Well, this is kind of a classic topic that's been discussed before in a similar vein of wearing weights on the feet while developing the feet.

The issue of stick size related to hand development is one that I've ignored always believing that the stick I perform with is the stick I should be practicing with.  I am questioning this due to a discussion I had with a drummer friend of mine who is a rudimental chops hound.  He was going to show me some stuff on a practice pad with my sticks but upon playing, told me he needed larger, marching sticks to 'do it good'.  Well, this got me thinking--is it easier in general to play with a larger stick?  If so, then why would large sticks be recommended to 'build the hands'?

So, I decided to test this out for myself.  I did my usual practice pad workout with the large, heavy sticks and then my regular, smaller 11A sticks.  Frankly, I can't tell a difference because they both seem to work my hands out to where they feel worked when I'm finished.  For instance, the larger, heavier sticks tire my hands out faster BUT they bouce easier.  On the other hand, the smaller sticks don't bounce as easy but my hands don't tire out the same, rather they tire from squeezing a bit more on the stick to compensate for the smaller handle.  So, I really don't know which is better, if either.  It's just that I hear differing opinions about this stuff so often, I've finally and officially confused myself.

Anyone have some thoughts/experiences/recommendations on this?

If you learn rudiments with marching sticks (3S for example), picking up the smaller sticks (especially those skinny little 7A's) is going to produce some tense moments at first. The problem is where the stick is weighted. If you have a 7A (or equivalent), the stick is more balanced and maybe even weighted towards the back. The more you focus on rudimental technique, the more you'll be searching for a better stick ... one that's weighted in the front without becoming clumsy.

I learned with marching sticks. You name the stick (Deluccias, CorpsMaster, Silver Fox), I used them. As a kit player, I lean towards longer sticks with more weight up front, but nothing as beefy as a 3S. Not even close. The last 18 mos. I've been using a Pro Mark 717 ... a long, medium-weight stick weighted towards the front. It has a small wooden bead. I play my rudiments better now with this fusion-type stick than I ever did with my marching sticks.

Thanks for the replies, guys.

I think a lot of this has to do also with playing with the right stick.  I'd like to know what kind of stick I should really be using in order to really maximize my playing.  For example, jazz sticks tend to be smaller.  Logically, that tells me that that is because jazz music is lower in volume thus, a smaller stick.  However, for the sake of discussion, let's assume that jazz playing in general seems to contain more notes and more direct application of rudiments.  In this case, wouldn't it be easier to play the style with a larger stick (not considering volume)?

Taking that thought further, does hand size have any relation to the size stick one should use?  I use traditional grip and have fairly large hands.  I find that my left hand has a harder time holding on to a smaller stick, without slipping than when I use a larger stick--larger in this case referring to the handle.  If this is the case, how would a drummer with large hands who would be comfortable using a tree trunk for a stick approach playing jazz?  Would it then become an issue of stick height or would there really be a 'perfect' stick out there for this kind of individual?

Maybe that kind of player simply sucks it up and uses a smaller stick???  

LOL, man!  What's up with that?  

The irony of your post is that if you read my quote in your post followed by your reply, they absolutely have nothing to do with each other.  You even quoted it in your post -- "jazz sticks TEND....."

Anyway, I DO appreciate the responses from all so far.  

Me? "Insulting?" "Rude?"    Sarcastic, faceteous, ironic, maybe.   But, insulting and rude, never.  

Im a big user of the SD2 boleros! they are my favorite stick, great balance, quite meaty, but still light....and round tip

What's really strange is how diverse the selection of marching stucks there are. It really comes down to the style those long-time drum instructors preach.

The Cavaliers are known for wide-open double-stroke rolls, especially over a triplet pattern. I would expect the stick they use to be very balanced and versatile.

Dennis Deluccia's stick didn't have a bead. I don't know if they're even still around, but I hated those bad boys. Terrible on the wrists, too.

Ralph Hardimon leans towards a classical approach to outdoor percussion, and has four (!) signaure sticks with Vic Firth. The snare sticks always seemed stiff to me ... I guess that's why Vanguard plays so many buzz rolls.

Tom Float is big on flam combos -- we're talking crazy flam combos -- so his stacks tend to be very balanced and a little on the long side. Even his indoor stick is 16" long.

I think that's consistent with what I said earlier.  I prefer Regal Tips because they are weighted toward the butt.  I don't care for tip heavy sticks (my personal preference), too much vibration in the hands.  So, I like to workout with Regal 2B's and generally play with maple 8A's (slightly larger than jazz sticks) for small groups.  For big band I use 5Bs because I'm unable to play 8A's loud enough to be heard.

I believed that for about 25 years.  That's the way I was taught - the German Tympani method - although I didn't know that's what it was called.  Then I went to a masterclass recently (thanks to a heads up from Mr. A) and saw, for the first time, what the Moeller method, properly executed, looked like.  A week later, someone posted a link to Tiger Bill's site, in particular, his page on "building monster chops" which described the Gladstone method.

I'm here to tell you that I was doing it the hard way for a long time.  

The Meoller method is an accenting technique that takes some time and practice to master.  It allows you to achieve multiple stick strokes from a single hand stroke.  You really need to see it to understand it.  But, it is well worth the effort.  Jim Chapin's Video is an excellent lesson on the Moeller method.  If Chapin's technique, who was at least 70 when he recorded that tape, doesn't convince you, nothing will.

The Gladstone method is just an acknowledgement that rebound is an essential element of stick technique and that, unlike the German Tympani method, where each stroke involves to parts: down and up (with the wrist), the Gladstone method involves only one part: down.  It takes full advantage of the natural rebound of the stick to achieve the up stroke.  The hand and rist is trained to be so relaxed that the rebound of the stick literally lifts the hand, rather than the wrist raising the stick.  It takes a little patience and practice at slow speed to get the feel of it, but, it's not as difficult as the Moeller method.

The fact of the matter is that use of the wrist to bring the stick up slows you down, and tires you out.  Rebound is IMHO a superior method.  Go to the Tiger Bill site and read the lesson on "building monster chops."

This is a typical example of how the Cafe has been such an amazingly useful resource for me, and I believe, all of the members.

I use a pair of Malletech Chris Lamb snare sticks for pad work -- they're a little less stubby than most of the corps sticks I've tried out. I think the Lambs are pretty much your standard orchestral stick.

On the kit, I'd love to be able to use something like that, but (of course) they'd be nearly impossible to get around the kit, they'd overplay the cymbals, etc etc. I've been using the Vater Recording models (I think?); they're kind of like a 5-A. I keep 7-As around for if I tire out at the end of a gig, but playing with heavier sticks in practices and rehearsals has definitely built up my endurance and speed (I can fly around the kit with the 7s).

The problem with the 7s is that I don't think they sound as good; my toms seem to sound bigger when played with something more 5-ish.