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The Light hi-hats are available in 13" and 14" diameters.

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K cymbals are renowned for their musicality and tone and these new models are a continuation of this tradition. Included in the offerings is a 22" ride that has been developed under the close scrutiny of Cindy Blackman, and a whopping great 24" ride that has found fans among some of Zildjian's highest profile endorsees.

Lighten up

First up are two pairs of Light hi-hats. These have been developed in response to requests for lighter versions of the existing K hats. They are available in two diameters: 13" and 14". Both pairs of cymbals bear lots of tight, shallow bands of lathing on both sides (known as pin lathing) and have handsome flattish profiles.

Contrary to what you might expect, the hats are not especially thin. Paired as a medium thin on top and a medium on the bottom, they are substantial enough for most weights of players. This sturdiness also ensures that they generate a good level of volume.

The 13" models are bright, lively and respond very quickly. Played energetically, they sound surprisingly aggressive. Beneath the opening brightness is warmth and delicacy though, and gentle playing reveals more of their colour and depth. These hi-hats were most pleasing when being stroked rather than bashed, but they are more than capable of coping with a wide range of dynamics.

The 14" hi-hats are immediately a mellower prospect, giving a deeper and darker response with a little more complexity as a result. There is still plenty of mid-range body to be found though, and the toppy clarity of the 13" models is also present when required. As with the smaller versions, this makes for a thoroughly versatile pair of hi-hats that offer classic K warmth while still being able to project in many musical situations.

Cindy's cymbal

Versatility was exactly what Cindy Blackman was after when she approached Zildjian with her idea for the 22" Dark Medium ride. Though best known for her work with Lenny Kravitz, Cindy is an accomplished jazz musician and solo artist in her own right. She was seeking a multi-use cymbal that would work across musical genres, with enough power to cut through in a stadium setting coupled with the colour and finesse required in an acoustic jazz setting.

Loading so many demands onto a single cymbal must inevitably build in compromises in some areas, but what Zildjian has come up with pretty much ticks all of the boxes.

There is an unmistakable air of refinement about the ride. Heavily lathed, and also sporting a good measure of hammer marks, its profile is crowned by a well-proportioned bell. In play, the cymbal gives a strong, tight stick sound that sits over a lapping wash. The wash introduces shading and musical overtones without ever threatening to engulf the pulse.

Moving onto the bell brings a more focused, driving response that adds authority. Bringing the shoulder of the stick against the bell delivers a seriously cutting sound that would force its way through most, if not all styles of music. The ride does open for crashing, but this end of its performance spectrum is better suited to rocky environments.