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The brilliant finish not only offers high-end sparkle, but smoothes out the sound

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Though they have only just become commercially available, Zildjian's two new K Brilliant crash rides have been in existence for some time. They were originally commissioned by Who sticksman and Zildjian endorsee Zak Starkey, who has been using versions of the cymbals for at least five years.

Build

Zak required cymbals capable of supplying what he refers to as the 'wall of sound' that The Who demand. Many classic Who recordings (especially live) feature a constant wash of cymbals from Keith Moon's kit, and there is plenty of archive footage of Moon laying into a large cymbal positioned over his hi-hats for entire songs, so it's easy to understand where Zak was coming from.

Zak was closely involved in the cymbals' development, and it took several attempts before the early prototypes hit the right notes. Over the years the cymbals have been tweaked here and there at Zak's request.

The cymbals are cast from Zildjian's K bronze and feature extensive lathing on both sides, along with plenty of tidy hammer marks. They are unique among Ks in their brilliant finish, which is intended to offer high-end sparkle and smooth out the sound. At 21" and 22", they are also the largest crashes that Zildjian produces (interestingly, Zildjian has no plans to introduce a 20" Brilliant crash ride). Both cymbals share similar profiles, with the edge of the 22" tapering down a little more.

There are so few contemporary crash rides of this size on the market that it's difficult to compare these two new Ks with anything else available. While crashable rides and large rideable crashes exist, there are virtually no specifically designated rivals to this pair.

Hands On

Though the cymbals are only separated by an inch in diameter (a mere half-inch around the edge) they are easily distinguishable from one another.

We began with the 21" model and quickly discovered four distinctive stages of playing. With blurring possible between three of the four areas, more possibilities beckon. We first played the bell, which was loud, clean and separated from the rest of the cymbal; in other words, exactly like that of a dedicated ride.We then moved the stick down onto the body of the cymbal, where it delivered a strong glassy ping, which was clearly discernible above a bright wash. The wash was certainly fairly rapid, but was harmonious rather than diverting, and it resisted taking off and smothering the ride pattern.