What is it?

Following on from the release of the ’25 Series’ last year, which (as the name suggests) commemorated 25 years of cymbal production for Zultan, the all-new Alaris Series continues to expand an already vast array of traditionally manufactured cymbals for the German cymbal-smith.

Zultan now boasts a significant range of 16 different cymbal lines, catering for any style from rock to jazz and even orchestral. As one of Thomann’s in-house brands, each of the cymbal lines, which include Aeon, Dune, Heritage, Rock Beat, Z and several others (the majority of which have been reviewed here on MusicRadar), is exclusively available on the Thomann website.

Touted as Zultan’s high-end offering, the Alaris Series cymbals are Turkish-made and hand-cast from a B20 bronze alloy (20% tin and 80% copper). This is generally seen as the gold standard when it comes to professional-level cymbals, which puts them in good company alongside popular choices like the A and K ranges from Zildjian or Sabian’s AAX and HHX lines, plus the vast majority of other top-end cymbals from the likes of Paiste, Meinl and many others.

The complete Alaris range comprises 14”, 15” and 16” hi-hats, 20”, 21” and 22” rides (each also available in a light ride model), plus 16”, 17”, 18”, 19” and 20” crashes. A full price list can be found below, which is accurate at the time of writing. They are fractionally more expensive when compared to other Zultan cymbals, but still considerably more affordable when compared to the bigger brands.

In today’s market, we’d expect to pay around £400 for a ride cymbal from the aforementioned brands, whilst the rides in this set land between £228 and £254. On average, then, the Zultan’s are coming in at about 60% of the cost, which begs the question: how do they compare to the big dogs?

Performance

The Alaris cymbals feature a traditional finish with deep hand-lathing and hammering. The build quality is excellent and there are no noticeable blemishes or imperfections, which we’ve experienced with some Zultan cymbals in the past.

For review, we have been sent the 14” hi-hats, 16” crash, 18” crash and 20” ride. These make up the only pre-configured set currently available within the Alaris Series, which comes in at £615 including a Zultan-branded carry bag. This represents a saving of just under £200 when compared to the individual prices of each cymbal in the set – enough left over to allow for an additional crash, perhaps?

Overall, these cymbals have a fairly dark tonal quality and, despite a healthy decay, veer somewhat towards a dry and slightly earthy nature. That said, they possess a broad frequency response with higher-pitched overtones apparent in the stick response. This can be heard most clearly in the bells of the crashes, which are surprisingly cutting. Harder strikes open up these higher frequencies, which give the crashes an explosive nature, opening up quickly and resonating with complex overtones – giving them the ability to cut through a mix without being overbearing.

The ride bell is equally clear but lower-pitched and comes with an incredible amount of wash from the whole cymbal. Playing on the bow of the ride at lower volumes gives a delicate and sweet sound with a crisp stick definition, but any amount of power spreads across the cymbal, resulting in a loss of clarity and sound more akin to playing the edge.

This makes it well-suited as a crash-ride but not necessarily ideal as a main ride, depending on playing style. On a related note, the ride sounds just as good, if not even better, as a crash cymbal – exploding into life with a dark sound yet not overstaying its welcome and fading back into the mix relatively quickly.

The 14” hi-hats are actually quite cutting with a dry stick definition. They work well held tightly closed, but any loss of pressure underfoot causes a noticeable high-pitched sheen as the cymbals react together, which isn’t particularly pleasant. The hi-hats’ open sound is also surprisingly high-pitched and lacks the body possessed by the ride and crashes, which is somewhat underwhelming.

Due to the handmade nature of these cymbals, there is every chance that this isn’t the case with all of the Alaris hi-hats but is with these particular cymbals. We’d love to get our hands on the 15” and 16” models to see how they compare.

Verdict

With the exception then of the hi-hats, the Alaris set is well-balanced and they sit wonderfully with each other in terms of pitch.

Hands-on demos

Zultan

Alternatives

Specifications

What is it?

Back in the ‘90s, cymbal brands periodically leaned into the ever-increasing popularity of electronic music, offering drummers the opportunity to recreate the pitched-up, crunchy sounds emerging from sampled breakbeats used in hip-hop, jungle and house music. This led to a number of options from Sabian’s VFX line (a collaboration with Tony Verderosa), Meinl’s Generation X partnership with Johnny Rabb – who quite literally wrote the book on playing live drum ‘n’ bass – while Zildjian joined the fun with its Remix range.

Now, despite the fact that technology means it’s now easier than ever to not only replicate, but create a perfect facsimile of any given sound and play it from the comfort of our kits, options in the cymbal world are now far more varied than ever, too.

Zultan’s designers are clearly aware of this, because its 8” Raw series hi-hats tap into the more recent version of this trend, most associated with German groove-wizard, Benny Greb. Here, Zultan delivers a pair of B20 bronze cymbals, served up in their un-lathed but heavily-hammered Raw finish, where the cast blank is finished with a wax coating, allowing that earthy patina to really pop through. Oh yes, and there are holes. Six of them, to be exact, which removes a fairly large amount of the top cymbal’s surface area. Un-lathed, cast B20 bronze cymbals of this type are known for their already-dry tonal character, but with the additional perforations, we're expecting desert-level conditions. After a gulp of water, it’s time to dive in.

Performance

These are mini-hats, and are unlikely to be a first choice for ‘main’ hi-hats, but in order to try the full count of articulations, we begin with the cymbals mounted on a regular hi-hat stand. First up, it’s worth noting that while the top part of the hi-hat is missing (perhaps these parts fuel a Zultan B20 tambourine?), the bottom cymbal is intact and weighty. This is a classic pairing for hi-hats, designed to enhance the fatness of the ‘chick’ sound. It’s exactly the case here, with heavy attack coming both when played with the foot or – more likely for these cymbals – with a stick in a fixed position. Except it does so with a bit of a twist, because the combination of the dryness from the simplified finishing process and the Polo-ing of the top cymbal creates an additional layer of trash, sort of like layering a traditional hi-hat with a burst of electronic white noise.

Played semi-open open for tight barks and accents, you get a fast, dark response, with some of that trash still present, while separating the hats fully for more sustained eight-note lifts, the sound dries out again, bringing the effect of those holes into play.

Finally, we mounted them in the ‘Greb’ position (to the right of our rack tom) using a fixed X-hat on a boom. As an addition to a larger setup, this feels like the hats’ natural home, allowing for some cool two-handed patterns between these and a more conventional 14-inch pair of hi-hats, while also having the option for ‘riding’ on the mini-hats. We found the most responsive fixed clutch setting was to have them closed to about 85-90% of our X-hat’s range, delivering a solid, staccato note without losing the trashy element. One thing that stands out, though, is the versatility of these cymbals. Tensioned carefully and they’re a trashy pseudo-stack, but they could just as easily be incorporated into percussion and hybrid setups when you want to add some additional colour.

Verdict

You might expect a pair of 8-inch hi-hats to sound thin, high-pitched and great for reliving those early ‘90s Acid Jazz grooves (much like our long-lost Zildjian 10-inch Special Recording hats). But that’s not really what’s on offer here. These are chunky, organic, trashy and very characterful. The fact they’re made of ‘proper’ cymbal alloy means that they feel and sound quality, and let’s be honest – they should do. Zultan has been making its name for over 25 years, and while it has a reputation for making high-quality yet affordable cymbals, these hi-hats still cost just shy of £200.

They’re not going to cut it as a main pair of hi-hats in any sort of rock-derived band setup, and it’s debatable even outside of those genres. But they are a brilliant auxiliary addition, and as mentioned, can serve multiple purposes. In that regard, they represent excellent value and a lot of fun.

Hands-on demos

Zultan

Alternatives

Specifications

Zultan has announced the launch of a new line of cymbals – the ALARIS, which, according to the German manufacturer, is a new collection that “redefines tone, touch and expression.”

There are 14 of them in all – two light Rides in 21” and 20”, three Rides in 22”, 21” and 20”, five Crashes in 20” size going down to 16”, three Hi-Hats in 16”, 15” and 14” and an ALARIS Cymbal Set, all forged from premium B20 bronze and handcrafted in Turkey.

In a statement, Zultan said that they “deliver a light, open sound with exceptional stick definition and a gentle, airy wash. Designed for drummers who value subtlety and dynamics, they respond beautifully to every nuance, offering full control over softer, more expressive playing styles.”

“The bell remains clear and articulate, while the playing surface offers a smooth, balanced character that is responsive to the touch. Sonically, the ALARIS Series bridges the gap between classic 1980s clarity and modern sophistication, combining timeless sound with a contemporary edge.”

Prices vary between £255 to £167, depending on the cymbal. The cymbal set, which consists of a 14” Hi-Hat, 16” and 18” crashes and a 20” ride, will set you back £794. For more information head over to the Zultan website here.

Alesis has carved out a powerful position in the ever-growing electronic drum kit market, thanks to an admirable focus on affordability while striving to push features and specs - mesh heads have long been standard throughout the range, for instance.

Now the US firm has focused in on the sometimes-lacking edrum hi-hat experience. Its new flagship e-kit, the 9-piece Nitro Ultimate, tackles the issue 'head-on' with a mounted controller that works with traditional stands, as opposed to the faux pedal switch that's often deployed to occasionally suboptimal effect. The controller hosts a 10-inch dual-zone cymbal, while the stand/pedal add a traditional feel to hi-hat proceedings. Nice.

While the hi-hat is the star of the show, the rest of the kit is undeniably well-specced, especially for a kit at this price ($899 USD, €849.99, £719.99), and can be paired with a dedicated 80W speaker system, the also-new Nitro Amp Pro.

At the heart of the kit, of course, is the all-important module. In the Ultimate's case you're looking at a total of 52 kits (36 factory and 16 user programmable), thanks to BFD software integration (including the Dark Mahogany Expansion Pack).

Breaking it down, you have around 640 drum, cymbal, percussion and electronic sounds to play around with. As a decent little bonus, you'll also get a 90-day subscription to Drumeo, an online learning platform we have no hesitation in recommending.

Back IRL, there's a 10-inch dual-zone snare, three 8-inch dual-zone toms, that hi-hat controller, three dual-zone 10-inch crash cymbals (two crashes and a ride), and an 8-inch mesh kick drum tower, with pedal.

The Alesis Drums Nitro Ultimate electronic drum kit is available now for $899 USD/€849.99/£719.99, while the Nitro Amp Pro has a recommended price of €149.99 /£124.99, though it's only available outside the US.

Buy now through Thomann.

Nitro Ultimate features

• 8-inch mesh kick drum tower with kick pedal
• 10-inch dual-zone mesh snare with metal hoops
• Three 8-inch dual-zone mesh toms with metal hoops
• 10-inch dual-zone hi-hat cymbal with stand-mounted controller (works with traditional hi-hat stands)
• One 10-inch dual-zone ride cymbal and two 10-inch dual-zone crash cymbals
• Rugged 4-post steel rack with locking clamps
• Advanced drum module with 52 total kits and 640+ professionally designed sounds
• Bluetooth audio streaming for jamming along with songs or lessons
• USB MIDI connection for virtual instruments and recording software
• Comprehensive I/O: dual TRS main outputs, stereo headphone output, auxiliary input
• BFD Player software with Dark Mahogany Expansion Pack
• 90-day subscription to Drumeo interactive lessons

Nitro Amp Pro features

• 80 watts of drum-optimized amplification power
• 8-inch woofer + 2.5-inch tweeter configuration
• Bluetooth audio streaming with separate volume control
• Two ¼" TRS balanced line inputs for drums plus additional instrument
• 2-band equalizer for tonal shaping
• Compact wedge-style floor monitor design

What is it?

Far from the times of yore – where effects cymbals were limited to chinas and variations on splashes – the third decade of this century offers up a banquet of bronze options, allowing us to expand our palettes way beyond ‘chick’, ‘ping’ or ‘crash’. One of the most recent arrivals is a group of effects cymbals aimed at emulating the sound of a processed handclap.

Yes, you read that right: we’ve gone full-circle from organic, human flesh and bone, to sampled and synthesized electronic recreations, all the way to forged metal that, when struck, creates a copy of a copy of one of the most primitive of percussion noises. Very meta indeed…

Zultan’s Raw series SlapClap finds its niche right here, but, innovative as it might sound, it’s not the first of its kind. Istanbul Agop’s ClapStack, unveiled in 2018, was designed in collaboration with session drummer, Trevor Lawrence Jr (Stevie Wonder, Macy Gray, Dr Dre, Herbie Hancock).

The basic principle being a stack-type trio of thin cymbals, pressed together tightly and held under tension from your cymbal stand’s wingnut. When struck, the burst of trashy, muted white noise combines just enough to fool an audience into thinking they’re hearing the intro to Carwash, and you haven’t had to so much as look at a drum pad or jack cable.

Ah, yes: electronics. Why, in an age where we can ‘de-mix’ music, download free samples from any number of online resources, or simply ask AI to create the perfect clap sound for us, would one employ a cymbal to emulate one of the most fundamental sounds in popular music? Well, why not?

But being objective, there are a few reasons. Some drummers neither have, nor want to use a dedicated sample pad. Or, maybe you’d prefer to use your electronics for running clicks, tracks and loops rather than playable percussion.

Finally, setting up a cymbal requires less effort and fewer engineering issues than incorporating electronics – as an acoustic source, it’ll blend more cohesively with the rest of your kit, and, just like a cowbell, you will always have it there as a playable sound within your kit, regardless of which patch your pad is set to.

Zultan’s SlapClap takes a similar approach to offerings such as the Istanbul Clap Stack, Meinl Byzance Smack Stack and Sabian’s XSR Effeks Clap. It’s made up of three B20 bronze cymbals (12”, 14” and 16"), cast, and left un-lathed, with a particular ‘blank’ visual quality that screams ‘trashy’ before you even play a note.

They’re stacked largest to smallest, creating a side profile not unlike a horse saddle. As already mentioned, once they're mounted on the stand (as you’re probably used to from other stack cymbals), they can be controlled by wingnut tension – looser for a bit more slosh, tighter for a crisper, more staccato sound.

Performance

Now, we were lucky enough to attend the NAMM Show when Istanbul Agop released the first Clap Stack, and, even through the noise of a crowded drum hall, the effect is as surreal as it is impressive. Despite this, it’s a similar experience when trying the Zultan SlapClap for the first time – sort of like seeing a voice actor perform as your favourite cartoon character: it’s confusing, slightly disorientating, and a hell of a lot of fun.

Next, the budget chain of rehearsal studios we were initially trying the SlapClap in revealed one of the few flaws of this design: the stands in this particular establishment were fitted with No Nut sleeves. So, the only way of manually adjusting the cymbals’ timbre was unavailable. Worth bearing in mind if your stands are equipped with the same, or you’re regularly playing on house kits that have inevitably had bits of hardware lost or pillaged. The SlapClap still works in this setting, but the resulting sound is more like a longer, sloshier, more traditional stack sound, rather than the tight, crunchy and stylised hand clap we were hoping for.

Next up, we tried the Slap Clap at a couple of gigs. The first contained some modern EDM/pop tunes where a layered clap/snare combo was damn near obligatory, and it didn’t disappoint. With experimentation at hand thanks to our complete cymbal stands, we were able to find a sweet spot at a medium tension, and as the kit was un-mic’d with no electronics to blend, we found it really easy to mix the SlapClap in by simply playing appropriately. For some sections, it works really well as the only accent on the backbeat, without the jarring drop or over-loud mis-match in volume when not being masked by the snare.

The second gig contained Kings of Leon’s cover band staple Sex On Fire in the set. This time, our kit was mic’d, and as this was the only song where additional sounds were required, it didn’t make sense to set up power, a line into the PA and monitoring for our Roland SPD-SX. So, after throwing it on a lightweight DW 6000 stand during a rushed setup, the crunchy processed clap sound from the verses of SoF were not only readily available, but the SlapClap did an almost uncanny job at emulating the sound to a tee.

Of course, it’s not just for lazy covers band drummers wanting an extra layer on the backbeat. The SlapClap can function as an accent cymbal just like any other stack. Cranking the tension from its mid-point to right down takes it from a looser clap into gritty finger-snap territory, all attack followed by a short burst of noise before abruptly cutting. With the correct positioning within your kit, this could easily function as a psuedo-electronic hi-hat sound. It’s this versatility that makes the SlapClap so much fun.

Verdict

At just over £200, the SlapClap comes in at around a third less than its equivalents from some of the bigger-name brands. Of course, if you’re the type of purist who can’t bear to mix and match brands, this is going to cause you something of a dilemma. That’s because the Zultan SlapClap is one of those products that you’re not entirely sure if or why you might need it. That is until you try it, and at that point, you’ll either have to buy it and live with the discrepancy, or remain brand-loyal and spend more.

While it’s easy to view this as a novelty, it’s actually an incredibly useful, potentially time-saving and ultimately very fun addition. The fact that it is so heavily applicable to pretty much any style of music means that you’ll end up using it a lot more than you might think, and at this price, any possible caution can be thrown more or less to the wind. Just don’t forget your wing nut.

Hands-on demos

Zultan – The Cymbal Brand

Alternatives

Specifications

Zultan has launched two new editions to their range of effect cymbals – the Zultan Vortex and the Zultan Razor Disc.

The German firm – which celebrated its 25th anniversary earlier this year – has steadily grown its range and now offers 15 different cymbal series, as well as all sorts of drum accessories.

The Vortex is distinctive due to its spiral-like cut, which gives it a downward-hanging shape not unlike that of a tree. According to Zultan: “this striking design produces a truly unique sound, adding character and depth to any setup.”

The cymbal can be set up in the traditional way or, alternatively, stacked creatively on top of other cymbals or hi-hats to produce modern, experimental effects. Your kit – your rules.

Whatever, it’s available in both 16" and 18" sizes, and each cymbal is handcrafted from premium B20 bronze.

Meanwhile the Razor Disc, according to a Zultan statement is “a versatile tool for sharp, modern accents and cutting effects. Its crisp, short sound makes it the perfect choice for adding definition and energy to any style of music.”

Unlike the Vortex it’s available in just one size - 10" – but is crafted from “high-quality” metal.

Prices for the Vortex are £87 and £69 for the 18” and 16” models respectively and for the Razor Disc you’re looking at £43. For more information go to the Zultan website here.

What is it?

The release of the brand new 25 Series from Zultan commemorates the company's 25-year anniversary of cymbal production. Forged using traditional Turkish methods, the German cymbal-smith offers a wide array of styles across 15 distinct families. As one of Thomann’s in-house brands, Zultan is exclusive to the well-known retail giant and offers relatively affordable prices when compared to your longer serving brands such as Zildjian, Sabian, Paiste and Meinl.

A full price list of the 25 Series can be found at the bottom of this review but to give you a rough guide, prices start at £68 for the smallest of the set – the 10” splash – and work their way up to £239 for the largest in the range, the 22” ride (accurate at time of writing). This is close to half the cost of professional-level equivalents from any of the ‘big four’ brands.

The lineup we’ve been sent for review includes the aforementioned splash and ride cymbals, plus 15” hi-hats, 18” & 19” crashes and a 19” china. Also available in the range are 16” and 20” crashes, 16” and 18” chinas, 14” hats, 12” splash and 16”, 18”, 19” FX type ‘Holey Crashes’.

There are two pre-configured sets available, which represent a slight saving over buying each individually. Set one consists of 14" hi-hats, 16" & 18" crashes and 20" ride cymbal (£675), while set two is made up of 15" hi-hats, 18" crash and 22" ride cymbal (£599).

The 25 Series is hand-casted using B20 bronze (20% tin and 80% copper) which is a trait shared with the vast majority of high-end cymbals. Each cymbal features a traditional finish with defined lathing lines, except for the bells, which have been left unlathed on top and bottom. This hybrid lathing approach not only gives the 25 Series a striking appearance and textured finish but also serves in drying their overall sonic characteristics. Up close inspection reveals extensive hand-hammering with shallow indentations covering the surface of each cymbal.

Generally, the quality of the finish is high, although there are some slight imperfections here and there. Taking the hi-hats for example, at certain angles it becomes apparent that there are some shallow scratches scored into the surface, potentially due to some haphazard lathing. There is also a small chip on the playing surface where a piece of metal has flaked off, again likely during the lathing process. The look of the 25 Series is relatively minimalist with only a printed Zultan logo and small “25” badge on top, and each cymbal’s model/size is printed on the underside.

Performance

Over the last few weeks, we’ve used Zultan’s new 25 Series exclusively for numerous gigs, ranging in style from heavy rock to funk, and have been suitably impressed by their versatility. They’ve also been used on our teaching kit, which has seen them put to the test at various playing volumes and in numerous musical contexts – both stylistically and in terms of acoustic surroundings.

Overal,l the cymbals are extremely dark and fairly low-pitched, particularly when played at lower volumes. Their relatively thin and flexible nature affords them a shimmer which allows a fairly long resonance, wonderfully balanced by the semi-lathed finish. This approach contributes not only to the earthy tone but also dries the overall sound. This is noticeable in the clear stick articulation, particularly when playing the bow of the ride, for instance. The result is a marriage of bold strikes supported by an underlying wash of complex tones created by the hand-hammered B20.

When played heavily, the tonal characteristics are altered, with much higher-end frequencies being released. This is a particularly welcome attribute in the crash cymbals, which explode with a myriad of high and low frequencies upon each strike. Still overall dark and moody, but now with a newfound ability to cut through the mix of a track or live band.

The 18” and 19” crashes are well balanced in terms of pitch, but there is a disparity in overall tone between the two. The 19” is slightly drier than its smaller sibling, which is noticeable mostly when riding it in a heavy groove or playing swells. The nature of handmade cymbals is that no two will ever be quite the same, which can be both a blessing and a curse. In this case, although only a subtle difference between the two is apparent, the preference would naturally be to have a perfect balance between them.

The 15” hi-hats are once again dry and extremely articulate. Their flexibility provides a satisfying feeling of ‘give’ under stick, which is also helped by their size (fairly typical of 15” hats). The bottom hi-hat is roughly twice the weight of the top which helps make the closed sound cutting and the open sound bold and low-pitched. All in, a fantastic pair of hi-hats that feel as at home in pop and rock as they do jazz and funk.

The china cymbal is also a triumph and ticks all the boxes in terms of volume and sheer attitude as it bursts into life on impact. Despite its large size at 19 inches, it is remarkably focused and works perfectly for those accented strikes that only a china can provide. Rock and metal fans, this is one to check out.

When we reviewed Zultan’s Z Series, the only cymbal we didn’t get on with was the splash cymbal, which unfortunately is the case again here. The 10” model doesn’t stand up to the tonal qualities of the rest of the set and sounds weak by comparison.

Verdict

Despite some minor cosmetic issues, the 25 Series looks as good as it sounds. A versatile set with dry and dark tonal qualities, it represents great value for money.

Hands-on demos

Zultan

Alternatives

Specifications

What is it?

Now entering its 25th year in production, Zultan is one of several long-established, underdog cymbal brands that remain somewhat overshadowed by the ‘big four’ that dominate the market (you know the ones, right?).

Sharing in common with most of these well-known companies, Zultan’s cymbals are manufactured in Turkey using traditional cymbal-making techniques. The German brand boasts a massive 15 different product ranges, with a generous amount of size options within each. You’ll note from previous reviews of the Aeon, Dune and Q Series that we have been suitably impressed with what’s on offer. Launching with the Rock Beat Series in 2000, Zultan has since developed an orchestral set (aptly named ‘Orchestra’), a low-volume set (Mellow) and several others, which between them, aim to cover all bases in terms of stylistic needs.

Representing one of the most recent additions to Zultan’s expansive range, The Z Series has recently been expanded with 10 and 12” splashes, 13” and 15" hats, 16” and 18” chinas, 19” and 20” crashes. These are in addition to the existing 14” hats, 16”, 17”, 18” 19” crashes, 20”, 21” and 22” rides. Our review set comprises the 14” hats, 18” and 19” crashes, 21” ride, 18” china and 12” splash. Exclusive to Thomann, prices start at £76 for the 10” splash and climb to £239 for a pair of 15” hi-hats – a relatively affordable price for hand-made cymbals.

There are also two packs available – the Standard Set (£495) comprises 14" hats, 16” crash and 20” ride while the Professional Set (£595) also includes the 18” crash.

Although you might find cymbals from bigger brands at a similar price, there are several factors to consider in terms of the manufacturing process and alloys used. The vast majority of Zultan’s cymbals use traditional B20 bronze, with the exception of the Aeon and CS lines which use a B25 alloy. If you’re drawing a blank on these terms, allow me to hammer them home for you (excuse the un-forge-givable cymbal puns). If you’re already up to speed, feel free to dive into the performance and verdict section to see what we made of the Z Series.

In a nutshell, B20 (also known as bell bronze) utilises an 80/20 per cent copper-to-tin ratio which has become the go-to combo for its tonal qualities. Examples of these can be seen in almost all of the top-end cymbal lines such as Zildjian’s A and K ranges, Sabian’s AA, HH and Artisan, Meinl Byzanze, Paiste Signature – the list goes on. Cheaper cymbals tend to use B8 alloy which is made up of 8% tin and 92% copper. Examples of these can be found in Zildjian’s I Series, Paiste’s PST ranges, Sabian’s aptly named B8 and Meinl’s HCS. There have also been several B10 and B12 cymbal lines over the years.

The alloy itself is not the be-all-and-end-all of the cymbal’s final sound though. The process in which it's made, particularly things like hammering and lathing, will transform the end result. Entry-level cymbals are pressed from sheet metal, while pro-level cymbals are cast and worked by hand to reach the end result.

Pricing

• Standard Set: 14" hats, 16” crash and 20” ride - £495
• Professional Set: 14" hats, 16” crash, 18" crash and 20” ride - £595
• Zultan 10" Z-Series splash - £76
• Zultan 12" Z-Series splash - £84
• Zultan 13" Z-Series hi-hat - £189
• Zultan 14" Z-Series hi-hat - £213
• Zultan 15" Z-Series hi-hat - £239
• Zultan 16" Z-Series crash - £136
• Zultan 17" Z-Series crash - £144
• Zultan 18" Z-Series crash - £161
• Zultan 19" Z-Series crash - £204
• Zultan 20" Z-Series crash - £221
• Zultan 16" Z-Series china - £150
• Zultan 18" Z-Series china - £179
• Zultan 20" Z-Series ride - £204
• Zultan 21" Z-Series ride - £213
• Zultan 22" Z-Series ride - £230

Performance

The Z Series are predominantly un-lathed with the exception of a polished band across the bow, and another on the bell. The underside of each cymbal is left untouched with a pale, textured patina.

Set up in our acoustically dry studio live room, we’re struck by the impressive volume of these cymbals, with the 18” and 19” crashes opening up into a controlled wash upon the first strikes. In the mix of a groove, they don’t feel as overbearing as initially suspected and possess a full tonal character with plenty of spread. Unsurprisingly the 18” china takes the top spot for sheer volume, cutting through with an explosive and pangy nature.

There’s an underlying low-pitched wash to the 21” ride yet a brightness to each initial strike. The stick definition is clear when playing the bow surface, due in part to the hybrid lathing pattern. Like the crashes, the ride has a wide spread which is evident when each bell strike, although definitive, is followed by a wash of complex frequencies. A testament to the tonal complexity created by extensive hand-hammering.

The hi-hats are reasonably dry and well-balanced with a tight, closed sound. The open tone is higher pitched than expected when compared to the slightly darker, drier attack of the closed position. The edge is not too sharp – almost feeling more like 15s to play. We’d be interested to get our hands on the 15” hats to compare.

Last and unfortunately least, to our ears, is the 12” splash. It’s fast and glassy which can be a desirable characteristic in this type of cymbal, but the long decay with a myriad of overtones does not bode well for its overall usability. As splashes go though, 12” is a little large for our tastes and we suspect that we’d prefer the 10” model also available in the range.

When taking the cymbals on stage for a gig, there’s not only more natural ambience to hear them in a different light but also a full band to contend with. Within the mix of guitars, bass and vocals the Z Series cymbals project well and the crashes wash beautifully when ridden on the edge.

Despite a generally positive experience, we did find a couple of extremely minor flaws with the finishing of these cymbals. The china has a tiny imperfection of a millimetre or two on its edge and the un-lathed sections of some of the cymbals have whitened slightly – likely due to a lack of any protective finish.

Verdict

The Z series meets all the expectations anyone could have of classic Turkish cymbals made from cast B20 bronze. Their surface is intricately polished in a striped pattern. Attractive to look at, this stylish finish also means a quicker decay.

Due to the unique manufacturing process they have a controllable, well-balanced sound with a perfect blend of warmth and silky harmonics. These characteristics give them great versatility, allowing them to be used in almost any musical genre.

Hands-on demos

Zultan

Alternatives

Specifications

Building on their long-standing, 30-year relationship Sabian and Dream Theater’s Mike Portnoy have just rebuilt and revamped an entire raft of cymbals, producing seven new chimes, splash and rides, available in eight new product packs.

Kicking off their new collabs in Sabian’s MAX line are AA bell chimes that come in 6”, 6.5” and 7” sizes. They’re each available separately or as a set featuring all three.

Next there are new AA MAXX splash cymbals, being updated and improved version of the original MAX splashes which were originally released in 2000. Once again, these new MAXX versions (note that double X…) come in 7”, 9” and 11” form.

And finally, there’s a new 22” HHX MAX ride cymbal uniquely featuring both lathed and un-lathed surfaces.

Digging in deep

The new AA Bell Chimes are now crafted to be thinner than a cup chime or ice bell but are thicker than a splash. Additionally, they can be mounted either solo, upside down, or even find a home on top of other cymbals. Sabian promises a “crisp, clear, and well defined” sound that’s able to fit with any melody.

The new AAX MAXX splashes now have a larger, raw bell and a new shape, producing more volume and projection when compared to the original versions.

And that 22” HHX MAX Ride is a whole new Portnoy vision. It combines his favourite features from Sabian’s 22” HH Rock Ride that’s been part of his kit for years, along with his more recent favourite mainstay, Sabian’s 40th Anniversary Artisan Raw Bell Dry Ride.

The new medium-heavy ride is lathed on the bow to the edge on both the top and bottom and finished with an un-lathed HHX hammered bell, delivering a “powerhouse” sound, promise Sabian.

“I’ve been with [Sabian] for over 30 years. They believed in me in the early days when I was just coming up. And their love and support to me has always meant so much,” said Portnoy. “Obviously the cymbals speak for themselves, they’re so beautiful. …. The MAX Chimes, I love them, they just sing, they’re absolutely gorgeous. …The 22” MAX ride – which is a work of art, absolutely beautiful, is clean and crisp, it sings, and the bell just cuts like a knife.”

“With Dream Theater back out on tour and Mike’s drumming sounding better than ever, the timing was too good to be true to miss working with Mike on some new cymbals,” said Sabian’s VP Sales & Marketing, Stacey Montgomery-Clark. “Please excuse the pun, but he’s a dream to work with and we’re very proud of the new cymbals we’re releasing today.”

“All of these new models are already part of Mike’s set-up on the Dream Theater tour,” confirms Chris Stankee, Sabian’s Global Artist Relations Director. “There’s no better demonstrator than Mike himself to show you how these new chimes, splashes, and ride sound.”

All eight new products – seven cymbals and that bell chime set - are available now.

Find out more at sabian.com.

Zultan Dune cymbals: What is it?

Of all the gear that makes up our kits, the overall personality of our drum sound is formed largely by our choices of snare drums and cymbals. There was a time where the latter was restricted to two or three tiers: professional, intermediate and at the most affordable end, downright awful. Similarly, our options were limited when it came to sizes and types too. But these days it’s a different story, and we don’t have to spend high-end money to get high-end cymbals.

This is largely down to brands such as Zultan, offering the sort of spec and choice that would set you back a premium from more established names, but accompanied with a democratised price tag which puts variety and quality within reach of more and more drummers worldwide.

Testament to this is Zultan’s Dune series, which hops aboard the trend for dry cymbal sounds that brands and ranges such as Meinl’s Byzance Extra Dry and Zildjian’s K Special Dry have popularised. These kinds of cymbals emit sounds that promote stick attack and reduce wash and decay quickly. They are usually described using words such as ‘trashy’, ‘earthy’, ‘dark’, and ‘organic’. 

Now, as you probably know already, many premium cymbals are made from B20 bronze alloy, that is, a mix of 80 per cent copper and 20 per cent tin. The result is a smooth, musical blend that sounds great while remaining durable. But the alloy is only part of the story because just as with skinning the proverbial cat, there are many ways to slice a pie.

Dune cymbals start out life as a B20 blank, forged in Turkey. But the same can be said for all but two of Zultan’s ranges (which feature B25 bronze), in fact, the Dune series closely resembles Zultan’s own RAW range, with a key difference. Where the RAW series features hand hammering and a wax finish, the Dune cymbals feature light lathing around the bell, before the rest of the cymbal is hand-hammered with a random pattern across the bow surface. The bell is left un-hammered, as is the edge, and the whole lot is covered in the same protective wax finish.

It’s a push to refer to these as ‘dual’ type cymbals, but we’d expect the additional processing and light polishing to reduce some of the complex, earthy sound of the RAW series, maintaining a similar character but with a little more focus.

The full Dune line-up features three pairs of hi-hats (14”, 15”, 16”), a trio of rides (20”, 21” 22”), three trash crashes and three chinas (16”, 18”, 19”), five crashes (16”, 17”, 18”, 19”, 20”), and a pair of splashes (10” and 12”). Prices start at £72 for the smallest splash, reaching up to £211 for the 16” hi-hats and 22” ride. As well as individual cymbals, the Dune series comes in two pre-configured sets: Standard comprises the 14” hi-hats, 20” ride and 16” crash, while Grand includes the 15” hi-hats, 22” ride plus 16” and 18” crashes. Thomann (who owns the Zultan brand) sent us a cross-section of the whole range including 14” hi-hats, a 17” crash, 18” and 19” trash, 18” china, 12” splash, 22” ride.

Zultan Dune cymbals: Performance and verdict

Apparently, you can’t judge a book by its cover. But, as we’ve already touched on, you can get an idea of what a cymbal might sound like based on its design, and the Dune series lives firmly up to our expectations.

The hi-hats have that heavy, typewriter-style chunky fullness to the notes when played closed, and they bark quickly and smoothly when you lift your foot off the pedal. But as we expected, these cymbals are dark and dry.

They’re articulate, with an open sound that works great for accents and a strong, heavy ‘chick’ sound when played with the pedal. The fullness of the sound and pleasing stick response leaves us wondering what the 16” version would sound like.

Because of their dry nature, our 14” review models don’t have the sizzle you might require for say, classic rock covers, nor do they particularly claim to. The dryness does mean that when it’s time to open up against a loud distorted guitar and bass, the lack of brash, sustaining overtones could mean that they get a little lost. However, the other side of that coin is that they excel when playing jazz, funk, hip-hop, and electronic styles.

The 22” ride tells a slightly different story, with the added size offering the most complex sound in our review set. It’s still dry, but it’s dark and earthy sounding. Played on the bow, we get great note definition, even at lower volumes, and in the context of a full band setup, there’s just enough sustain when riding on the edge to build up a bit of a wash, and crashing it results in a satisfying, vintage-style noisy explosion.

Sometimes hammered cymbals with ‘brilliant’ polished bells can be a little unbalanced, with a disparity in volume between the playing zones as we jump between tamer bow and overly bright bell accents. But here, there’s a surprisingly smooth transition: it still jumps out, as of course, we’d like it too, but it’s somewhat reserved due to the cymbal’s overall earthier sound and dried-out hammering. Once again, it’ll be a great ride cymbal for playing more ‘organic’ styles - jazz, blues and funk definitely work nicely, but it also extends into the rock world if you’re not looking for something to slice through your bandmates’ amps (and ears).

The crashes and trash crashes are possibly the most versatile of the bunch. The regular crash cymbals sound like the dark crash cymbals you know and love, with a traditional sound when you open them up, but there’s an added blip of white noise to them that lends itself nicely to delivering the full weight of the accent, without becoming overpowering.

That character is present even when you’re playing softer hits, which means you don’t really need to wallop them to get them to respond. When you do, you’ll notice that while they get louder, they also start to compress a little - the noisy element is more apparent without becoming fatiguingly loud.

The trash crashes and china are a lot of fun, and very playable for many different styles. Some of our favourite examples of this type of cymbal respond with almost studio-like tonality, and the Dune take on the concept does too. The trash crash takes the white noise element of the ‘traditional’ crashes and ramps it up, and we get a similar response as with the regular crashes in the range.

Hit it at a medium level and you’ll get the slicing burst of noise, hit it harder and it remains smooth, just a bit louder. It’s almost like someone has pre-applied an EQ to give you a pleasing set of frequencies that mean your trashy accents are heard, but without the ear-destroying Mega-Hurts that can come from these types of FX cymbals.

Verdict

Overall, we absolutely love the Dune series. The hi-hats might be a bit more pointed, stylistically, but outside of this, it’s a surprisingly versatile line-up. If you’re playing contemporary jazz, or styles derived from it then the Dune series has a lot to keep you busy. They held their own nestled amongst our Meinl Byzance Extra Dry and Traditional models and played incredibly well when we incorporated them alongside electronic sounds.

But with all that said, the crashes, trash crashes and Chinas will likely work very well in rockier contexts, particularly if you’re playing those styles, but don’t always want overwhelming volume. These are the antithesis of common-or-garden cymbals, but they deliver exactly what you’d hope, at a very affordable price point.

MusicRadar verdict: While the Dune series isn’t going to be the all-round chameleon in your cymbal setup, these cymbals do work well for a number of styles. If you’re looking for dark, slightly trashy cymbals to use for jazz, blues and funk, the hi-hats and ride will serve you well. Meanwhile, the rest of the range offers some additional colour that will also work well in those same styles, along with contemporary pop and electronic genres. Get the whole set, or pad out your existing setup for less.

Zultan Dune: Hands-on demos

Zultan

Drums Bonedo

Specifications

• Alloy: B20 Bronze
• Origin: Turkey
• Ride cymbals: 20", 21", 22"
• Crash cymbals: 16”, 17", 18", 19" 20", 18", 19" 20" Thin Crashes
• FX cymbals: 16”, 18”, 19” trash crashes and chinas, 10” and 12” splashes
• Hi-hats: 14", 15", 16” pairs
• Contact: Zultan

EFnote Pro review: What is it?

Just a few short years ago the idea of a full-sized, acoustic-shelled electronic drum kit was enough to have us excitedly parting with our well-earned cash. Now, with every big player in the e-kit market (and some new ones) jumping onboard the trend, the aesthetics and physical size alone aren’t necessarily enough to compete. Thankfully, with a focus on live use, EFnote has taken some interesting steps with its Pro series kit and packed in some extremely promising features that, on paper at least, make it stand out from the crowd.

The most notable of these features is the split module design which uses a small touch screen control surface connected to a rugged stage-box style module. This compact cube offers a generous number of inputs for kick, snare (plus separate side-rim), five toms, hi-hats, ride, crash 1, crash 2, crash 3, crash 4/fx, crash 5/splash and crash 6/china.

Each of the cymbal inputs also feature separate bell triggers except for the china. Overall this adds up to a massive 15 separate trigger inputs (not including the separate cymbal bells) which just about clinches Roland’s TD-50 module at 14. Most impressive though are the 12 assignable XLR outputs which offer individual control over separate instruments.

These can be easily reassigned in the module and sent out depending on requirements. There is also Bluetooth connectivity, USB audio, dual mono line in and out jacks, plus jack or XLR monitor inputs. Currently, the module features 23 editable kit presets although that looks due to grow as a handful of new kits have been announced.

EFnote Pro review: Performance & verdict

EFnote offers a huge number of configuration options with many possible setups across its big-boy 700 series and more compact 500 series - setups are named things like Traditional, Modern, Power, Heavy and Technical, which all differ in terms of number and dimensions of drums. You should have no problem finding a configuration that mirrors your acoustic setup.

The set we have for review is the 703 Power Set, finished in a white (almost silver) sparkle wrap which comprises the standard 700 configuration: 20” kick, 14” snare, 11” rack, 15” floor, 14” hats, 16” crash and 20” ride. Plus an expansion pack containing 13” floor tom, 18” dark crash and 18” china. All hardware such as cymbal stands and tom mounts are included with the kit and expansions except for a hi-hat stand and drum throne.

Other than some slightly unusual tom sizes, the thing that we’re struck by is the full-size cymbal pads which even feature fine detailing, giving them traits of acoustic cymbals. The ride for instance, rather than being completely smooth has subtle dents across its surface to give it a hand-hammered feel (which is actually much cooler than I’m describing it). This full-size 20” cymbal actually flexes and shimmers when struck which feels fantastic under-stick. It’s perhaps a little too thick and weighty to say it reacts just like a real cymbal, but its darn close and the size really helps.

The other cymbals play well too with 360-degree triggering meaning the expression and dynamic range is maintained across the surface; even on the bell. Each cymbal, including the hi-hats have separate bell triggering, which is a lovely touch.

The hi-hats use an optical sensor for foot control and the whole pad plugs in with just one digital cable. We found that they reacted consistently once configured in the settings.

The touchscreen interface of the module is well thought out with a modern aesthetic and is straightforward to get to grips with. There are three physical rotary dials for tweaking parameters while everything else is on screen. Of the 23 preset kits, there is a fairly even mix in terms of style, with a few rock and metal kits, jazz and blues, 70’s/80’s and some electronic. The samples themselves are a mixed bag - some good and some not so good.

Some of the kick drum and tom sounds in particular are absolutely stunning, but others lack the oomph and resonance that we’d like, especially on a kit that costs this much. The thing each kit shares in common though is that they are all utterly bone-dry. As the stage box is designed to run out through a mixer, there is a very limited inbuilt FX engine - with just a compressor, EQ and high-pass filter. With no inbuilt reverb, you’ll want to run it through a mixer of some kind if using the kit at home.

Most of the snares are quite lively with plenty of natural overtones. Tweaking the tuning and dampening settings helps slightly although the dampening doesn’t always work as planned. The cymbal samples are for the most part of an extremely high standard, offering a wide dynamic range.

EFnote Pro review: Hands-on demos

EDrumcenter

Drumtec TV

EFnote

EFnote Pro review: Specification

• Configuration: 20” kick, 14” snare, 11” rack, 15” floor tom, 14” hats, 16” crash and 20” ride, plus expandion pack; 13” floor tom, 18” dark crash and 18” china. All cymbals 3-zone and dual-zone toms
• Hi-Hat control: Optical
• Kits: 23 edible kit presets, 100 user drum kits 
• Other module features: Built-in recorder, full-colour capacitive touchscreen, display foot light, smartphone tray
• Connectivity: Bus out - 12x XLR with ground lift; line out - 2x 1/4” TS phone; phones out - 1x 1/4” stereo, 1x 1/8” stereo; monitor in - 2x XLR/TRS combo line in; USB audio - 12ch out (48kHz/24bit) / 2ch In (48kHz/16bit), Mac/Windows ASIO; MIDI in/out; Bluetooth audio input and MIDI In/Out, 5-pin DIN
• Contact: EFnote

Metal fans, rejoice! Zildjian appears to be cooking up a surprise for next week, and all the signs are pointing towards the return of its Z (or possibly Z Custom) cymbal range: a staple in heavy setups throughout the mid-'80s-late '00s.

The intrigue began today as the cymbal brand (which is now into its fifth century of cymbal production) posted a sort-of-but-not-really cryptic teaser video entitled Bring Back… featuring a number of hard hitters.

At the end of the video, it cuts to a detailed close-up showing the distinctive Zildjian Z star-shaped hammering pattern, with the words "Coming 4.9.2024", which, happens to be this coming Tuesday.

Now, if you’ve ever seen a Z series cymbal, you’ll recognise the hammering pattern Originally introduced in 1986, the Z Series was a hit with rock and heavy metal players who wanted more aggression, volume and cut from their cymbals. It’s this earlier incarnation of the Z line that is associated with the star-shaped hammer marks, which were applied by machine. 

The Z range was discontinued in 1994, when Zildjian applied its ‘Custom’ treatment to the Z formula, resulting in the Z Customs. These featured a circular hammer mark, arranged in a distinctive spiralised pattern. 

Amongst the much-loved models from the original Z series were the Heavy Power Ride, Dyno Beat hi-hats, and Power Smash. The combination K/Z hi-hats found favour with players of all genres, but a particular standout was the Mega Bell ride, which appeared as both a Z and Z Custom model, delivering a slicing, clear sound from its oversized bell section, perfect for the demands of heavy music.

The Z Custom line was revamped in 2009 as the Z3, which lived on until 2013. Now, with heavier playing styles going strong, it appears we’re about to see a reincarnation. Will it be Z? Z Custom? Both? Or possibly a new range based on the heritage of both? According to Zildjian’s post, all will be revealed on Tuesday!

When it comes to the most exciting parts of your kit, a hi-hat stand might not be top of your upgrade list, but Yamaha is looking to change that perception with the introduction of its new HHS9D hi-hat stand, which directly-derives its direct-drive technology from the brand’s flagship FP9 bass drum pedal.

First up are the visual cues - mirror-finish footboards complete with blue accents align this with Yamaha’s top-level offering for your other foot. But it’s more than just the looks, as Yamaha is keen to point out a slew of design points that it claims “not only meets your professional needs and expectations, but also provides you with a richer and crisper sound accompanied by a flexible and unmatched setup routine.” Let’s dive in.

The HHS9D is based around Yamaha’s Direct Link System, so the traditional chain has been replaced with a solid linkage and ball bearing combo for fast and smooth performance. It’s met with an all-new LC9 clutch at the other end, which offers twist-to-set nut tension. Yamaha has also incorporated harder felts which it says “leads directly to significant sound improvement.”

There’s comprehensive adjustment on hand too. The pair of double-braced legs can be adjusted to “practically any desired position”, making it easy to place the HHS9D within a double pedal or auxiliary position. 

The tinkering possibilities continue with an alloy spring tension dial, clearly marked with tension direction, it can be set to one of five tension increments quickly and easily. The footboard angle can be adjusted with a single bolt, and when it comes to packing down, the entire baseplate — which also features a low-profile heel design — can be folded and locked in a raised position. 

The Yamaha HHS9D is expected to retail for around $980. For more information, head to Yamaha’s website. 

Zultan has been busy of late, having recently launched its F15 18” Mega Bell ride. Now, it’s gone in the other direction from a ride with a massive bell, to none at all with the introduction of two new Flat Rides in its Heritage range.

Aimed primarily at jazz players, while also noting that these rides will work great for crossover genres, the Heritage Flat Ride comes in 19” and 20” sizes, and as with nearly all Zultan cymbals, is made from B-20 bronze usually found in higher-priced cymbals.

Flat rides are known for their stick definition, and Zultan’s Heritage Flat Rides promise a “warm sound with defined accentuation”.

Each cymbal is lathed and hand-hammered, with a traditional finish. Zultan’s Heritage range aims to deliver the tonality of vintage, traditionally-made cymbals. 

The Zultan Heritage Flat Ride costs £202/€232 for the 19” model, or £220/€254 for the 20”. For more information, visit Zultan’s website, or to check the latest price, visit the product pages at Thomann.

There are a couple of ingredients required for a great metal ride cymbal: it needs to be loud enough to cut through a wall of guitars, bright enough to produce a strong attack, and dry enough to retain its note definition with fast patterns.

That’s exactly what Zultan is aiming for with its new F5 series 18” Mega Bell ride cymbal, which it says achieves all of these things for a “loud, aggressive and biting” ride sound, designed to deliver a quintessential ride sound for heavy music on a budget.

It’s 100% handcrafted, and is made of the same B20 Bronze alloy found in higher-priced cymbals.  The huge bell is lathed and polished, while the bow and underside of the cymbal is hammered by hand to produce the large hammer marks you can see, before being polished to a brilliant finish.

At the time of launch, the F5 Mega Bell Ride is only available as an 18” cymbal, priced at £167/€191/$208. For more information, visit the Zultan website, or to check the latest price at Thomann, click here.

Zildjian is celebrating its 400th anniversary this year, and earlier this autumn the legendary cymbal brand announced that it would be releasing 400 cymbals from the Zildjian family private vault to mark the occasion.

Now, you have the chance to win one of these one-of-a-kind cymbals, and it’ll only cost you £2.00. That’s because Zildjian GBI has selected two cymbals to give away via a Rafall draw, with 20% of the proceeds being donated to charity, Metal For Good.

Up for grabs are a 20” Vintage A ride, and 15” Vintage A Crash. But these aren’t just any vintage cymbals. For the unaware, the Zildjian Family Vault is a private collection of cymbals, hand-picked from the production line at the time they were made by members of the Zildjian family.

• Enter to win one of two Ziljdian 400th Anniversary Vault Cymbals

Of the 400 cymbals released from the vault in 2023, 200 are 20” A rides made in the 1940s at Zildjian’s hallowed Quincy factory. Further to their new-old-stock pedigree, is the fact that these rides bear stick marks from the cymbal tester, who happened to be Armand Zildjian, while some of the cymbals still have fingerprints from his father, Mr Avedis Zildjian. 

The other 200 cymbals made available are 15” A series crash cymbals which were made in the golden age of 1930s-1950s, making this a unique opportunity to bag yourself a barely played, vintage Zildjian.

Each cymbal is shipped in a protective 400th anniversary commemorative case, complete with a pair of cymbal gloves, and Zildjian is including a stand adaptor so that you can use your cymbal on modern stands, and play it as intended.

The Zildjian 400th Anniversay Rafall draw is open until 13:30 on Christmas Day, 2023 (just to confirm, that’s Monday 25 December) or until the final ticket is sold (whichever comes first). One entry gives you two chances to win, and it's open to UK residents only. To enter the draw, visit the Rafall page, here.

Metal For Good is a UK-based registered charity which aims to provide grants to community groups and organisations who use rock and metal music to change lives, with a focus on mental health, inclusivity and supporting young people. For more information, visit the Metal For Good website. 

Zultan Cymbals — the Thomann-owned cymbal brand which specialises in providing high-spec cymbals for less — has recently unveiled a redesigned website.

Amongst the updated design features is the new Cymbal Finder, which allows you to find products within the 15-strong Zultan ranges. You can filter by cymbal type (Crashes, Rides, Hi-Hats etc.) size (from 6-inch to 24-inch) and tonality (dark/medium/brilliant) and allow Zultan’s Cymbal Finder to present you with metals that match your criteria.

Elsewhere, there’s a Zultan-curated ‘Hot Zone’ featuring the brand’s own pick of new and interesting cymbals from its catalogue. Plus there’s greater visibility of Zultan’s extended product range, including drum rugs, sticks, mallets and stick bags, drum rugs and more.

Finally, the Zultanland section highlights top picks from Zultan’s blog, including news, YouTube demos and updates on Zultan artists. Of course, all products are linked to Thomann’s website, so if you see something you like, you can check the price and order it with ease.

Head to Zultan's website to check it out.

Not many companies know what it’s like to plan a celebration marking 400 years in business, but that’s exactly what Zildjian is gearing up for this autumn. On October 15, the cymbal maker, who is still at the top of its game after four centuries, will take over the Clapham Grand for a star-studded celebration, featuring artist performances, the opportunity to meet Zildjian artists and gear giveaways.

The line-up for the event showcases the variety of players on the Zildjian roster, with funk/fusion master, Dennis Chambers, prog-metal powerhouse, Gavin Harrison, session aces Ash Soan and Karl Brazil, UK drumming institution, Steve White, metal groovesmith/Downbeat Podcast founder Craig Reynolds (Stray From The Path) and Royal Blood’s Ben Thatcher all scheduled to play.

“We are thrilled to celebrate Zildjian’s milestone anniversary in London with some of our most amazing artists, colleagues, and friends.” says Zildjian Executive Chair, President, and 14th-generation owner Craigie Zildjian. “This is a special moment to reflect not only on our history, but to share the excitement of what lies ahead.”

But the excitement doesn’t stop there, because Zildjian has teamed up with Focusrite/Novation, sE Microphones, and Adam Audio to deliver two incredible prize bundles. Winners will receive one of two identical gear hauls worth over £5000, including a Zildjian A Custom cymbal set, and a complete studio setup tailored towards recording and mixing drums and beyond. 

Full list of prizes

• Focusrite Clarett+ 8Pre multi-channel audio interface
• Focusrite FAST Plugin bundle
• Novation Circuit Rhythm Sampler/sequencer
• Sonnox Plugin Bundle inc. Drum Gate, Inflator, Claro, Envolution, Transmod, Limiter and Dynamic EQ plugins.
• ADAM Audio A4V studio monitors  
• sE Electronics V Pack Arena drum microphone se
• sE Electronics sE8 small-diaphragm condenser mic
• Zildjian A Custom cymbal set

Attendees will be able to enter the prize draws at the event (entrance costs £20 and ensures entry into both prize draws). 

The Zildjian 400th Anniversary London event occurs at the Clapham Grand, London on Sunday, October 15. Tickets start at £20 (plus booking fees), with VIP packages (including a pre-show meet-and-greet) also available.

To purchase your ticket, click here.

Zultan Mellow cymbals: What is it?

There’s a cruel irony involved in being a drummer. You spend years honing your technique and carefully selecting and perfecting your sound, only to be told “You’re too loud, here’s a cajon.”

But, in an era where home practice risks upsetting your neighbours, and live performances are governed by public noise restrictions and — in the worst cases — noise-limiting devices, drum brands have made some big strides in recent years to help us avoid having to bang on a wooden box.

This extends to our cymbals too, which given their frequency range, tend not to travel too far beyond the room (or at least building) we’re playing in like say, our bass drum does. Instead, cymbals can be a more immediate problem - crashes need to be struck hard enough to make the sound bloom, open hi-hats can be overbearing and the wrong type of ride cymbal can also dominate in quieter musical settings.

Zultan’s Mellow line of cymbals looks to tackle this problem. To the casual eye, the Mellow series look like practice cymbals that you might be familiar with. They’re usually made of stainless steel, and with hundreds of small perforations, resemble a pre-production colander blank. 

The Mellow series, however, is handmade in Turkey from B20 bronze - that’s the same alloy as your regular, higher-end cymbals. However, the theory goes that by borrowing the concept of mesh heads or practice cymbals, and applying them to a material that we’re used to hearing, we should get the benefits of bronze, combined with a 30% reduction in volume.

Zultan Mellow cymbals: Performance and verdict

The range is split into five categories: ride, crash, China, hi-hat and splash cymbals, with multiple size options in each. That’s a 22”, 20” or 18” for the rides; 20” 18”, 16” 14” crashes; 18” and 16” Chinas; 13” and 14” hi-hats, and 12” and 10” splash options. 

Zultan also offers the Mellow series in two pre-configured sets: Professional (20” ride/18” & 16” crashes/14” hi-hats) and Jazz (18” ride/16” crash/13” hi-hats). For this review, Zultan sent us the Professional set, plus an additional China, but all of the cymbals mentioned above are available individually, with prices starting at £96 for a 10" splash, and ranging to £246 for a 22" ride.

There’s a potential preconception to get over here, because the sheer number of holes immediately makes us think of the practice cymbals we mentioned earlier. The first thing (other than all the holes) that you’ll notice about the Mellow cymbals is the raw finish to the bow of each cymbal. By contrast, the bells have been lathed to a brilliant shine, and overall it gives them a more expensive look. 

There’s a definite sound theme running throughout each cymbal. Those holes certainly dry-out the performance of each, so our first strikes yield a strong attack. It’s smoother than the plastic-y clack that the Mellow’s hole-y practice cousins deliver, most likely thanks to that B20 bronze. we’d actually go as far as saying that it’s more of a perceived bump in the attack part of the sound owing to the drop in sustain and faster decay. 

This is most noticeable on the ride cymbal, where bow strikes evaporate before there’s a chance for any wash to build up. If you require more sizzle then you might consider attaching a chain, but the flip-side of this is that it will perform very well for styles of music where you want to remain quieter, but still achieve good note definition, which it has in spades.

With that in mind, crashing the ride is predictably dry too, meaning you’ll need to give it a fairly hard hit in order to get it to bloom into a full crash sound. Meanwhile, the bell reacts exactly as you’d expect, maintaining the same dry clarity as the bow. It’s easy to control and of course, goes pretty loud if you hit it hard, but there’s really no need to.

The hi-hats exhibit a similar sort of feel. Closed tight there’s a strong ‘chick’ sound, but without some of the obvious weight. This continues to the semi-open and bark sounds, where traditional hi-hats can become brash and fatiguing. Here though, it’s a far less traditional sound, almost like a hi-hat that’s been heavily EQ’d or filtered, there’s a distinct high-end sizzle to the notes, with a lot of the frequencies which cause our hats to become overly loud scooped-out. There’s an electronic type edge to them, and we wouldn’t be at all surprised to see people using these as an effects-style hi-hat.

The crashes are the most familiar - there is still some of that scooped/filtered character, but they rise to a full crash sound without too much persuasion from our hits. As you might expect by now, there’s a speedy response, it’s not as trashy as an effects cymbal, but with harder hits it does start to reveal a hint of that white noise tonality.

Perhaps the most intriguing is the China, which by definition as a cymbal commonly used for accents and staccato crash/ride cymbal is one of the loudest and brashest voices available to us in our regular cymbal palette. For metal players, that makes total sense, but if you’re looking for China sounds in a quieter setting, you’ll usually need to resort to something a bit thinner. 

Put hundreds of holes in a China, though, and there’s the potential to get that throaty sound at lower volumes. That’s basically what’s going on here - it’s trashy, yet still dry, and while it definitely makes its presence felt in terms of volume (possibly throwing the brief out of the window slightly), it’s definitely a much more forgiving experience than our super-bright, super-loud regular China.

Verdict

So, the Mellow series succeeds at its mission: it gives us a useable cymbal sound that while definitely not ‘traditional’, isn’t too far left of centre. They’re not the same as loud practice cymbals, nor do they sound like our unperforated metals. They lie somewhere in between. 

These definitely fulfil their purpose of reducing your cymbal volume, and as we mentioned, in some cases give a tonality in their own right. The only drawback is the potential outlay - if you already own an expensive set of cymbals, you’ll probably need a strong case to justify buying an entirely new set unless you’re playing in a lot of situations where louder cymbals are a problem. 

That said, the fact that each model is available individually could mean that you only replace the louder of your usual cymbals and use the Mellow as a substitute when required. It’s a question of what, where and how often you’re playing. 

Zultan Mellow: Hands-on demos

Zultan

Drums Bonedo

ZebenDrums

Specifications

Alloy: B20 Bronze
Origin: Turkey
Ride cymbals: 22", 20", 18"
Crash cymbals: 20", 18”, 16”, 14”
Other: 16”/18” China, 10”/12” Splash
Hi-hats: 13", 14"
Availability: Professional and Jazz sets, all cymbals available individually

For more information, visit the Zultan website. To check the latest prices, visit Thomann.

Musicians are obsessed with vintage gear, largely because it gives us the opportunity to play the same instruments, made by the same hands in the same factory as that which many of the pioneering heroes of our chosen instrument used. The same thing extends to cymbals, and now, to celebrate its 400th anniversary, Zildjian has reached into its hallowed family vault — home to a private collection of the brand’s cymbals — and plucked out 400 new-vintage cymbals from the '30s, '40s and '50s, all of which will be available to buy.

Among the 400th Anniversary Limited Edition Vault Cymbals haul are 200 mid-1940s A ride cymbals, all of which contain stick marks and fingerprints after being hand-tested by the late Armand Zildjian. 

What’s more, Zildjian says that some of those 200 cymbals also carry the fingerprints of Armand Zildjian’s father, Avedis Zildjian III. In addition to the 200 ride cymbals, Zildjian is releasing 200 15” A crashes dating from between the 1930s and 1950s. 

Zildjian Executive Chair, President and 14th-generation owner, Cragie Zildjian made the announcement via a video posted to the brand’s social media channels, saying “2023 is a very special year for our company and our family, as we celebrate our 400th anniversary.

"Part of the celebration includes the release of 400 handpicked, vintage A cymbals from our personal family vault. We’ve selected 200 of our finest 20” vintage A rides, which were built during the mid-1940s in our original Quincy, MA factory, not far from where I’m sitting today.

"As a mark of their distinction, they have the original fingerprints and stick marks of the cymbal tester who approved each cymbal. That cymbal tester happened to be my father, Armand Zildjian. 

"In addition some of the fingerprints belong to my grandfather, Avedis Zildjian, who deliberately tucked these cymbals away in the family vault rather than the company vault. These cymbals were special to him…

“While not easy to part with cymbals from my grandfather’s collection, we’ve decided that these cymbals were meant to be shared, and heard. So it’s our hope that these vintage As will become as cherished-a-piece of your musical collection as they were for my family’s collection.”

The 400 cymbals will be available via Zildjian dealers worldwide, and each cymbal will come in its own presentation flight case, complete with a certificate of authenticity signed by Cragie Zildjian. Zildjian is also shipping a pair of cymbal gloves with every cymbal for worry-free handling, but if you do want to play one, each cymbal will  come with a mounting-adapter, allowing the cymbal to be safely used on modern cymbal stands.

Zildjian’s 400th anniversary celebrations are just beginning, with its anniversary event in London set to take place on October 15th where a host of Zildjian artists — including Dennis Chambers, Ash Soan, Gavin Harrison, Royal Blood’s Ben Thatcher and more — will be performing at the Clapham Grand to mark the company’s 400th birthday. Tickets are available here.  

Like it or not, quiet is very often the new loud when it comes to playing at home or in smaller venues. With our kits tuned, dampened or supplemented by electronics, our cymbals still produce the same volume level. That’s where Zultan’s new Mellow Series comes in.

With a similar ‘perforated’ design to practice cymbals, the Zultan Mellow Series promises a 30 percent drop in volume when compared to traditional cymbals, while maintaining the feel and tone that we’re used to.

Zultan’s Mellow Series is hand-hammered in Turkey using classic B-20 bronze alloy. Each cymbal features hundreds of perforations to reduce the overall volume while the cymbal moves and reacts with a natural response.

“Due to the special perforation”, says Zultan, “the Mellow series is up to 30% quieter than conventional cymbals. This makes them especially suitable for the rehearsal room, smaller club gigs, but also as a hybrid solution for electric drummers.”

The Zultan Mellow Series is available in 13 different models, ranging from a 10” splash to a 22” ride. Zultan is also offering two cymbal sets - Professional (14” hi-hat, 16” and 18” crashes, 20” ride) and Jazz Club (13” hi-hat, 16” crash, 18” ride).

• Hi-hats: 13”, 14” 

• Crash cymbals: 14”, 16”, 18”, 20”

• Ride Cymbals: 18”, 20”, 22”

• FX cymbals: 16”/18” China, 10”/12” Splash.

Prices start at around £110 for the 10” splash, £207/£233 for the hi-hats. Crashes are priced between £151 - £207, ride cymbals at £207-£241. For more information, click here.

Millenium Drums has announced the addition of two new finishes to its Still Cymbals range of low-volume practice cymbals.

Joining the existing Silver and Gold-finished Still cymbals are Blue and Red options. As with similar noise-killing cymbal designs, Still Cymbals apply the ‘mesh head’ concept to metal, with hundreds of tiny holes drilled into the cymbal.

The result is a volume of up to 80 percent compared to regular acoustic cymbals (check out the 'regular' finish demo below to hear it for yourself), making these a great solution for when you want to practice on an authentic surface, without annoying your family, housemates or neighbours.

Still Cymbals are made from nickel, and are offered individually ranging from 10” splashes to 20” ride cymbals, or in a five-piece set comprising 14” hi-hats, 16” and 18” crashes, an 18” China and 20” ride.

The new Red and Blue-finish Still Cymbals are available now from Thomann, with prices starting at £23/€26, or £180/€203 for a set.

Our cymbals are one of the most personal - and diverse - items in our kits. They're what give us the flavour on top of the meat of kick and snare, and as such, there is no one-size-fits-all approach when it comes to our precious metals.

So it's fitting that this year's top three is a markedly mixed trio, ranging from your very contemporary-feeling winner, through a versatile star-name offering to something for the jazzers amongst you.

1. Zildjian S Dark

Dark and dry are undoubtedly the buzzwords in Cymbal Land. Zildjian's eye- and ear-catching extension of its S family certainly fits the bill, and garnered just over a third of all the votes cast this year.

The proprietary - and very 2022 - finish looks stunning, while random hammering ups the complexity of sound on offer. In play these are explosive but discrete, never overstaying their welcome, with markedly restrained sustain.

Find out more at Zildjian.

2. Sabian HHX Anthology

A fourth collaboration between cymbal guru Mark Love and esteemed player Jojo Mayer, Sabian's HHX Anthology is the firm's latest extension of its HHX range, originally established in 2001, and is designed to be its most versatile line-up to date.

Mark Love - actual grown-up job title Director of Research and Development, Sabian - says, “Developing Anthology with Jojo Mayer was an intense collaboration. Jojo always amazes us, both with his forward modern thinking and his incredible drumming style and technique." 

More poetically, Mayer himself said “Anthology is a return to essence. A re-orientation towards new possibilities and thinking. An instrument that transcends labels and inspires individual expression.”

Find out more at Sabian.

3. Paiste Flat Rides

Rounding out your top 3 metals this year, Paiste's new Flat Rides - so-called due to the absence of a standard ride bell - sit at the discreet, delicate end of the cymbal spectrum and are ideally suited to jazz or acoustic settings. The 2022 offering actually combines reintroduced models from the Formula 602, 2002, and Traditionals ranges, with an all-new Masters series entry.

That missing bell means that Flat Rides offer unbeatable control, with very little build-up, for a sound characterised by a well-defined, cultivated ping.

Find out more at Paiste.

Zultan AEON cymbals: What is it?

The last couple of years have been busy for Zultan Cymbals, with its affordable, Turkish-made cymbals offering premium-level design and features at a cut price. The latest AEON series brings the full range-count of the Zultan catalogue to a total of 14 different lines, and with so many options available it’s tricky to think what hasn’t already been covered. So where does the AEON line fit?

For a start, it uses a slightly different alloy to most of the rest of Zultan’s ranges (which are largely B20 bronze), with only he CS line featuring the B25 alloy. Here, the cymbals are cast from a B25 alloy, giving us 5% more tin than the classic B20 for a 25/75 ratio of tin to copper. 

The entire AEON range comprises 6 rides (20”, 21” and 22” and ‘light’ versions of each size); 7 crashes (17”, 18”, 19”, 20” and thin versions of the largest three), two pairs of hi-hats (14” and 15”), three FX crashes (14”, 16” and 18” an FX stack (14” FX crash with a 16” china) and one 10” splash. they all feature natural, unprocessed bells, while the rest of the cymbal is hand-lathed and hand-hammered in Zultan’s Turkish factory.

Zultan AEON cymbals: Performance and verdict

That’s a lot of cymbals, and Zultan specifies that the AEON range is suitable for any style of music, with the description of the AEON’s sound as “Bright, earthy tones” being almost contradictory.

In the flesh, the AEON cymbals give off a hint of Zildjian’s K Sweet series, at least in appearance, with the raw bells contrasting against the finished bows. Armed with a full set, we started our review by picking out a set of the larger sizes (22” ride, 18" and 20” crashes, 15” hats) and swapped and added from there.

Ride cymbals

Cymbal characteristics can fall to specific personal taste, and ride cymbals - particularly for drummers who play genres that require a lot of mileage from the ride - are no different. 

It’s also the spot where Zultan’s bright/earthy description makes the most sense. There’s a definite theme across the three sizes, with a medium-bright stick response that’s followed by a darker, sustained tail of overtones. 

With repeated strikes, this blooms into a wash, with the stick definition still apparent but slightly buried. The sustain and darkness is understandably at its fullest on the 22” ride, with the pitch raising and overtones following as we move up in sizes. 

The regular versions of each cymbal are thicker, and while that gains some ‘ping’, you will lose a little of the ability to crash on the ride at controlled levels. With that said, these are by no means dry cymbals, and crash-riding is still very much an option, you’ll just have to hit them harder.

Or, you could consider one of the thinner, Light models. These exhibit similar tonal qualities to the regular versions, but being thinner they’re a little easier to control. We still get good separation with faster strokes, but the wash is tamer when playing on the bow. 

Move to the edge, though, and you’ll find that getting the rides to open up into a full crash requires less effort. It’s not quite as explosive as say, a Zildjian A Sweet, but the AEON Light Ride models do remind us of the versatile response. 

 The raw bells, while pronounced, aren’t as overbearing as you might expect. If anything, the un-finished nature means that they offset the rest of the rides’ washiness by providing a dryer, faster bell sound. It blends well with alternating strikes between the bell and the bow, volume-wise, and rather than giving a piercing, bright sustain, it’s darker, and faster to move out of the way.

Crash cymbals

We’ve seen many trends in cymbals over the last few years, to the point where options are no longer limited to high-end ranges. From dark and dry to loud and heavy and everywhere in-between, there are now plenty of sonic choices to be made when it comes to crashes, to the point where cymbals that sound like…cymbals have almost become pedestrian choices for some. 

Like the ride cymbals, the AEON crashes come in two options: regular or thin. There’s no doubt that the regular-weight crashes project more than their lighter siblings, and in reality there are few surprises going on from these models. 

You glance them, they crash at an averagely-loud level that isn’t overbearing but will definitely cut through. While that appraisal may sound like they’re slightly underwhelming, it’s not intended to. 

The AEON crashes sound like nice medium, meat and potatoes traditional crash cymbals that are likely to sit as great additions within your current setup. They may not withstand pummelling in a metal context, but for classic rock and related styles they’re going to deliver.

The thin models are where our ears really pricked up, though. Like the lighter versions of the rides, these are easier to coax a full crescendo out of at more controlled levels, while definitely not being ‘quiet’. They’re fast, too, with the crashes exploding, then dropping back unobtrusively. 

The overall difference in sound could be summed up by an additional ‘shimmer’ quality to the thin models. The 18” and 19” cymbals supplied in our set are pitched a nice interval apart, despite the one-inch difference, but it’s the 20” model that wins the day.

Larger cymbals often equate to preconceptions of big, heavy sounds, but the 20” Aeon Thin Crash was a joy to play. Placing it on the stand gives us an idea of how much give there is, with the edges feeling flexible before we even strike. 

It creates enough of a full metal racket to ride on the edge, but without taking over. We could see the Thin Crashes being perfect for applications where larger cymbals are required without the volume, but equally useful in recording environments where the cymbals might need taming.

FX Crashes and Splash

FX cymbals are big news, and one of the easiest ways to add some additional colour to your sound. The AEON series is home to four FX cymbals, plus a not-really-an-effects-cymbal 10” Splash. The most distinctive is the AEON FX Stack, which comprises a 16” china and 14” FX crash. 

Curiously, the stack is the only way to get your hands on the FX China, which like the crash has been drilled with a dozen holes, arranged into a square pattern. Stacks are a lot of fun, and we like it when they’re fast and sharp, as opposed to clang-y and sustained. This sits somewhere in the middle, depending on how you mount and tighten it. 

The combined sizes make it a good all-rounder, giving more projection than some of the smaller stacks on the market, but without getting into ringing bin lid territory. It’s just washy enough, but not so tight that it sounds like a pair of X-hats tightly clamped. Of course, you can also use these as two individual cymbals in their own right, so they present some strong creative options.

Next up are the FX Crashes, which are essentially the AEON’s version of an O-Zone crash. The 14” model from the FX Stack is available on its own, but it’s joined by 16” and 18” models too. 

As you’d probably expect, these sound like crashes, but with an additional trashy edge added. It’s not as overly apparent as we’ve heard in some more extreme examples of FX crashes, perhaps due to the size, placement and number of holes, but it’s definitely noticeable. 

The trash culminates in an additional layer of zing to the cymbal’s top end which gives us the brighter element of Zultan’s description. Along with the removal of metal thanks to those holes, there’s also a removal of some lower frequencies, making these cymbals less cluttering and carving out a notch for them to cut through. 

The tonality smoothens out as you move up in sizes, with the 18” giving us the darkest sound (but you’d struggle to say this is a ‘dark’ cymbal). All in all, they’re ideal for their intended purpose of adding accents!

 It’s a similar story for the (undrilled) splash cymbal too. It falls more into the ‘mini-crash’ flavour of splashes rather that the drier, throaty chiming style. Like the FX cymbals, it’s brighter, almost to the point of Oriental-type sizzle, and is quite reminiscent of the Sabian AAX 10” splash we compared it to. 

Splashes aren’t the ‘on-trend’ addition that they were, but to a certain type of player (hands up), they’re still one of the best additions to a cymbal collection for adding busy flourishes, and in that respect it’s a shame that there aren’t a couple more sizes available in the range.

Hi-Hats

Last, but by no means least are the two pairs of hi-hats. For everyday use, there’s a pair of 14” hats, but if you fancy something a little different Zultan has also offered them as 15” models too. 

The 14” pair are likely to be the most popular, and with good reason - they deliver all the hallmarks of ‘medium’ hi-hats. The stick sound is soft, but pressing them closed tightly gives a harder, more cutting ‘chick’ and the medium-high pitch means that they bark and slosh nicely in a way that’s going to work - as Zultan says - for pretty much anything.

But, the 15” hi-hats have an extra level of darkness that translates to a fatter stick sound, sustained when splashed with your foot, and a washy slosh when played semi-open. If you’re looking for a pair of hi-hats for blues and vintage rock styles, you won’t go wrong with these.

Verdict

At first, the AEON Series seems like it might be suffering a bit of an identity crisis - dark and sustained while claiming to be bright, with plenty of accent and FX cymbals which by their nature need to be fast and responsive. But after playing them the description makes more sense. These mix-up traditional tonalities with some more modern features, so if you want some variety without breaking the bank or having to go for ear-piecing modern cymbals, check these out.  

Zultan AEON: Hands-on demos

Zultan

Drums Bonedo

ZebenDrums

Specifications

Alloy: B25 Bronze
Origin: Turkey
Ride cymbals: 20", 21", 22" (Light versions in all sizes)
Crash cymbals: 17", 18", 19" 20", 18", 19" 20" Thin Crashes
FX cymbals: 14" crash/16" china stack, 14", 16", 18" FX Crashes, 10" splash
Hi-hats: 14", 15" pairs
Set available? Yes

For more information, visit the Zultan website. To check the latest prices, visit Thomann.

The origins of cymbal stacking - basically putting two (or more) cymbals together on one stand - are shrouded in internet chat mystery, but there's zero doubt that they've exploded in popularity in the last few years.

They're a fantastic way of adding new textures to your playing and grooves, either as standalone FX or as an alternative time-keeping element.  But where to start?

Happily, Thomann's Drum Bash team has produced a top-level run-through of some current out-of-the-box stacks, plus some quick tips on building your own, um, power tower.

Generally, apart from that alluring trashiness, stacks will produce a vicious attack and fast decay, but as you can see that's far from the full extent of your options, and experimenting with whatever metals you have to hand is fun and easy.

If Drum Bash has inspired you to explore the world of cymbal stacking and you want some more inspiration, you could do a lot worse than check out Siros Vaziri's epic deep dive through a myriad of configurations below.

Most importantly, have fun exploring different blends, and if it sounds right to you, go for it!

Zultan cymbals has announced the release of its brand new AEON cymbal range, featuring a B25 bronze alloy and 20 cymbals - including stacks and FX models - that it says will work for any style of music.

All AEON series cymbals are handmade in Turkey and are hand-hammered, while the bell of each cymbal remains natural. This, combined with the B25 bronze alloy (75% copper, 25% tin) adds-up to what Zultan describes as a “bright and shimmering sound with earthy tones and longer decay, suitable for any musical styles”.

The AEON range comprises twenty cymbals, split into Crash, Ride, Hi-Hats and FX categories, and a set including 15” hi-hats, a 22” ride and 18” crash with a Zultan cymbal bag included.

Zultan AEON Series: full line-up

Crash Cymbals

• 18” Thin Crash

• 19” Thin Crash 

• 20” Thin Crash

• 20” Crash

• 19” Crash

• 18” Crash

• 17” Crash

Ride Cymbals

• 20” Light Ride

• 21” Light Ride

• 22” Light Ride

• 22” Ride

• 21” Ride

• 20” Ride

FX Cymbals

• 10” Splash

• 14” FX Stack

• 16” FX Stack

• 14” FX Crash

• 16” FX Crash

• 18” FX Crash

Hi-Hats

• 14” Hi-Hats

• 15” Hi-Hats

Prices start at £85/$98/€98, and the AEON series is available now.

Zultan has made a name for itself by providing high-quality B20 bronze cymbals at affordable prices, and now the cymbal brand has announced the expansion of its popular Q cymbal line, with the addition of three Q Thin Crash models.

Offered in 18”, 19” and 20” sizes, the Q Thin Crashes join the line-up with it’s dual-finished surface. The bell and outer two-inch edge of each cymbal is left raw and unlathed, while the mid-bow surface is lathed and given a brilliant, polished finish. 

The Zultan Q series is designed to be dark and low in pitch, and the new Thin Crashes bring faster crashes to the Q range, responding under lower dynamics and decaying quickly while still offering projection to match the rest of the Q family. 

As with the rest of the Zultan Q range, the Thin Crashes are 100% handmade, from B20 bronze. 

Prices for the Q Thin Crashes start at £119/€142/$145, for the 18” model,  £145/€172/$176 for the 19"  and £162/€193/$197 for the 20”. For more information, visit the Zultan website.

A couple of months ago, Chad Smith announced that after 35 years, he’d be switching from Sabian to Paiste cymbals. Following the news, Paiste welcomed Chad aboard, stating that he’d be playing a mixture of Paiste 2002, Signatures and PSTX series cymbals, and now the full setup has been revealed.

Paiste has worked with Chad to create the setup which is finished in a Matte Silver Colorsound finish throughout - and also happens to match Chad’s current DW shells - with black Paiste logos on top, and the Red Hot CHili Peppers logo on the underside.

But this is Chad Smith, so it’s no surprise that you won’t find a 16” crash cymbals amongst the metal. Instead, Chad is opting for a 19” as his smallest crash (and a 24” 2002) as his biggest. Other highlights include a 20” 2002 Custom spiral cymbal, a 10” Pure Bell and 20” Swiss Medium Crash (both from the affordable PSTX range), oh, and the small matter of a a 50” Symphonic Gong because…well why the hell not?

Chad Smith’s 2022 Paiste Cymbal Setup

• 20’’ Custom 2002 Ride Spiral Cymbal
• 10’’ PST X Pure Bell
• 15’’ Signature Power Hi-Hat Top / 2002 15’’ Sound Edge Bottom
• 12’’ Signature Splash
• 19’’ 2002 Extreme Crash
• 24’’ 2002 Ride
• 20’’ 2002 Extreme Crash
• 24’’ 2002 Crash
• 20’’ PST X Swiss Medium Crash
• 10’’ Custom 2002 Mini China / PST X 12’’ Splash Stack Top
• 50" Custom Symphonic Gong

For more information, check out Chad Smith's new artist page on the Paiste website.

When it comes to playing at home, quiet is the new loud for many of us. Just this year we’ve seen quiet practice kits such as the Natal DNA Stealth and Tama’s True Touch training kit. 

But now, Evans has re-joined the near-silent disco with its dB Zero (a re-brand of its SoundOff mesh heads), but even bigger news is the dB One heads and low-volume cymbals, which Evans says reduces the volume of our kit by 80% compared to traditional acoustic drum heads.

Evans dB One heads are available for toms, bass drums and snare drums, and make use of a single ply of Evans’ ShockWeave Mesh, bolstered by Kinetic Transfer Foam (KTF) and an Impact Patch to take the volume down without losing attack, while also maintaining an authentic fell, and most importantly, tone and pitch from our drums.

As well as this, Evans has  developed a wire-free Snare Sim technology, which “transfers impact energy into sonic vibrations which mimic the crack and buzz of snare wire, while still maintaining a low volume.”

Meanwhile, the dB One Cymbals - a first for Evans - are made of nano-plated stainless steel, and are designed to partner with the dB One heads for reduced volume as a complete system. While we’ve seen low-volume cymbals before, Evans’ feature its patented dBalance technology - which it’s calling a precision-perforated volume-reduction system, resulting in the spiral pattern to achieve the lower volumes while boasting resonance “as articulate as many full-volume sets but at 20% of the volume.”

"The dB One heads are an incredible practice tool, especially if you have volume restraints wherever you drum," says Whitechapel and Light the Torch drummer Alex Rüdinger. "The first time I really laid into them was at 2:30 in the morning, with other people asleep in the house, two stories up. No one woke up or even heard a peep!"

Finally, there’s the dB Zero, which as mentioned is a re-branding of Evans’ popular SoundOff mesh heads - ideal for use when almost-silent practice is required, or with triggers and sensors.

• Evans dB One Tom Heads: 10”, 12”, 14”, 15”, 16”, 18”
• Evans dB One Snare Heads: 13”, 14”
• Evans dB One Bass Drum Heads: 18”, 20”, 22”, 24”
• Evans dB One Cymbals: 20” Ride, 18” Crash, 16” Crash, 14” Crash

For more information, or to order dB One Heads, visit the Evans website.

Recently, Paiste announced that Red Hot Chili Pepper, Chad Smith would be joining its artist roster, and this week it’s giving us a glimpse at the setup from another Paiste-playing legend, Mr Dave Lombardo.

Lombardo (Slayer/Fantomas/Suicidal Tendencies/Mr Bungle) is currently out on tour with thrash pioneers, Testament, having previously performed a stint in the band for 1999's The Gathering. 

As Dave explains in the brief video tour, he’s once again reaching for his old faithfuls: Paiste Rude cymbals with some embellishments from the 2002 and 900 series.

Joined by fellow Paiste artist, Zachary Christopherr for a rundown of his cymbals, he talks about his introduction to the brand around 40 years ago.

“My dad bought me a drum set, it was a Paiste Rude cymbal package and Tama drum set for 1100 bucks at Guitar Center. This was back in 1979…I’ve always been a fan of the Rude cymbals." 

Highlighting his signature 22” Rude ‘Reign’ Power Ride (based on the cymbal he played on Slayer's iconic Reign In Blood album) and 15” Rude Sound Edge Hi-hats as the core components of his sound, Dave explains,

“I have to mention my ride cymbal. It’s a copy of the original Rude cymbal that I got with my Paiste cymbal package back in ’79. I still have that cymbal, and it’s the cymbal I used on Reign In Blood which features the ride. 

"So I mentioned it to the Paiste family, and they decided to create this signature Power Ride.  It’s a 22”, it’s called the Reign Ride, and I’m really proud of it. I love it.”

“These 15” Sound Edge Hi-Hats, I just love how…rude they are! It’s just my favourite. I can’t seem to stray away.”

Continuing through the setup, Dave points to a pair of 18” & 20” 2002 Novo Chinas - positioned on the left and right side of his kit -  as a staple part of his sound, “They were introduced to me like, 30/40 years ago when I first went to the company. These chinas, for some reason - the design or whatever - they have so much presence.”

“It’s a phenomenal company. I’m not just kissing ass here. They’re very supportive of their artists, the product is consistent.” You can watch the full video above. 

Dave Lombardo’s cymbal setup in full

• 15” Rude Sound Edge Hi-Hats

• 22” Rude ‘Reign’ Power Ride

• 18” 2002 Novo China

• 20” 2002 Novo China

• 16” Rude Crash/Ride

• 18” Rude Crash/Ride

• 20” Rude Crash/Ride

• 16” Signature Thin China

• 14” 900 China

• 10” Rude Splash (x2)

Earlier this week, Chad Smith and Sabian announced that the Red Hot Chili Peppers drummer would no longer be playing Sabian cymbals. Sparking rumours as to which brand Chad would choose for his new setup.

Now the rumours have been confirmed by Paiste directly via a post on its Instagram profile, officially welcoming Chad Smith to the Swiss cymbal-maker's 'Family' as an endorsee.

“Paiste is deeply honored to announce that Chad Smith, distinguished drummer of the Red Hot Chili Peppers, is joining the Paiste Family of musicians.” the statement reads.

“Chad’s set will initially consist mostly of 2002 series models, with additional cymbals from the Signature and PST X series. The final cymbal set and further details will be announced later this month. Thank you, and welcome to the Family, Chad!”

The move from Sabian marks the end of Chad's 35-year stint with the brand, and he thanked Sabian during his announcement that he was leaving saying that he will be "forever grateful" for them taking a chance on "a scruffy kid from Detroit all those years ago."

The announcement will come as little surprise to many, following outings with Paiste cymbals in Chad’s setup, most recently when the RHCP headlined the New Orleans Jazz Festival.

Chad took the opportunity to pay tribute to Taylor Hawkins, making a speech on the mic following the band’s set, while Taylor’s wife, Alison Hawkins and Dave Grohl alongside other members of Foo Fighters watched from the side of the stage.

Meanwhile, RHCP bassist Flea recently opened up on the rhythm section's relationship outside of the band, stating that the two don't hang out, and instead "talk by playing".

Red Hot Chili Peppers, Unlimited Love is out now.

Red Hot Chili Peppers drummer, Chad Smith has announced that he is leaving Sabian after 35 years of playing the brand’s cymbals.

He made the announcement via social media with a photo of a handwritten note, stating that he’s “decided to go in a new direction”, before going on to thank and praise the Sabian team for their support during his career. 

The note was also shared by Sabian, suggesting that the split is amicable and reads, “Ladies and gents - Well…after 35 years of playing Sabian cymbals I’ve decided to go in a new direction.” 

"All involved in the Sabian family have been nothing short of incredibly supportive in every step of my drumming career. I’ve enjoyed all of their friendship, service and cymbals along the way." 

"I want to thank them from the bottom of my heart for taking a chance on a scruffy kid from Detroit all those years ago. I am forever grateful. Onwards and upwards! Much love always, Chad Smith."

The move from Sabian is a rare one for Chad, who has remained loyal to the brands he endorses, and follows his last major gear change from Pearl to DW Drums in 2016.  

Chad Smith has been closely connected with Sabian for his entire tenure in the Red Hot Chili Peppers, having released a number of signature cymbals including the Sabian Explosion Crash and Holy China ranges.

Despite the announcement that he has decided to change brands, there’s no official confirmation of which cymbal company he’ll be playing from now on. But there's some strong suggestions. 

First, Chad has been spotted using Paiste (the cymbals favoured by one of his heroes, John Bonham) sporadically since at least 2018, most recently this past weekend where he paid tribute to Taylor Hawkins during RHCP's headline set at the New Orleans Jazz Festival (you can see the Paiste logo on his ride as well as the Sound Edge hi-hats above). 

Then throw in the fact that Chad's brother, Brad is VP of MI Products at Hal Leonard - the company that has distributed Paiste in the US since 2018 - our money is on the Swiss.

Meanwhile, Red Hot Chili Peppers bassist, Flea recently revealed that he and Chad don't hang out outside of the band, stating that they instead, "talk by playing."

We'll have to wait until June for the NAMM Show 2022, but that doesn’t mean no new gear as some of the biggest and best names in the business begin to unveil their latest designs in January.

As well as its Drum Tech Kit, Meinl has started the ball rolling with a raft of new cymbals and accessories for 2022, including brand new signature products for Luke Holland, Benny Greb and Matt Garstka, additions to current ranges, and more. Let’s take a look at what they've been working on.

Meinl Byzance Traditional Polyphonic Crashes

Joining the Polyphonic Ride for 2022 are Byzance Traditional Polyphonic Crashes. They’re available as 18”, 19” and 20” versions, and Meinl describes them as “Expressively dark sounding” with a quick projection thanks to thin edge profiles. Meanwhile, a thick, un-lathed bell promises “penetrating attack and volume”.

Meinl Byzance Dual Trash China

How do you make a china more trashy? Add holes! Meinl’s popular Byzance Dual series has been given a trashy edge which Meinl says gives a faster response, more cut and a shorter sustain, meaning that it’ll sit nicely for accents without lingering for any longer than you want it to.

Meinl Byzance Artist Concept Matt Garstka Temporal Stacks 

Fans of fast, dry, spiky stacks will be excited about Matt Garstka’s new Temporal Stacks. There are two designs: the 8/8 Temporal Stack I and 8/10 Temporal Stack II. The first comprises a pair of splashes (8” and 10”), combining lathed and sandblasted/unlathed, brilliant finishes respectively.

The Temporal Stack II features a pair of 10” cymbals: a Byzance Trash China and Byzance Splash, once again combining brilliant and sandblasted finishes. The two stacks offer trashy, fast stack sounds fors accents, with a pitch difference between the two. 

Matt Garstka says, "I mainly use the Temporal Stacks within complex groove and chop patterns. The dry, trashy, staccato sound allows them to get in and out of tight spaces quickly. The stacks can absolutely be used as timekeepers, but the fun lies in orchestrating these into rhythmic patterns which will for sure open up a lot of creativity."   

Meinl Byzance Artist Concept Luke Holland Baby Stack

If you already know Luke Holland, you also know that his signature stacks are some of the best pre-configured pairings on the market. Here, he’s collaborated with Meinl to create the Baby Stack, which marries a Byzance 10” Trash Splash with a 12” Classics Custom Trash Splash. 

"My goal with the Baby Stack was to create a combo that I could use in any setting from metal to electronic to hip-hop." says Luke. 

"The beauty is its ability to cut through tremendously or sit back and be casually articulate. It's incredibly dynamic, and that’s why I will always use it in every show, recording, or video I do."

Meinl Artist Concept Benny Greb 6” Crasher Hats

Check out the comments on pretty much any Benny Greb video and you’ll see a reference to his 8” hi-hats. Now, Benny has worked with Meinl to create a smaller version in the 6” Crasher Hats. 

Meinl describes their character as a “Fine, high-pitched hi-hat, with a little more spread than you would normally get from a shaker”. We can see these being excellent in quieter playing situations. 

"I wanted something that was super short, dry, clear and high frequency but still very dynamic that could fulfil a whispering shaker-like role in the music. Tough to get!” Benny says. 

“So we had to create something completely unique. Four separate cymbals sandwiched together. They have different shoulders so they collapse against each other at every hit. 

"The result is incredible. A very unique sound that blends beautifully with ghost notes and other subdivisions, but can also make a percussive statement. They are part of my sound, I absolutely love them!”

20” Benny Greb Byzance Sand Thin Crash

Not content with one new signature release, BG has pushed the boat out by adding a new 20” Thin version of his extremely popular Sand Crash. Featuring the same sandblasted finish as its counterparts, expect a dark, vintage crash sound with a shortened, dry sustain. 

Meinl Pure Alloy Additions

The Pure Alloy series with its computerised lathing and cutting shimmer has been expanded with a 17” medium crash, along with a new pre-configured set comprising 14” medium hi-hats, 16” crash and a 20” ride.

Meinl Carbon Ripstop 22” cymbal bag

Transporting your gear isn’t the most exciting of subjects, but it is one of the most important. The Carbon Ripstop 22” cymbal bag features 600 denier woven polyester, can hold up to a 22” cymbal in the main compartment and 15” cymbals in the hi-hat compartment. There are four padded dividers (sewn into place), and you can even wear it on your back to keep your hands free for other gear!

Meinl Marshmallow Practice Pads

If the heavy attack and thud of your pad is causing those around you annoyance, the Marshmallow Pad - available in 12” (Black Orange and Sea Foam finishes) or 6” (Black only) - might be the answer. 

Meinl says the Marshmallow’s thick 20mm foam surface helps to lower the volume without compromising on rebound. It’s got a non-slip bottom and can mount to an 8mm thread.  

Meinl Practice Pad Stand

Tired of trying to balance your pad on a snare stand or that table that’s just the wrong height? This one’s for you. Meinl’s lightweight pad stand is made from powder coated steel and can extend from 48cm (19”) to 94cm (37”.

Meinl Cymbal Bacon (heavy)

Nope, it’s not a mid-set snack. This is a new, heavier version of Meinl’s Cymbal Bacon chain, guaranteed to add some extra sizzle to your crashes or ride.   

Meinl Byzance Drum Key

If you didn’t know, drum keys are more popular than ever. Last year, Meinl released its Antique Bronze Byzance key, and for 2022 comes this tin plated beauty.

Meinl Super Flex Hi-hat tambourine

With 20 jingles (arranged as 10 pairs), as its flexible framework that will sit perfectly on your hi-hats, the Meinl Super Flex Hi-Hat Tambourine aims to make incorporating tambourine textures into your hi-hat grooves even more responsive and audible.

It’s a new year, which not only means new gear, but a chance to take stock and get your playing goals for 2022 lined-up. With this in mind, Zultan Cymbals has launched a new drum practice pad with the Workout Pad, which it says offers a high-quality practice tool at an even more practical price.

The 10-inch-diameter practice pad offers an extra thick 20mm playing for minimal rebound - perfect for helping to build your chops without relying on stick-bounce. 

On the underside, Zultan has equipped the Workout pad with an 8mm thread, which will fit most cymbal stands.   

The Zultan Workout Pad is available now, priced at £33/€39/$37

• Essential drum accessories every player needs

Our snare drums are one of the most identifying parts of our sound and kit, with everyone having a preference on depth, diameter, material and tuning. This year there were plenty of signature snare drums released too, and you guys have lapped them up - forming the entirety of our Top 3 snares for the year. 

 All three are made of different shell materials, but even though they’re different, they share meaty, hard rock power in common. Here are the snares you liked the most over the last 12 months.

1. Winner 2021: Zildjian FX Raw Crashes

Taking their cues from the wavy edges and warped appearance of the Crash of Doom, Zildjian’s FX Raw Crashes started life in the Concept Shop, pushing FX to the limit and proving to be a huge hit. 

Essentially an untrimmed blank, the FX Raw Crashes come in two formats: small (drier) or large (more explosive) bell for a hugely trashy, yet versatile cymbal. Sadly, the nature of Zildjian’s Concept Shop means these are now discontinued, but that didn’t stop them making the top spot!

2. Meinl Classics Custom Heavy Dark

Meinl extended its Classics Custom Dark series this year with its Heavy additions. Giving an aggressive edge, but maintaining the darker sound of its siblings it offers 14” Heavy Dark Hi-Hats, 16” and 18” Heavy Dark Crashes, 18” Heavy Dark China, 18” Heavy Dark Big Bell Ride and 20” Heavy Dark Ride - both with oversized bells for clear, strong attack.  

3. Paiste Signature 2021 additions

Paiste’s Signature series has long been a favourite of consumers and pro drummers (Copeland, Carey, Rudd and more) who are looking for a blend of tradition and modern projection. Sticking largely to a heavier theme after 2020’s Light models, Paiste brought Power Hi-Hats, Heavy Hi-Hats and Power Crashes as well as a 22” Mellow Ride to the Signature line-up this year.   

When it comes to gear, John Bonham is synonymous with Ludwig drums and Paiste cymbals, but despite already having four albums with Led Zeppelin under his belt, he didn’t actually sign-up with Paiste as an official artist until 1971. To mark 50 years since Bonzo and Paiste made it official, the cymbal brand has shared the drum legend’s first artist contract, along with an order form that’s enough to make our eyes water.

The contract - which is a pretty straightforward, standard artist agreement allowing the company to use the artist’s name in advertising and promotion - reads: 

“With this agreement, the undersigned permits the firm of M.M. PAISTE & SOHN KG the use of his name for purposes of promotion and advertising, including the statement that he plays Paiste Cymbals”. Bonham signed the contract in blue ink on 13/7/1971.

Also shared in the post is Bonham’s accompanying order, featuring a raft of over 30 cymbals - allowing for duplicate setups, most likely for international touring rigs -  including his first ever Giant Beat series cymbals alongside 2002s, a 38-inch gong and curiously, only one cymbal bag. 

The series, sizes (and in some cases, models) plus delivery dates are all detailed, and the sheet also indicates that Bonham wasn’t charged for any of the cymbals except for the gong, which seemingly had a 30% discount applied (prices aren’t documented).

John Bonham’s 1971 Paiste order

• 15” Sound Edge hi-hats

• 15” Giant Beat hi-hats

• 18” Giant Beat crash

• 20” Giant Beat crash

• 24” Giant Beat ride

• 15” Sound Edge hi-hats

• 18” Giant Beat crash

• 20” Giant Beat crash

• 24” Giant Beat ride

• 18” Giant Beat Crash (x2)

• 20” Giant Beat 

• 16” 2002 Crash medium

• 18” Giant Beat

• 20” Giant Beat

• 24” Giant Beat

• 20” 602 Medium Ride

• 38” Standard Gong

• 15” 2002 Sound Edge Hi-Hats

• 15” 602 Sound Edge Hi-Hats

• 15” 2002 Sound Edge Hi-Hats

• 16” 2002 Medium Crash

• 18” 2002 Medium Crash

• 18” 2002 Medium Ride

• 20” 2002 Medium Ride

• 24” 2002 Ride

• 15” 2002 Sound Edge Hi-Hats

• 18” Crash

• 18” Medium

• 20” Ride

• 24” Ride

• 24” cymbal bag

Roland has made a major addition to the top of its V-Drum product range with the announcement of the TD-50X sound module and VH-14D digital hi-hats available in three new kit configurations, delivering what could be its best e-kit to-date.

Each of the three configurations includes the new module and hi-hat pads, but possibly the even bigger news is that Roland has expanded its VAD shells to offer the VAD706: available in four different finishes.

There's a lot to unpick, but essentially what we have here is a brand new module, a continuation of Roland's next-generation digital pads added across the range, and a number of pad options to partner with the TD-50X module. Let's take a look at each, starting with the kits. 

Roland VAD706

Building on 2020's release of its VAD (Virtual Acoustic Design) kits, the VAD706 pairs Roland's wooden acoustic shells with the TD-50X for authentic acoustic-feeling setup. It's available in a five-piece configuration with 10"/12"/14" toms, 22" bass drum and PD-140DS digital snare. 

Cymbal-wise, the VAD706 includes the new VH-14D digital hi-hat, CY-18DR digital ride cymbal, and a pair of CY-16R-T crashes. The VAD 706 is available in four finishes: Gloss Cherry, Gloss Ebony, Pearl White and Gloss Natural. 

Roland TD-50KV2

In the middle of the three kit configurations sits the TD-50KV2. Here, the bass drum is an 18" KD-180, with two 10" PD-108-BC rack tom pads, and two 14" PD-128-BC floor tom pads. As with the other configurations, the snare is Roland's stainless steel-shelled PD-140DS digital snare drum. The larger-sized pads are joined by a pair of CY-16R-T crashes, plus Roland's CY-18DR and VH-14D digital rode and hi-hats. 

Roland TD-50K2

The most streamlined in the flagship range is the TD-50K2, featuring shallower PDX-100 pads for the toms, a KD-140-BC bass drum pad, PD-140DS digital snare. You get CY-14C and CY-16R-T crashes, as well as the VH-14D and CY-18DR digital hi-hat and ride cymbals.

Roland VH-14D digital hi-hat

Joining the CY-18DR and PD-140DS in Roland's line-up of digital pads (and included in each configuration here) is the VH-14D Hi-Hat. The VH-14D is 14" in diameter, and is capable of high resolution open/half-open/Closed and stepped articulations.

As with Roland's other digital pads, it connects to the module via the USB trigger input. It features no fewer than three bow sensors, a sensor for the edge and multiple sensors for motion and touch, as well as a processor to handle them all. 

Roland TD-50X sound module

The new TD-50X module promises to provide "the most acoustic-like experience in electronic drumming", offering over 900 sounds in its internal memory, featuring many newly recorded kick, tom, snare and cymbal samples.

As well as the sounds, the TD-50X continues the TD-50's tradition of deep editing for parameters such as tuning, muffling, shell depths, head type and more, and also makes use of Roland's PureAcoustic Ambience technology for added realism.

There's comprehensive connectivity on board too, with master left & right outputs, plus eight direct outs enabling individual drums or groups to be sent to their own channels as well as a USB interface that can handle 32 channels of audio plus MIDI.

The Roland TD-50X ($2,399.99), VH-14D ($899.99) TD-50KV2 ($7,499.99), TD-50K2 ($5,399.99) and VAD706 ($7,999.99) will be shipping in May.

When it comes to cymbals, nobody ever thinks about going for the quieter option. Nine times out of ten, you’re battling with a guitarist that won’t turn down or a diva-ish singer that won’t shut up. But what about when you’re trying to practice? In this guide we’ve got five low volume cymbal options for when you want to quieten down, as well as some alternative cymbal dampening gadgets, just in case you don’t want to shell out on practice-specific pies.

Low volume cymbals are often misunderstood. They’re a fairly new idea, but their practicality has quickly made them a desirable addition to any drummer’s arsenal. Granted, they might not be great for live performance, but low volume cymbals have many advantages over their full-frequency counterparts.

First of all, a set of low volume cymbals is obviously kinder on your ears. The removal of high frequencies thanks to thousands of tiny holes drilled into the surface of the cymbal will alleviate some of the abuse your eardrums take when you get behind the kit. Secondly, you’ll be able to play and practice more frequently, which is vital in order to improve your drumming. Most low volume cymbals tend to be on the smaller side too, which can help with your playing accuracy, and means they’ll take up less space.

Finally, although low volume cymbals are thinner than full-volume options, they offer a similar stick feel, meaning the techniques you work on at home should translate well to your regular cymbals.

If you’d like some more in-depth guidance on low volume cymbals, click the ‘buying advice’ button above. If you’d like to get straight to our product choices, then keep scrolling.

• Still too loud? Take a look at the best electronic drum sets
• Just starting out? Here are the best beginner electronic drum sets
• Hate your neighbours? Check out the best beginner drum sets  

Low volume cymbals: MusicRadar's choice

The Zildjian L80 low volume cymbals are some of the best on the market right now. They still retain the feel of a Zildjian cymbal, but a volume reduction of up to 80% makes them a little more sensible for at-home use. You’d think that drilling so many holes in a cymbal would destroy the sound, and while they do sound different, they still deliver musicality.

If you’d rather spend your money on nice loud things, but need a set of practice cymbals to see you through, the WHD low volume cymbals are pretty unbeatable. WHD is Gear4Music’s own-brand range of drum products, and for less than $/£100 you can get your hands on a full 3-piece set, including hi-hats, crash and a ride. They might not sound amazing, but they’re a definite step up from rubber pads, and for such a low price, they’re definitely worth a look.

It’s worth noting that certain retailers sell both the Zildjian and WHD options in packs that include low volume drum heads, so you can practically silence your whole kit in one easy purchase.

Low volume cymbals: Product guide

Zildjian’s L80’s are perfect for low noise-level drumming applications - especially practice and tuition. Each cymbal features thousands of small perforations which bring the volume down by up to 80 percent - hence the name. They still feel, sound and look like cymbals, so you won’t need to worry about getting used to them.

The L80’s are available individually or as box sets, which include a pair of hi-hats, a crash and a ride. Zildjian have more recently introduced a 10” splash and 18” china to the L80 range, so you can expand your practice setup even further.

Read the full Zildjian L80 review

• Hear yourself loud and clear: The best headphones for drummers

Much like the L80’s, the Sabian Quiet Tone practice cymbals prioritise feel and response over anything else. Making sure your practice setup feels as close as possible to your gig setup is vital when it comes to efficient learning.

Made from a super tough, durable alloy, you can really lay into these cymbals and not have to worry about breaking them. The ride especially retains its tone nicely, with a surprising amount of note definition for such a light cymbal. The Quiet Tone range has a nice level of presence without being anywhere close to loud, making these a good option for any volume-conscious drummer.

Read the full Sabian Quiet Tone review

The WHD low volume cymbals have been designed to allow you to practice at any time of the day or night. Much like the other low volume cymbals in this guide, they feature hundreds of tiny holes to help kill resonance and volume.

The feel is still authentic to that of a standard cymbal, and the volume is cut by - you guessed it - up to 80%. The alloy is noticeably cheaper, which comes across in the tone of the cymbal, but for under £100 we can’t complain too much.

Read the full WHD Low Volume cymbal review

• Sound better than ever with the best drum sets
• Hit things with wood: the best drumsticks 

Kasza are something of an outlier in the cymbal world. Regardless of the brand name though, the ‘Quiet On The Set’ low volume cymbals offer a full sized, nearly-silent option for those that need to keep practice on the down-low.

Unlike other brands, a 4-piece set is standard, and the included cymbal bag means you can easily cart these to jam sessions or band practice. Price-wise, these cymbals are up there with the big names, and although the sound quality is comparable, you might prefer to buy into the reputation and legacy of other brands. That being said, if you want a full set of low volume cymbals, these will absolutely do the trick.

UFO is a company dedicated to low volume practice-friendly cymbals. Much like the Kasza’s, they are full size cymbals, so you won’t need to change your playing style to suit. The UFOs are developed specifically to behave like traditional cymbals, making the switch from your regular setup as easy as possible.

The UFOs are made from a durable zinc alloy, so although they’re thin, lightweight cymbals you can still lay into them as you would during a gig. They are on the cheaper end of our price range, but they sound surprisingly musical with a fairly sweet tone. They aren’t quite on the same level as the L80s, but they don’t cost nearly as much, either. An all round solid option, if you’re not fussed about having a big name on your cymbals.

Low volume cymbals: Buying advice

There are a few different things you should consider when buying a set of low volume cymbals. Not only will they be quieter than a regular set of cymbals, but they will sound, feel and look different too.

Low volume cymbals are usually made from Brass, Bronze or Nickel alloys, and are thinner and lighter than most standard cymbals. The reduced weight, along with the thousands of tiny perforations on the surface, allows for certain frequencies to be removed from the cymbal and for the volume to be reduced.

Cymbal size comes into play when we look at controlling volume. Smaller, thinner cymbals are quieter than larger, heavier ones as vibrations can move through the cymbal faster and dissipate quicker. Thinner cymbals generally sound less bright than heavier cymbals, and it’s those high-end ‘bright’ frequencies that you want to try and get rid of when lowering the volume of your setup.

Will they feel different to normal cymbals?

The feel of a low volume cymbal is largely similar to that of any thinner cymbal. There’s not a huge amount of resistance on the stick due to the cymbal being thin and light, so when you’re laying into the ride especially, you’ll lose some of that bright ‘pingy’ stick definition. This is down to the fact that thinner cymbals tend to ‘wash out’ quicker, as the vibrations are moving quickly and easily throughout the whole cymbal. It is something you’ll have to get used to, if low volume cymbals are what you’re after.

Low volume cymbals: The alternatives

If low volume cymbals don’t sound like your thing, then there are some other alternatives on the market for you. Keep in mind that these products will help you bring the volume down a bit, but your setup won’t be as quiet as it would be with a set of dedicated low volume cymbals.

Meinl’s Cymbal Tuners and the Cymbomute silencers will bring the volume of your current cymbals down by interfering with the vibration of your cymbal and therefore choking it up. This means that if you prefer the feel of your current set, or just don’t want to break the bank, then you’ll still be able to practice at slightly more sensible volume levels.

‘Frequency reduced’ cymbals are another option, like the Sabian FRX range below. Much like dedicated low volume cymbals, the holes in these cymbals interrupt the vibration in the metal and therefore reduce the high frequencies produced. They’re still pretty loud though, so they might not be the answer for everyone.

Meinl also offers their Extra Dry cymbals range, which is still firmly under the ‘full volume’ category. However, their light weight and thin construction mean they are quite a bit quieter than other cymbals.

The ‘dryness’ of these cymbals means that they produce fewer high frequencies than you’d find in other cymbals with a more traditional or brilliant finish (the more shiny ones). They’d be great if you want something that sounds more subtle than a regular cymbal set, but they’re not low volume cymbals by any means.

You’ll notice the Gen16’s share a large amount of their DNA with the Zildjian L80s, but the Gen16 cymbals have a little trick up their sleeve. Designed to be used alongside the ‘Digital Cymbal Processor’, the Gen16s can be used to trigger acoustic cymbal sounds. They use a pickup to detect vibration and convert it into sound, for those occasions when a set of regular cymbals might just be a bit too much.

You can also use the Gen16s as regular low volume cymbals for quiet practice, without the electronics switched on. They are more versatile than the standard L80s, but cost a lot more too.

Meinl’s Byzance series is one of the largest and most versatile cymbal ranges around. They offer cymbals capable of anything from heavy metal to jazz and everything in between. The Extra Dry series definitely falls in the ‘in between’.

Largely intended for jazz and fusion players, the Extra Dry range is made up of thin, lightweight, dark sounding cymbals that have an unfinished playing surface. This means that the high-end frequencies are less abundant in these cymbals, and they don’t cut through quite as much - making them perfect for quieter playing. They are by no means ‘low volume’ though, so you might still upset your neighbours, but not as much as you did before.

Read the full Meinl Byzance Extra Dry review

Sabian’s FRX series is a range of frequency-reduced cymbals that are ideal for those live situations where your current cymbals are just a bit too much.

Made from expressive B20 bronze, the FRX range is cut from the same cloth as some of the industry’s most impressive cymbals. They still deliver a wide tonal range, but the micro-perforations on each cymbal help to tune out those crazy overtones that can engulf your sound so easily. They aren’t exactly low-volume cymbals, but the lack of overtones does bring the perceived volume down to a more sensible level. Granted, they are a little pricey - but we’ll pay anything to stop the sound guy from asking us to play quieter.

Read the full Sabian FRX Cymbals review

• Sharpen your chops with the best drum practice pads
• Reduce your footprint with the best compact drum kits 

For what is essentially just a magnet with a Meinl logo on it, these are a pretty fantastic way of bringing your cymbal volume down. The Meinl Cymbal Tuners will hang on to your cymbals with steadfast resolve, and won’t cause any damage as you slide them across the surface.

The positioning of the Tuners makes a massive difference to the impact they make - but for killing volume and sustain, they should be positioned at the edge of the cymbal. The Tuners come in two different sizes, with the larger ones making the most difference. You might need to buy a few packs if you want to deaden your whole cymbal set, but that's still cheaper than buying new low volume cymbals.

Read the full Meinl Cymbal Tuners review

Cymbomutes are by far the cheapest way to effectively kill the volume of your cymbals. They’re a simple, easy-to-use option for those on a budget, and they won’t drastically interfere with the feel of your cymbals.

Cymbomutes are made from a hybrid of silicone and stretch fabric, and with their Silicone Bumper Technology, they’re built to withstand a fair bit of abuse from your sticks. That being said, Cymbomute recommends you tilt your cymbals towards you to avoid direct contact with the mute itself, and avoid using worn sticks as they may damage the fabric. If you prefer your cymbals flat, or every stick you have is chewed up, then you may need to think again.

Read the full Cymbomute Cymbal Dampeners review

• Find out more about how we test music gear and services at MusicRadar.

As the trend for vintage gear continues to grow, more and more drummers are looking for ways of snagging the sounds of yesteryear. But what if you could buy genuine vintage cymbals, direct from the personal collection of a cymbal-making pioneer, with a strong chance they were touched and played by some of the biggest legends to ever grace the kit? Well, thanks to a limited edition initiative from Zildjian, now you can.

To mark what would have been Armand Zildjian’s 100th birthday, Zildjian has announced that for the first time ever, it will be releasing a limited run of 200 cymbals from the late head of Zildjian's personal vault.

All of the cymbals are 20” 1940s-1950s era A Zildjians, made in the original Zildjian USA factory in Quincy, Massachusetts. A press release from Zildjian says, “Handed down through generations of Zildjians, these cymbals were cherished by Armand during his lifetime and represent his vast contributions to the development of the modern day cymbal, his collaborations with the top drummers of the day and his legacy as the Father of Artist Relations.” 

Cady Zildjian - Director of Avedis Zildjian Company adds, ““My grandfather would have been 100 this February.  His passion, energy and love for creating sound and crafting his product continue to drive our vision today.  Armand’s legacy is alive and well!  Our family is thrilled to share these hand selected cymbals from his personal collection and these special pieces of Zildjian’s history with the percussion community in celebration of his milestone birthday.” 

Each cymbal will come packaged in a premium Calzone road case, complete with Armand Zildjian signature drumsticks, a pair of inspection gloves, a certificate of authenticity and a book celebrating the life of Armand Zildjian.

Collectors and vintage fans will need to act fast, though. 100 of the cymbals will remain in the US, and the other 100 will be available globally.    

Gear 2021: Meinl has revealed its new addition to the Classics Custom range: Classics Custom Heavy Dark. The new line - aimed at those playing heavier styles such as rock and metal - comprises six new models, promising aggressive, loud cymbals to make sure you cut through.

Manufactured using Meinl’s computerised process, all Classics Custom Heavy Dark are made from its B10 bronze alloy, and includes 14” Heavy Dark Hi-Hats, 16” and 18” Heavy Dark Crashes, 18” Heavy Dark China, 18” Heavy Dark Big Bell Ride and 20” Heavy Dark Ride - both with oversized bells for clear, strong attack. 

• NAMM 2021 is cancelled, but we'll be covering all the big January gear announcements right here on MusicRadar.

Classics Custom 14” Heavy Dark Hi-Hats

These hi-hats jump to life and chop through loud mixes without you having to extrude your sound.  The Heavy Dark Hi-Hats feature a medium-heavy top and heavy bottom with the distinctive Classics Custom Dark finish for a powerful sound closed or open.

Classics Custom Heavy Dark Crashes (16”, 18”)

The Heavy Dark Crashes open up to deliver an energetic drive at loud dynamics, making it a sure bet for high octane styles like rock and metal. These crashes feature a medium-heavy weight and the distinctive Classics Custom Dark finish.

Classics Custom Heavy Dark China

Easily cutting through dense, distortion-charged mixes with its medium-heavy weight and large flanged edge, the Dark Heavy China roars to life with a trashy tone and bold attack. 

Classics Custom Heavy Dark Rides (18" Dark Heavy Big Bell & 20" Dark Heavy)

With precision definition, an oversized bell and the distinctive Classics Custom Dark finish, the Heavy Dark rides blare with an authoritative cut that can take charge of just about any playing situation.  Its medium-heavy weight gives you extra lift to really let your ride playing shine for rock or metal styles. 

As Black Friday 2020 approaches, we’re seeing more music retailers rolling out deals earlier than ever before in a bid to tempt us to part with our cash in exchange for cheap gear. Sweetwater has joined the fun, and it’s going straight for the jugular with this epic $99 Sabian cymbal deal.

• Shop all the early-Black Friday drum deals at Sweetwater

For this bombastic Black Friday drum deal the retail giant has slashed around 55% off the price of the formidable Sabian AAX Concept Crashes. The 16-inch model is down from $224.99 to just $99.99, while the 17-inch version has dropped from $239.99 to $109.99, saving you $125 and $130 respectively.

The Sweetwater site says these deals are open ‘while stocks last’ so if you’re in the market for some premium cymbals at entry level prices, we’d suggest that you snap them up while you still have the chance.

• Explore our guide to the best cymbals for every budget
• Shop all the latest Black Friday music deals

BEST IN DRUMS 2020: Every type of drummer had their pick of great cymbals in 2019, once again proving that we’re spoiled for choice when it comes to fantastic gear.

Cymbal manufacturing traditions may go back centuries, but as trends come and go, the cymbal brands are thinking ahead to ensure you have metals that are up to the job. 

Cast your vote below!

Want to have you say in more of our drum polls? View all of the Best in drums 2020 voting categories.

Voting closes at midnight on 21 November.

The MusicRadar Best in drums awards are brought to you in association with Allianz Musical Insurance - the UK's Number 1 Specialist Instrument Insurer

Mark Guiliana recently made the switch to playing Zildjian cymbals, and now he's had some time to get used to his new setup, he'll be participating in a live stream with Zildjian on Thursday Oct 8th.

Zildjian will be hosting the event on its YouTube channel at 3pm EST (that's 20:00 UK time), where Mark will be talking about joining the Zildjian family, his cymbal choices, his involvement in electronic and acoustic drums as well as sharing some exclusive new clips of him performing with his new cymbals.

The Beat Music, Mark Guiliana Quartet and some-time David Bowie (Blackstar) drummer joined Zildjian in September this year, and at the time of writing is using a cryptic mix of  14" A Avedis hi-hats, 20" Kerope-style crash ride, 21" Kerope-style crash ride with Rivets, 20" Kerope-style flat ride. Zildjian's website states that the cymbals listed in his current setup 'may be discontinued or prototypes'.

Tune-in tomorrow to get the full story from Mark himself!

Zultan cymbals has announced the launch of a brand-new line of cymbals with its Impulz range. As with nearly all Zultan cymbals, the Impulz series are handmade in Turkey, crafted from B20 bronze. 

Available as a set comprising 14" hi-hats, a 20" ride and a 16" crash, what's most surprising about the new Impulz line is that it'll only cost you £226.

Zultan says, "Zultan is proud to announce the launch of Impulz, a great-sounding and versatile new cymbal set painstakingly designed to deliver outstanding response, clear tones and rich harmonics at a price point affordable for all. 

"Zultan’s latest set covers a huge range of musical styles, from rock and metal to pop and beyond, and consists of a 14” hi-hat, a 16” crash and a 20” ride." 

"The entire series is crafted from 100% hand-casted B20 bronze (20% tin and 80% copper).Made in Turkey by experienced craftsmen to exacting quality standards, Impulz is suited not only to beginners but also offers the dynamic response and nuanced sound prized by professionals." 

"Zultan is one of very few cymbal manufacturers worldwide able to offer a complete, high-quality cymbal set at a price as affordable as the new Impulz Set. With its big, bright yet sophisticated sound, Impulz is a new reference point for quality cymbals available for players on a modest budget."

The Impulz set is available now, and we've already got our hands on a set for review. For more information visit Zultan's product page, here.

Meinl has announced that it's expanding its Byzance Foundry Reserve cymbal series with the addition of five new models.

While the Byzance Foundry Reserve line-up was originally limited to conventional sizes that the company saw as definitive in the development of the drum set, demand from artists and customers means that the German brand is making larger-sized hi-hats, crashes and rides available in the Byzance Foundry Reserve range.

The new additions include 16" hi-hats, 19" and 20" crashes and two 24" ride cymbals (24" ride and 24" Light Ride). The additions follow the same Turkish, handmade processes as the rest of the Byzance Foundry Reserve range: B20 bronze which undergoes additional hand hammering to create the deep surface craters, as well as wide blade-lathing.

Meinl Byzance Foundry Reserve 16" hi-hats

Meinl Byzance Foundry Reserve 19" & 20" Crashes

Meinl Byzance Foundry Reserve 24" Ride & 24" Light Ride

As with the existing Byzance Foundry Reserve cymbals the new models feature a traditional, un-lacquered finish, and come supplied with a pair of Meinl Stick & Brush Standard 5A drumsticks, as well as a pair of gloves for handling the cymbals if you prefer to keep your cymbals fingerprint-free. Also included in the box is a letter from Reinhold Meinl along with a Certificate of Authenticity.

Meinl Byzance Foundry Reserve 2020 additions are available now. 

What is it?

To many, Zultan is still a ‘new’ brand. But the surprising reality is that while Zultan was in its inception, the world was genuinely freaking out about the Millennium Bug, we still asked Jeeves when we wanted to look something up, and you couldn’t go anywhere without hearing Rob Thomas yarl “Man, it’s a hot one.” 

A lot has changed in the cymbal market since then. Buying new metals on a budget is no longer restricted to generic utilitarian models such as ‘medium’ or ‘heavy’, and rather than a dead-cert  staple of B8 bronze in limited sizes, we now have a combination of two of the most important criteria: quality and choice.  

That’s thanks in no-small part to brands such as Zultan, who, over the course of two decades have helped democratise cymbal selection. Now, in its 20th anniversary year, Zultan’s complete catalogue includes no less than 13 different ranges, with all but one created from B20 bronze alloy.

The cymbals are made in Turkey using traditional techniques at every stage of their production, but with a focus on creating cymbals that perform in modern genres. To celebrate 20 years in the game, Zultan has created the limited edition (only 75 sets will be produced) Anniversary Set that we’re checking out here.

In the box you get a 22” ride, 15” hi-hats and 17” and 19” crashes, as well as a 20th Anniversary certificate of authenticity. The cymbals come in a half-raw finish: dark and rich-looking with an organic patina.

Zultan says that for the Anniversary Set it worked the metal harder than it does for its other ranges: employing the use of wider, more pointed hammers to create the distinctive dimples that cover the cymbals’ surfaces. This in-turn results in what it describes as a trashy, dark tonality that is suitable for everything from jazz to “grungy rock”.

Performance and verdict

With the cymbals in place at our kit for a few days, our first overall impression tallies with Zultan’s description. Starting with the ride, we’re met with a fairly complex sounding cymbal: there’s a dryness to our strikes on the bow of the cymbal that maintain our stick definition, but at the same time it has a dark undertone that remains musical. There’s plenty of sustain but it doesn’t get in our way. 

The ride cymbal also crashes well, giving us a wash that sits somewhere between a trashy edge and a full-bodied crash which we think will be great for players who like to ride with crashes without the build-up of uncontrollable wash.

The bell is a regular size, and as such doesn’t give fans of heavy accents a massive target to hit. It sits balanced with the rest of the cymbal when accenting, but isn’t as bright as some more ‘power’ options. 

Next we switch to the hi-hats, which at 15” follow the trend for larger hats while still remaining traditional. Once again these have a darker sound, but as with the ride they reward us with a strong stick definition. 

There’s a weight to 15” hi-hats that makes them great for heavier playing as well as groove-heavy funk, and these cymbals don’t disappoint. They’re crisp when played closed  and stepped, but they don’t become overly-bright. 

This darkness is particularly useful when playing them half-open, as it removes some of the potential for too much zingy wash. They’re dynamic too, keeping their tonality across the range, just at different levels.

The crash cymbals offer a similar tonality: slightly dry and dark, but with enough body and brightness to cut through. The crashes are a medium weight - thicker than say, an A Custom, but without becoming ‘heavy’. 

However, fans of thinner cymbals will notice that they take a fairly heavy hit to get them to fully bloom, but they do have a decent dynamic range, developing into a crash sound with quieter hits and unlike some medium cymbals they remain quite fast within a playing context. 

Played together, they offer a nice separation thanks to their pitch intervals which serves as a good reminder of how buying crashes as a set - or at least a pair - can have its benefits.

Hands-on demos

Specification

• Alloy: B20 bronze
• Finish: Hammered/unlathed
• Sizes: 17"/19" crashes;
  22" ride; 15" hi-hats
• Contact: Thomann

Sabian has announced the release of the limited edition Chick Corea Royalty Ride LE, based on the original ride cymbal Roy Haynes played on Chick Corea's 1968 album Now He Sings, Now He Sobs.

The original cymbal, which was gifted to Chick Corea by Haynes himself, was studied by the Sabian Custom Shop and used as a template to recreate the famous ride cymbal sound.

The 18" Chick Corea Royalty Ride LE is made from traditional B20 bronze and is a flat, bell-less design. It will be available as part of a limited edition run of 250 cymbals, distributed amongst Sabian dealers across the globe. Each cymbal will be individually numbered and will come with a certificate of authenticity, signed by Chick Corea.

Sabian's Master Product Specialist, Mark Love explains, "“We have replicated many vintage cymbals in our Custom Shop over the years. We know what happens to a cymbal over years of use and the transformation can be dramatic." 

"We record all the obvious visual specs and the way the original is constructed, then decide whether to aim for how the cymbal sounded when it was brand new or as it sounds today, which in this case is over 5 decades of use." 

"We decided to go for the sweet spot of shortly after the cymbal is broken in.This would ensure the replicas contain some of the original sparkle that can still be heard on Chick’s album, but that would have been lost over time.”

For availability of the Chick Corea Royalty Ride, contact your local Sabian dealer.

Zultan Cymbals is marking its 20th birthday this year, and as part of the celebrations the company is asking drummers everywhere to contribute by recording a short video wishing Zultan a happy birthday. 

The clips will be edited into one final video, and all participants will receive a Zultan Anniversary t-shirt.

• Record a video of yourself wishing Zultan Cymbals a happy 20th birthday
• Keep it short - under 10 seconds
• Email the clip to contact@zultancymbals 
• The deadline for inclusion is Friday 21 August 2020

Check out the promo video from Zultan above, for more information on Zultan Cymbals, click here.

The hi-hats are a pair of cymbals mounted on a stand, one upside down and the other the right way up, both held in place on a central spike and connected to a footpedal at the base of the stand.

By operating the pedal, the drummer brings the hi-hats together. If you watch a jazz drummer play, you’ll see that the hi-hats spend most of the time closed, but open and shut quickly on the second and fourth beats of the bar. In just about all other modern styles the hi-hats are kept closed or half-closed and played with sticks, anchoring the drum track by beating out eighth-notes.

The role of the hats is to give life to the kick and snare pattern. Acoustic hats vary from small, thin and bright (jazz, pop, dance) to big, thick and dark (rock), and only really have four sounds: closed, half-closed, open and pedalled. Of course, each of these has endless tonal variations, as a browse through any good drum sample library will illustrate.

A good drummer or programmer will use accents (where certain hits are louder than the others) to bring what might otherwise be a boring hi-hat pattern to life, but as well as the volume, a skilled player or programmer will play around with the timing.

Moving or playing the hi-hat part slightly ahead of or behind the beat will subtly change the feel of the groove, making it feel more urgent or laid back. In dance music, the kick is almost always quantised exactly to the grid, but moving other elements around can create a much groovier feel. A bit of swing will slightly delay every other beat in a pattern of 16ths, creating a ‘shuffle’ feel. The quantise functions in your DAW will have loads of variations of swing for you to experiment with.

Crash and ride

The two other essential cymbals are the crash and the ride. There are others, like China-types and splashes, but they’re just smaller and ‘trashier’ variations on the crash, respectively.

The ride cymbal sounds with a clear ‘ping’ followed by a wash of airy overtones. It’s generally used as an alternative to the hi-hats, changing the feel of the drum track for the chorus or middle eight. There are many flavours: light and thin for jazz, dark and heavy for rock – some jazz drummers even use ride cymbals fitted with loose rivets or fine chains for exaggerated sizzle and ‘air’. Crashes are there to mark occasional accents in the song (the ends of significant phrases, mostly), and it’s really just a question of choosing one that you like from the endless samples available.

Artificial energy

It’s tempting to add energy to a section of your mix by ramping up the cymbals, and a powering crash or sizzling half-open hat certainly does sound exciting. A good test of the dynamics of your music, though, is to turn the cymbals off. Is it still dynamic? Does the music itself have energy? If the only thing adding change or excitement is the cymbals, you have a mix that will become boring very quickly. Cymbals should be there to enhance and articulate the musical energy, not be the source of it. Some great pop tracks even contain no cymbals at all – Hey Ya! by Outkast springs to mind.

To achieve cymbal perfection, you need to set your cymbals at the right level in the mix and not add too much high-frequency EQ. Controlling levels is easy with samples but far less simple when recording a live drummer, as cymbal spill can dominate. A wall of guitars or constant ride soon becomes like white noise, so pick your moments.

Sidechaining hi-hats for swing

Step 1: Working with a 16th-note hi-hat pattern, start by selecting every other hit, then move the selected hats forwards slightly (only a few ticks). You’ll hear a swung feel start to emerge. The further to the right you move your hi-hats, the more swung the beat becomes.

Step 2: Now create an auxiliary send from your kick drum channel at 0dB (if you’re using Logic, this is done from the Options menu – other DAWs will vary but it’s usually pretty easily done). Ensure that the aux send is pre-fade so that it continues to send the same amount of signal even if you turn the channel fader down.

Step 3: Insert a sidechain-enabled compressor plugin into your hi-hat channel and route the kick drum channel to the sidechain input. Now the hi-hats will be compressed when the kick hits and come back up in level in between.

Step 4: With the pattern running, lower the Threshold on the compressor until you see gain reduction happening on the meter. Then play with the Attack and Release times until you get the hi-hats pumping nicely in between the kicks. You may
need to up the Gain to make up for the volume decrease.

Cymbal programming tips

Physical realism

‘Be’ the drummer! If you’re aiming to program realistic sounding hi-hats and cymbals, it’s important to remember the mechanics of what a real player would do. A drummer only has two arms, so make sure no more than two cymbals are ever hit at the same time – and that’s without the snare or toms, of course.

Duplicate hats

Many ROMplers and ‘virtual drummers’ automatically apply mute groups to hi-hat samples, meaning that a closed hat will end the decay of an open one. Although this mimics reality, it’s often good to disable it or have a duplicate hi-hat that you can use for overlapping pedalled and half-open hits – set up your own ‘choke’ key if you need one. 

Multi-hats

For floor-filling dance music productions, try placing one hi-hat sound on each kick drum to help it poke through the mix, and use a totally different one for the main pattern. And why stop there when you can add a third one for accents, too?

Bus compression

Adding the hi-hats and cymbals to your main drum bus and inserting a compressor into it will help bring your patterns to life and make the cymbals sound like they’re part of the kit. The big bottom-end frequencies of the kick and low mids of the snare will activate the compressor and cause the cymbals to duck, mimicking the way in which we hear loud sounds in the real world.

Zultan Cymbals is marking 20 years in the cymbal manufacturing business with the release of a limited edition cymbal set. The Zultan Anniversary Set features 15” hi-hats, 17” and 19” crash cymbals and a 22” ride, all of which are cast from B20 bronze, and are handmade in Istanbul, Turkey.

According to Zultan, the manufacturing processes for the anniversary set work the metal harder than normal, which results in a reduction of harsh overtones, a medium decay with strong articulation and ‘earthy’ tones, suitable for jazz, funk and "grungy rock".

To match the slightly trashy, dark sonic character, Zultan has finished the Anniversary Set by giving it and equally raw visual, achieved by leaving the cymbal unlatched, and applying larger, more focussed hammering to the top surface.

What's more, following Zultan's tendency for offering premium-level cymbals at affordable prices, the set comes in at an impressive £582 (€666) and is available now.

Regarding its anniversary, a statement from Zultan reads: 

“Zultan was launched at the dawn of the third millennium. Introducing any new product is an exciting event. But we decided to present these cymbals at the Musikmesse trade show in Frankfurt without a brand or product name. Naked, you might say. 

We wanted to keep their origin and maker a secret, ensuring that nothing would prejudice the drummers who gave their opinions on sound and quality. Thankfully, the response was positive across the board. 

Even disregarding their price point, these cymbals held their own in terms of finishing, quality and sound when compared to cymbals by renowned makers. That was the first chapter of the Zultan story, written before these cymbals even had a brand name.

The first series was christened the Rock Beat series. As is typical for a debut release, the range was limited in terms of the breadth of its appeal. Consequently, the new cymbals weren’t able to satisfy all tastes. Louder cymbals such as the Q and F5 were added to the portfolio, named after nature’s fiercest storms. Over time, we extended our Rock Beat and CS series, incidentally one of the world’s only cymbals made using B25 bronze. 

Next came the Aja series, produced in East Asia. Its name was a nod to the Steely Dan album that marked the breakthrough of Steve Gadd. All other series are manufactured in Turkey. There the know-how and expertise of local artisans and their experience with traditional manufacturing enables Zultan to offer an enticingly diverse range of products, delivering aesthetic and sonic variety thanks to a multitude of different processing techniques and tools.  

When planning the market debut and distribution strategy for our cymbal, we chose to forge our own, less worn path. When we decided 20 years ago to offer our cymbals only online, many thought the internet was a poor sales medium for cymbals. It was no surprise that many drummers were sceptical. But that spurred us on towards an approach that was radically new at the time: make cymbals audible on the internet.

Zultan was the first brand in Germany (and probably worldwide) to offer audio files of its cymbals as part of the product description content. This was before YouTube even existed. From that point on, we have continually extended our cymbal range. Currently this encompasses 12 different cymbal series as well as attractive accessories, with each and every product displaying consistently high level of product quality despite the exceedingly attractive pricing.

20 years of Zultan! And the future is only just beginning..."