a global perspective. In today’s increasingly complex world, managing products across the entire supply chain—from upstream to downstream—requires a perspective of overall optimization. It is essential to begin by thoroughly considering what product characteristics will resonate most with users, what price point is appropriate, and how many units should be sold in which countries. Our sales and marketing team in key markets play a major role here. Keeping these goals in focus is the first step.

From there, we work backward through the supply chain, carefully balancing individual departmental optimization with the broader strategy. We evaluate which country’s value chain is best suited for each project, ensuring the most effective execution. Arguably, we have a team of product evaluation experts with the highest level of knowledge and experience in our business.

While our mindset is global, our actions are tailored to each region. This means price points vary depending on the local economic landscape, and our product range is adapted to meet the specific needs of each market.

We understand that your company holds a strong position in the U.S. market, as well as in Asia and Japan. Which other markets do you currently see as having the most potential?

Although we are a Japanese drum maker, our largest sales currently come from the U.S. market. This is especially true over the past several years in areas like Marching Band and Orchestra, where there is strong demand from schools and educational institutions. Europe is also a major market that supports the foundation of our drum set and flute sales. We maintain a significant share of the drum market in key countries including Australia, Canada and South Korea. As for future potential growth, we believe India and South America hold great potential.

We recently came across an interview with the president of Yamaha, who noted a sharp decline in piano sales in the Chinese market. In response, the company pivoted by targeting the so-called Silver Generation with saxophones, resulting in a 30% increase in saxophone sales. Of course, we understand that Pearl Musical Instrument doesn't offer the same level of product diversity as Yamaha, but we do know that you produce flutes for the Chinese market. With an aging demographic, have you noticed any shifts in demand for your products in China, and how has this influenced your strategy there?

As with drums, we’ve seen a significant decline in sales, which has reshaped the market considerably. In the past, there was strong interest in instruments like pianos and drums, largely because they were commonly used in schools. This led many families to purchase these instruments for practice and training.

However, with the impact of the COVID-19 pandemic and declining birth rates in China, the country's music education policies have shifted. As a result, there has been a sharp drop in the purchase of instruments such as pianos and drums. I recently traveled to China and spoke with clients in the industry. From those conversations, it became clear that the market is contracting due to fewer children. At the same time, though, we are seeing growing enthusiasm for professional-grade instruments, especially our drums.

In fact, just over the past 6 months, we shipped over 90 of MASTERWORKS to China—a remarkable figure. Upon further analysis, it’s evident that professional musicians and dedicated music enthusiasts are still willing to invest in high-quality instruments, which is a very positive sign for us.

You mentioned Yamaha’s pivot to saxophones, as well as our own flute offerings. We have also seen growth in flute sales in China, particularly when compared to figures from a decade ago.

Earlier, you mentioned your success in the U.S. market with marching band equipment, as well as your partnership with the Musicians Institute in Los Angeles. In China, you work with TELL MUSIC and Central Music to distribute your products. Could you tell us more about your approach to partnerships, and what qualities you look for in a partner of choice?

Our goal is to reach potential customers all over the world. We have a global distribution network, and our criteria for partnerships are based on how effectively we can access and engage with these potential customers. You mentioned partners like TELL MUSIC and Central Music—these companies provide valuable experiences that help communicate the quality and appeal of our products. These experiences can include product trials and even drum lessons.

We view our business through several key components: sales, manufacturing, service, and user experience. As the manufacturer, we focus on creating the product itself, while our partners are responsible for delivering the experience and conveying the value to the customer. Together, this forms what we call a "experience"—the actual point of consumption or engagement with the product. For this reason, it is essential for us to collaborate with partners who can help create meaningful experiences and lasting moments for our customers.

Even with a well-established distribution network, new and emerging markets continue to present opportunities. We’ve seen that you have a strong presence in Brazil, but Southeast Asia also appears to be a promising region. Are there any specific countries currently on your radar?

We are currently focusing on several emerging markets, particularly Brazil and countries across Southeast Asia. In these regions, we’re gradually seeing growing demand for higher-end products. Some of the key countries on our radar include the Philippines, Thailand and Indonesia.

Throughout your company’s history, you’ve collaborated with numerous artists who use your products. Which of these partnerships are you most proud of?

Over the years, we’ve had the privilege of collaborating with many incredible artists, but one moment that stands out for me is the launch of our High-End Reimagined (H.E.R) New Reference and Masters series drum kits featuring R2 air tom suspension system and GyroLock-L tom holder.  After many years of development, we were finally unveil the products in May, 2023. We were extremely proud of that moment, but even before the session, we had to decide which artists to work with. We ultimately collaborated with Omar Hakim, Dennis Chambers, and Mike Mangini—some of the most elite drummers in the world. Omar and Dennis have been with us for nearly 40 years, and Mike Mangini made a lasting mark as a member of Dream Theater, one of the most respected metal bands.

They came to the venue, and we provided kits tailored to the specifications we believed they would love. They tested the H.E.R. kit for the first time and were truly blown away. I saw their reactions firsthand, and it felt like a crowning achievement for us at Pearl Musical Instrument. Personally, I thought it was the best drum kit I had ever heard in a live setting.

When we create products, they are just tools—it's the artist who gives them meaning and value. This touches on the broader question of what brings value to art itself. As the artists performed and the audience responded with such excitement, I realized that by combining our technical expertise with the creativity of these musicians, we can have a real impact on people. I believe everyone in that venue went home inspired, eager to talk about what they had just experienced.

To me, artists are more than collaborators—they are our most valuable partners. That night, we validated all the science and innovation behind our drums, and the sense of achievement was truly exhilarating.

What is your personal favorite track that features drums?

There are so many that it’s hard to choose just one, but lately, I’ve been thinking about Omar Hakim, and one track I really enjoy is Bring on the Night by Sting. There’s a documentary on YouTube that features Omar, Sting, and a group of other incredible artists rehearsing in the UK, and watching that was absolutely mind-blowing for me. When you listen to the live recording, it’s hard to believe it was made 40 years ago. Sting is remarkable—and I was deeply impressed by the musicianship and energy of the performers including Omar.

Listening to these recordings from decades ago makes me realize how spoiled we have become to the advancements in recording technology. Back then, you could truly feel the musicians’ skill directly reflected in the music itself.

Let’s imagine we return to interview you on the final day of your presidency. What goals or dreams would you hope to have accomplished by the time you pass the company on to the next generation of Pearl Musical Instrument executives?

For the past 80 years, our company has focused on the manufacturing and sales of drums. Looking ahead, drums will continue to be at the heart of our business and our main profit driver, with the ultimate goal of becoming the number one drum company in the world. Building on that core foundation, we aim to explore new possibilities and embrace new challenges.

Historically, we have concentrated almost exclusively on manufacturing and sales, but we also recognize the importance of our broader role in society. If you were to return to interview me again, I would want to show you that our drums have achieved global leadership. I would also like to demonstrate that we have expanded into new business areas and taken on new ventures, all while making a positive contribution to society.

In 1968, we began producing flutes—an instrument you referenced earlier. Today, we have a wholly owned subsidiary in Taiwan dedicated to flute production, in addition to the handmade flutes we continue to craft here in Japan.

Our strength lies in our dedication to producing high-quality, handmade instruments that are appreciated by professionals. Alongside our drums, we also offer a range of flute instruments such as alto, bass, contrabass flutes and piccolos. The Japanese market has responded particularly well in this segment. Our main targets remain the rock, jazz, and educational fields.

The ultimate goal is to maintain a well-balanced portfolio. Although the woodwind segment isn’t large yet, we believe that with the right investment, it has strong potential for growth. This balance will help us remain resilient during downturns in any one area and create synergy across different segments, ultimately adding to our overall strength.

For more information, please visit their website at: https://pearldrum.com/