There’s an obsession among modern drum makers to achieve endless ring out of drums; I think it’s completely silly. Razor sharp cut bearing edges, rock hard maple and other hardwoods, RIMS mounts on everything. The worst in my opinion is trying to remove as much metal hardware from the shell as possible, with things like free floating systems and floor tom suspension cradles.
Besides taking up more space in a hardware bag, things like suspension mounts just lead to more over-ring in the end. And drums will go out of tune if you play on them, especially of course if you play hard on them.
So, the FOH guy will just throw a gate on your toms, and the studio engineer will walk out of the booth to put gaff tape or moongels on them. It’s like a stupid arms race between manufacturers trying to convince drummers that they need their maximum-sustain product, and the folks who actually know how to make drums sound good to an audience. Hence, why Round Badge kits are so popular in recording studios.
That said, there are certainly things that were done decades ago that definitely make drums sound bad. Mounting six traps-era hoop clamp cymbals and cowbells on a bass drum. Using unbent floor tom legs. Rail clip/consolette mounts are another example; they generally prevent rack toms from being tuned low, choking the sound a bit.
But you’d think that with all the advances in technology, modern drum companies would be past that stuff, right? Well, take a look at what Ludwig is still doing with their legendary Supraphonic:
Metal hardware will become a resonant part of the drum. So will wrap, like an outer ply, no matter what most vintage unwrapped enthusiasts say. But rubber, never. I’d hesitate to even put felt, foam or hard plastic as a spacer or gasket under hardware on a drum.