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

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. 

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.

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.

So, you've got the hang of some basic, versatile beats. Now it's time to focus on applying some of the groove embellishments that can add life and variety to your performance.

That's why, in our next level groove series, we're lifting the lid on some of the concepts that you may have heard in the playing of your favourite drummers and offering some ways for you to take your own playing to the next level.

Drummers often incorporate subtle hi-hat inflections within the basic grooves but without detracting from the feel or pattern. Here are some widely-used ideas that you can apply today.

1. The sticking and triplet rhythm sdd a subtle embellishment

This first example sounds like a 4-stroke ruff in isolation but the difference in this, and all of the examples, lies in the sticking. In this case we’re playing RRLR and with a triplet rhythm applied to the first three notes. And when played on the hi-hats, with the final right hand note falling on the downbeat, the effect is a subtle flutter within the groove.

2.  Here, a simple five-stroke roll played as 32nd notes adds excitement at the end of the bar

Next, we move into the realm of double-stroke rolls with Example 2 featuring a 5-stroke roll. Developing a consistent and cleanly articulated double-stroke roll can take time and practise but playing them in short bursts on the hi-hats is much easier given the duration and the responsiveness of the surface.

3. Next, we apply the same idea, but use seven strokes played as doubles

We extend the roll by one more double-stroke in Example 3, so we’re now playing a 7-stroke roll on beat 4.

4. Finally, the seven-stroke roll is applied at the start of the bar

In Example 4 we move the 7-stroke roll to the beginning of the bar so that it now ends on the backbeat on beat 2.

After getting to grips with some essential grooves it can be time to focus on developing some of the embellishments and variations heard in the playing of more experienced drummers. 

So in our next level groove series, we're lifting the lid on some of the concepts that you may have heard in the playing of your favourite drummers and offering some ways for you to take your own grooves to the next level.

Short open hi-hats are often referred to as hi-hat barks and they frequently appear in funk grooves featuring 16th-notes on the hi-hats. Their use also requires two qualities; the ability to close the hi-hats one 16th-note after they’ve been opened and being able to do this when either hand hits the hi-hats. The following examples should help develop the ability to do this at various points within a groove.

Note that the ‘+’ and ‘-’ signs denote exactly where the left foot will open and close the hi-hats respectively. And with short durations such as these it can be easier to play the left foot ‘heel up’.

1. ‘Bark’ the hi-hat on the fourth sixteenth note of beat two

Example 1 features an open hi-hat note on the fourth 16th-note of beat 2. This means it will be played in the left hand, while the left foot will step the downbeat of beat 3.

2. This time we add two barks to the hi-hat pattern

Example 2 adds another left hand open note, this time on the second 16th-note of beat 2. To play this the feet will be playing four alternating single-strokes from the last 16th-note of beat 2.

3. Here, our second bark lasts for an eighth note

Example 3 introduces the challenge of playing open hi-hats of two different durations with our familiar 16th-note on the last 16th-note of beat 2 and an eighth note on the ‘&’ of beat 3.

4. The bark is moved in front of the first backbeat

A new ingredient is added in Example 4 in the shape of an open hi-hat before the first backbeat. Once again, because it falls on an upbeat 16th-note this will fall in the left hand.

After getting to grips with some essential grooves it can be time to focus on developing some of the embellishments and variations heard in the playing of more experienced drummers.

However, some of these nuances can be difficult to discern as they are, by their nature, brief and/or subtle within the playing context. And yet their presence can offer a groove a quality and sense that the player is free to adapt the pattern, as is musically appropriate, as opposed to being rigidly locked into a single inflexible idea.

So in our next level groove series, we're lifting the lid on some of the concepts that you may have heard in the playing of your favourite drummers and offering some ways for you to take your own grooves to the next level.

First up, let's look at some handy hi-hat variations...

1. Eighth note, followed by two sixteenth notes

One frequently used alternative is the use of what are often called broken 16th-note rhythms. Example 1 shows one of the most popular variants, which could be regarded as an eighth note followed by two 16th notes. This would normally be played emphasising the quarter note, perhaps on the edge of the hi-hats as can be seen here, but it can also be played emphasising the upbeat eighth note.

2. Two sixteenth notes, followed by an eighth note

Another popular broken 16th-note pattern involves playing the first three 16th-notes of each beat. Again, this can be played accenting either first or the third note.

3. Here the hi-hat returns to eighth notes with an upbeat accent

Example 3 sees us return back to the basic eighth-note hi-hat pattern only this time accenting the upbeat eighth-note. This can be a lot more challenging than playing just the upbeat eighth note on its own as the hands will move in the opposite direction in preparation to play the backbeat.

4. The ‘rock paradiddle’ pattern played between hi-hat and snare

Instead of playing an ostinato (repeating pattern) in the right hand we can also get the left hand involved and play a sticking. The one shown in Example 4 is sometimes referred to as a ‘rock paradiddle’ and consists of one half of a single paradiddle and the second half of an inverted paradiddle. It can be a challenge playing this kind of groove along with different bass drum patterns but when doing so it can be effective in cleaning up the sound of the pattern to remove any ghosts notes that coincide with the bass drum.

In this month’s workshop, we’ll show you two methods of cutting a hi-hat rod down to your preferred size. 

One is super simple and the other, a little more advanced.

1. Measure

Once you’ve decided exactly how much of the excess length you would like to remove, mark out the section to be cut. Cutting from the bottom will preserve the rounded shape of the top but also means that the rod will need re-threading (step 4). Using tape will prevent the chrome coating from potential flaking when sawing. 

Using a hacksaw, make a cut through your marked location. 

Try and keep it as clean as possible but don’t worry too much, we can easily tidy things up in the next step. 

We’ve clamped the rod to my bench for extra security but it’s easy enough to hold in position over the edge of a table. 

Grab a file and smooth off the edge. 

If you have opted for cutting the top off, you may choose to round it off slightly for aesthetic purposes, although be aware of the chrome plating. If you’ve cut off the bottom, just file it flat and move on to the optional step. 

For this method you will need a tap and die set. 

These can range in price but a basic set costs just £10. First work out your current thread size (my Iron Cobra is 6mm), then set up the rotary tool with the correct die. 

The rod will need securing tightly in place to stop it twisting. 

Put your hi-hat stand back together and enjoy the benefits of your hard work. 

For those that have followed step 4, a squirt of WD-40 wouldn’t go amiss on your newly-cut thread to allow it to glide smoothly into place.

MUSIKMESSE 2016: Roland have announced new, ultra-quiet kick and hi-hat pedals designed to further reduce the noise of electronic kit practice.

While drumming with headphones has revolutionised many players' practice routines, even an electronic kit and associated tackle can make what many long-suffering co-habitees tend to term 'a racket'.

Roland claim that their FD-9 hi-hat and KT-9 kick triggers reduce operational noise by 50% and 85% respectively, compared to 'standard' practice pedals.

Beaterless

Most obviously, in the KT-9's case, this is done with a beaterless design, while the FD-9's stealth is achieved with a new ultra-quiet link mechanism.

The KT-9 and FD-9 will both have RRPs of £149, and are available for pre-order now, ahead of a May release.

Here we have a new signature set of hats developed by Paiste for Stewart Copeland.

Copeland's fiery style was honed in The Police and his florid reggae-inflected hi-hat licks have been admired ever since.

His signature 12" Combo Crisp Hats are titled The Rhythmatist after his 1985 solo album and filmed African odyssey, and are designed with his dancing style in mind.

Build

Copeland's 12" hats are novel in that Paiste has used different alloys for the top and bottom cymbals. The top is cast from B20 '602' bell bronze (CuSn20) and the bottom from Paiste's Signature alloy, which is closer to B15.

Both are certainly heavy cymbals, but the alloys and finish look similar in colour, the top cymbal having slightly broader lathing underneath.

The top also has a smaller, peakier bell, while the bottom's bell is broader and rounder, more typical and handy for seating the pair. Copeland's buccaneering Rhythmatist logo adds a final flourish.

Hands On

Although the two cymbals are similar in weight the top is significantly deeper in pitch than the bottom, which is high and pingy.

The B20 bronze of the top hat has a slightly warmer tone than the bottom Signature bronze, known for its brilliance. Thus the bottom provides the cut while the top gives the smoother, darker playing surface.

The result is that played closed there is still a loud and clear stick sound, while the pedalled 'chip' is urgent and incisive.

The difference in the two cymbals is exaggerated also by the bell profiles, the top cymbal's rather smaller bell having a tinklier sound. But let's not forget these are small 12" hats and so are always going to be agile and tightly focused.

Whether played closed or open, jazzy 10-to-10 style, they are always fleet and assertive, like Copeland himself. But the lower pitch of the top cymbal makes sure they retain a warmth, so there is no danger of them ever being thin and tinny.

They respond well to numerous styles, from old-fashioned Papa Jo Jones swing right up to post-electro Mark Guiliana or Chris Dave cutting-edge beats. Being small they are also suited to life as a secondary pair, or perhaps mounted on a remote pedal centrally, Bill Bruford style.

Meinl is the German company synonymous with cutting- edge techno cymbals, but from 2000 Meinl has also had its own facility in Turkey knocking out more traditionally manufactured cymbals, sending them back over to Germany to be marketed. These are the Byzances, hand-hammered in classic cast B20 bell bronze.

Build

Although most hi-hats are 14" there is no law that says they have to be. Small hi-hats have long been popular and larger diameter pairs are not new. So this Byzance Extra Dry Medium Thin 16" pair makes an interesting alternative. They are part of the Extra Dry Series, medium thin in weight, heavily hand-hammered with one side un-lathed, mottled dark-brown, while the inner surfaces are lathed and shiny.

Hands On

Playing this big 16" Extra Dry pair, we recall that oversized hi-hats are hardly new - 18" hats were briefly played by some post-bop 1950s jazzers. And in 2007 this writer interviewed Herman Matthews when he was Tom Jones's drummer and he had 18" hats that sounded great on the gig. It's worth recalling his comments:

"They're darker so they get out of the way of the vocalist and they feel good when you're driving a band. They sound like what I hear on records through compression. And you can play a great shuffle."

Old skool groovers like Steve Jordan and Charlie Drayton also play mega-hats, so they are obviously favoured by the bluesy-r'n'b-soulful crowd. We must say we enjoyed the sound of these when closed. With them being medium thin they really are dark and earthy, dry with an attractive, warm quality. But still with just about enough stick definition and a mighty half-open wash.

The problem comes when you try to pedal them - they are achingly slow and ponderous and the 'chip' sound is much muted. In fact if you don't set the bottom tilter angle just right you don't hear any chip at all. And as for the 'shoop', it's more like soup - turgid, slow and washy. We think a heavier bottom cymbal is needed to overcome this.

Known more for metal and heroic bass pedalling than toppy jazz, Derek Roddy also has an instrumental band, Serpents Rise, that features a more wide-ranging percussive style. Hence his signature Serpents series, which joins German firm Meinl's Byzance range of cymbals - manufactured in Turkey.

These 14" hand-hammered hi-hats follow on from the already-released 13" version and combine a heavy Brilliant cymbal with a slightly thinner unlathed Extra Dry one. The idea is that either cymbal can be mounted on top or bottom.

Also reviewed, the new Turbo Crasher consists of dual bands of corrugated steel, 10" (25cm) across, attached to a standard mounting bracket.

Hands On

Roddy's Serpents hi-hats are a two-in-one package. With the unlathed cymbal on top you get a loud and clear response with a thickly dark tonality. It's a pretty heavy pairing, so you get plenty of sharpness when pedalling and the shoop/bark is big and dusky.

Now if you invert them so the heavier Brilliant cymbal is on top the sound is treblier. In fact the half-open smashed sound will loosen your ear wax - a piercing, almost shrill blast. Yet through it all there is a smooth tone, clean and bright, almost sweet. This is a versatile double set-up that will favour many styles, not just rock and metal but anywhere that you appreciate a decent amount of ready volume with flexibility.

The Turbo Crasher gives a short and rather innocuous clatter. The twin corrugated bands of steel are fastened slightly apart, free to rattle as you swipe them, giving you an abrupt metallic 'tish'. It's not particularly loud or cutting, but could, for example, provide a useful alternative feel to constant hi-hat.

Although Derek Roddy is best known for dropping wrist-mangling blastbeats he is well schooled in a variety of drumming styles. This is reflected in the versatile nature of his 13" Serpents hi-hats where, instead of designated top and bottom cymbals, either cymbal can be played toppermost.

As one of the cymbals is heavy, lathed and brilliantly finished and the other is medium-weight, raw, unlathed and speckled with hammer marks, each pairing should provide contrasting responses.

The 16" and 18" Trash Crashes are paper-thin and have a semi-matt finish that resembles that of their Byzance Vintage stablemates, Benny Greb's Sand cymbals.

Unlike Herr Greb's offerings, the Trash Crashes feature a series of circular and cigar-shaped apertures to accentuate the trash factor and provide funky visuals.

Hands On

With the brilliant cymbal on top, the Serpents hats are razor sharp and respond instantly to every input. The stick sound is clean, tight and ideal for enunciating rapid fire patterns. Played nearer the edge the hats sound bigger than their 13" diameter - beneath the brightness is a note of considerable depth. Relaxing the pedal finds them breaking into a churning wash.

Swapping the cymbals round brings a warmer, slightly looser response. Where the note was finely honed and needle-precise it's now more spread and slightly frayed. The timbre is different as well: deeper, less metallic and softer all round.

Derek reckons that in this configuration the hats could be used for a bebop gig and, while they could be a little on the powerful side, sound-wise they're pretty darn close.

There are few ambiguities in the Trash Crashes' name and fewer still in their sound; a blast of scything attack lit with coruscating trashiness, edge wobble and rapid decay. They are so intense and abrupt that they are nudging into china territory.

The smaller model is marginally higher in pitch - though still dark and dirty for its diameter - while the 18" unleashes an angry blaze of tangled frequencies.

They're different, we'll give you that. Show any drummer the new Gibraltar Ultra-Adjust hi-hat stand, or the Catapult bass drum pedal, and the initial reaction is perplexity, followed by curiosity, and finally bewilderment.

Drummers have been using pedals and hi-hat stands of the same basic design since the 1940s. Both of these new products showcase Gibraltar's willingness to explore new ideas to help the working drummer. The Ultra-Adjust should be the answer to all your placement prayers, and the Catapult has been designed to work in harmony with your body's biomechanics.

Build

The Catapult comprises a sturdy steel baseplate, on which is mounted a heavy-duty hoop clamp and angled 'trebuchet' arm, into which the wide-faced felt beater slots.

The striking arm is connected to a spring on the baseplate, and the very smart machined footboard has a hefty roller bearing which pushes against the striking arm and tracks up and down it on a strip of rubber. The pedal tension is changed by adjusting the baseplate spring, and the felt beater automatically adjusts to the best angle for each strike.

The Ultra-Adjust hi-hat stand features a conventional tripod base, the footboard has a very sturdy baseplate beneath it and the tripod legs swivel for optimum placement. Above the tripod is where things start to get weird, though - a short length of tubing sits between two ball joints, and above that is a conventional hi-hat stand top. The movement of the control rod is dictated by a short cable linkage between the upper and lower parts.

Hands on

We started out playing with the Catapult first - its unique design meant it took some getting used to. The large beater face and long striking arm meant it felt like there was much more mass in motion with each pedal stroke, and with the one and only spring set to full tension there wasn't enough of an opposing force to prevent the beater from feeling like it had a mind of its own.

On the plus side, the roller bearing meant that each stroke was smooth, and once you had the measure of the motion, it was possible to play smoothly. Next up was the Ultra-Adjust. The flexibility inherent in the two-ball joint design means that you can position the hi-hats within about a 6", 360 degree radius of the footboard placement, and angle the cymbals inward to prevent your sticks being shaved.

Unfortunately, the cable design lacked the immediacy of Gibraltar's standard hi-hat stands.

A mixed bunch here from Sabian, adding to previously well established categories. What they all have in common is the suffix 'X'. This is Sabian's code for 'modern'.

AAX is modern bright, while HHX is modern dark. APX is modern cut, ie: designed to cut through the loudest music. We have two rides from the AAX category and one from the HHX. The APX hats are rather different, made from B8 alloy rather than the usual professional B20.

Build

All three rides are 21", an increasingly popular diameter. The medium-thin AAX Memphis is appreciably lighter than the other two and is the most striking looker with its smooth brown upper surface, hooped around with broad-blade, gleaming lathed bands.

The AAX Raw Bell Dry is fine lathed on top and polished to a gleam. Both cymbals have similar fine lathing beneath and 'raw', unlathed bells. The HHX Raw Bell Dry ride is more obviously hammered, with a heavily dimpled surface and natural satin finish.

"Half-opened, you'll extract a decent Bonzo 'Rock And Roll' intro out of this pair of Solid hats. Not at all shoddy, in other words"

While the rides are all cast from B20 bronze the APX Solid hats are pastry-cut from rolled sheet B8 bronze. This gives them a different colour, with slightly unusual orange-red glints. This 15" pair adds to the previously available 13" and 14" pairs. The term 'solid' indicates they are heavier than other APX models.

Hands on

Despite being a traditionally hand-hammered cymbal, the HHX Raw Bell Dry is the most aggressive of the three rides. It has the sharpest pitch and the shortest, clearest stick response.

Sabian describes the sound as 'modern dark'. Well, it's certainly modern and dry, but to be honest we don't get 'dark'. To us the sound is abrasive and energetic. For dark, see the Memphis ride.

You can certainly crash-ride it, preferably with a heavy stick, but the crash is painfully loud. As is the bell, which is piercing. Yikes! we'd recommend it for rock/ metal or industrial-hybrid playing.

While dry is a worthy term for the HHX we wouldn't use it for the AAX Raw Bell Dry. It's really not that dry - on the contrary, it has a warm, mid-pitched body and a lush spread. Perhaps the 'dry' applies just to the raw, unlathed bell? Although it's not as aggressive as the HHX it is still a lively cymbal which lifts the music.

The AAX definition of 'modern bright' is certainly appropriate. As a crash-ride it retains good stick definition and we can see it working in virtually any style, including jazz. We gigged it a couple of times and found it most amenable. Despite being a large ride it didn't intrude on soft passages and it held its own when the going got tough.

The city of Memphis summons up memories of many legends of American music, from Booker T and Otis Redding to Wilson Pickett, Carl Perkins and Elvis. The implication is the Memphis ride will do you for soul, r'n'b, country and gospel. That's quite a list and thankfully this distinctive cymbal does a grand ole job.

It also falls into the AAX category, but is thinner (medium-thin) than the previous two rides and is consequently deeper in timbre. This is coupled with a smallish bell, which is part lathed and noticeably high-pitched, making a sharp contrast with the dark body of the cymbal. Absolutely made for a Latin-tinged rendition of Ray Charles' 'What'd I Say'.

Like the previous AAX it's a good all-rounder and an even better crash-ride, with a shorter, drier, jazzier crash. Sabian's B8 cymbals can be quite tinny and brash-sounding, but these Solid APX hats are nothing like earlier B8s, they're much smoother and refined in tone. For us, these are the first Sabian B8s which are comparable in musicality to the great B8s Paiste has made for decades.

B8 is generally viewed as less musical than B20, but it works extremely well for rock and electro styles - the whole raison d'être of Paiste's legendary 2002s - and the APX reminds us of these, if not exactly in tone then certainly in quality and playability.

APX is Sabian's range which is said to have the most modern cut. But, although heavy, these Solid hats are not so high pitched as to be brittle or harsh. Half opened you'll extract a decent Bonzo 'Rock And Roll' intro out of this pair. Not at all shoddy, in other words. These are 15s (there are already 13s and 14s) so expect a big, penetrating sound.

Sabian has built up a massive inventory of cymbals with which to tempt us, but the Vault Artisan collection is still something special.

The Vault is Sabian's experimental lab where its master cymbal-smiths try out new ideas. Thus the Vault series encompasses those special, creative cymbals which don't fall into Sabian's standard categories.

Sabian's intention with the Vault Artisan models is to capture the darker, less abrasive tones of vintage cymbals while also adding a touch of modern, biting edge brilliance. We loved the original Vault Artisan rides and inevitably Sabian was pressured to introduce matching crashes and hats.

Sabian says drummers were looking for "that soft, warm, deeply musical tone" and, in order to capture it, vintage cymbal designs were researched and plundered.

Build

All Vault cymbals are hand crafted from B20 bronze which is 'fire refined' so as to leave a trace of silver embedded in the copper. There are two Vault Artisan crashes, a 16" and 18", which are described as 'thin/extra-thin' in weight and profile. These are not to be confused with the previous Vault crashes which have the Sabian logo and a brilliant polished finish.

The Vault Artisans have traditional high-density hand hammering for tonal complexity and increased projection, augmented with jumbo-peen dimpling which brings out the low end tone.

Rounding out the Vault Artisan set, Sabian has added three Artisan hi-hats, with standard diameters of 13", 14" and 15". Each pair has a medium weight top cymbal coupled with a heavy bottom. The top and bottom look the same, with the script 'Artisan' and 'V' for Vault logo. All the Vault Artisan cymbals have a classic satin finish, shallow lathing and high-density hammering to both sides.

Each cymbal bears the signature of its craftsman maker and a serial number on the inside of the cup. Each also comes in its own soft carrying bag containing a letter of authenticity. This takes the form of a small certificate, again with serial number and signature of the Vault Team specialist craftsman.

Hands on

The relatively thin weight of the two crashes gives the cymbals a deeper pitch and shorter sustain than average. Both crashes are extremely fast reacting and the overall sound describes a smooth arc from the initial sharp smack, through the quick blossoming of the full tone and breadth, to a long, even decay, ending in a silvery softness.

In a word, gorgeous. Being thin, the main body of the crash lasts for only a short burst - then the volume drops quickly before the protracted rake-off. There is absolutely no descent into clashing after-tones, hums and buzzes. Which is not to say the timbre is not complex, just harmonious.

In fact, at first the sound may seem so smooth as to be almost bland. But this may be the jaded result of experiencing so many run-of-the-mill cymbals which were disappointing in one way or another.

The 18" has more of a trashy, thin and metallic initial crash, which is underpinned by a warmer and darker spread. The 16" sounded even purer than the 18" - if anything more unified, crashing with a sublime clarity. You simply don't just whack these crashes recklessly, you flip a glancing wrist and savour the beautiful silky tone.

These are cymbals to be cherished. It would be heinous to take anything but a small to medium stick to them. As such they are more likely to find favour with colourful jazz and groove drummers than out-and-out rockers.

However, whereas the crashes are not for heavy thrashing gigs, the hats are made of sterner stuff. They're thicker and will hold up to fierce playing if necessary. And yet they match the crashes beautifully - as they do with the aforementioned rides. We tried the 13" pair on a rock gig and was rather surprised just how sharp they were when opened and shouldered. They're real sizzlers, bright and spirited.

The 15" pair are the most buttery, deep and mellow. We couldn't believe how pithy and yet thick the closed sound with the tip of the stick was. Part-opened, they emit a huge wallowing slush - a steam engine of power. But in the end, almost predictably, we settled on the 14s as the perfect compromise pair.

They have a superbly authoritative pedalled chip, dark and fat, yet still edgy and sonorous. All the hats can handle a wide dynamic range - tickle them and the sound is clean, lay in and they never wash out or turn ugly.

Yamaha has always offered practical and dependable hardware, and this stand is definitely that - it's also their cheapest model! Admittedly you don't get many of the features found on some other models, such as tension adjustment or upper section pipe memory lock, but even so this stand works well.

The action of the simple direct pull-chain drive is impressively fast and smooth, and with a professional grade clutch and dual retractable spikes on the base, this model proves superb value for money.

Pearl's H-72W features a basic version of their fabulous Eliminator footboard and boasts a super fast response due to the direct pull action of the dual solid metal links. It's a slight disappointment that there isn't a height memory lock included - considering their importance and how cheap they are to produce, even basic models should have one.

This model also only features one retractable spike and is lighter than expected, so be careful if you're playing hard and fast, as this feller might be prone to 'creepage'.

Gibraltar has definitely hit the mark with this substantial stand, which comes with numerous high-end features and a contemporary look. The cast frame design features a height memory lock, hinged height adjustment and a movable leg base for added flexibility of set-up.

The tension adjustment for the chunky chain drive is of the 'twist-until-it-feels-good' variety, and this design usually works well. The footplate is a vented design, lending a cool look and funky, organic feel to the lightning-fast action of this fabulous pedal.

Tama has packed a myriad of useful features into this solid and professional model. The footplate can be rotated to aid positioning of other pedals or stands, and its angle is easily adjustable with a drum key. The staggered patented five-way tension adjustment to the direct pull action chain linkage makes small changes to the feel consistent and secure.

Tubing is substantial and Tama's patented non-loosening tension rod can be safely housed in the upper section pipe for transport. Well thought out or what?

Big Dog has a history of providing chunky, reliable and affordable hardware, and this stand is exactly that. With many of the same features as the Gibraltar's 6607 model, including twist tension adjustment and substantial rubber feet, this is a tough model that represents great value for money.

The 'dog bone'-shaped wingnuts might not appeal to all, and we noticed some lateral movement on the striking blue footboard at the linkage with the wide chain drive, but the overall feel was not hindered.

Byzanze Fast hi-hats are a production collaboration between Meinl and Austrian-born drummer Thomas Lang, whose credits include The Clash, Robbie Williams and Bonnie Tyler.

This isn´t the first time Thomas has teamed up with the good folk at Meinl either. Back in 2002, he collaborated on the Tom´s Becken line, designing a range of innovative crashes for electronically-inspired dance music. This endeavour is altogether more traditional, both in terms of looks and construction.

Available in 13" and 14" sizes, Meinl describes the Byzance line as traditional and individual, whereas the Generation X Tom´s Becken cymbals are all about pushing boundaries and using non-traditional alloys. As such, the Fast hi-hats are made from B20 alloy, with 80 percent copper and 20 percent tin, and look aesthetically far more ‘normal´. Having said that, there are a couple of crucial features that set these babies apart from the rest of the crowd.

Breaking ground

The first is that the top and bottom cymbals are finished rather differently from one another. The bottom has Meinl´s Dark finish, with an untreated surface and very heavy hammering marks, while the top is Brilliant and highly polished. In addition, the top cymbal has eight small holes drilled toward its edge to allow the speedy exit of air when the two cymbals are brought crashing together.

Meinl says the Dark bottom cymbal is designed to produce earthy tones, with short sustain and plenty of low end. This is apparently balanced by the bright, but rich characteristics of the top cymbal. We´ll find out if these claims are justified shortly, but in terms of appearance, everything´s just dandy. The heavier bottom cymbal looks gorgeous, in a moody, rugged sort of fashion, with its speckled, neo-leopard-print hammering hinting at plenty of raw, dark tonal response. The glistening polished finish of the top is alluring too, as is the fact that Thomas´s moniker doesn´t appear on the cymbals at all.

The top simply features the Meinl logo and the simple-script Byzance marking, along with the tiny product description below. As a result, they look highly professional yet understated at the same time.

There´s been a variety of solutions to the problem of moving air from between hi-hats, with Paiste´s Sound Edge, Zildjian´s grooved Mastersounds and Sabian´s vented Fusion Hats all prime examples. The Meinl way of doing things with the Fast hats, however, is completely different to any of these (given that the holes are drilled in the top of the pair), but seems to make sense. Clearly, the thinking behind the holes´ positioning is that as air shifts to the edge of the cymbals, it can exit from the edge as normal, or whizz through the little vents.

In practice, there´s certainly no denying that the Fast hi-hats are snappy little numbers. The bottom cymbal is fairly heavy, with the raw finish adding to the perception of weight. And while the top isn´t paper-thin, it´s light enough to add a quick attack and lively response to the overall voicing.

Studio supremos

Predictably, the 13"s are the higher-pitched, less ‘woofly´ of the pair here, and definitely the hi-hat of choice for those who want ultra-controllable pedal sounds and a tight stick sound. But there´s still real depth and meat to the smaller offering. That bottom cymbal contributes a nice thick low-end, and the lower mid-frequencies are gutsy and muscular, making for a generally powerful character that´s balanced by the articulate nature of the top end.

The smaller cymbals are good and loud too, and when played half-open, deliver a driving, well-balanced wash that remains crisp and defined. This combination suggests they´d be fabulous in the studio where clarity and sonic space between elements of the kit are paramount.

Replacing the 13"s with the 14"s leads to a crunchy, lower-pitched roar. They respond well to movements of the pedal, and the front edge of each stroke is quick to leap out, but the grunt of the 14"s is pushed well to the fore. This is the ‘rock´ pair, and no mistake. Even so, the manner in which they fit into the mix of a kit is exemplary.

Thomas speaks of his desire for cymbals to exhibit a short, tight sustain, and that´s exactly what we have here. The bigger hi-hats certainly make their presence known, but they don´t get in the way of a well-tuned snare and kick. Thomas uses both the 13"s as his main pair and the 14"s situated to his right-hand side, but if you´re playing louder, frenetic rock or metal, the 14"s on their own make a great choice.

Even drummers with expansive cymbal setups will admit to one thing: Their bands would be nowhere without them. Okay, make that two things: They use the ride and hats most often. Accordingly, HQ announces the innovative new HQ SoundOff Ride and Hi-hat Mutes, available separately.

SoundOff Ride and Hi-hat Mutes emulate true ride and hi-hat stick rebound while exposing the bell surface so that the drummer can practice various cymbal sticking techniques. Ordinarily loud and cutting, the bell is sufficiently muted that neighbors will likely hear only a faint ticking -- if anything at all. In fact, the mutes provide an astounding 95% reduction in volume.

The HQ SoundOff Ride and Hi-hat Mutes are constructed from an ultra-thin material that closely approximates the feel and touch of a stick hitting a cymbal. Immediately, drummers will notice a vast improvement over existing mutes -- and, of course, towels and other "blanket cures". The HQ SoundOff Ride and Hi-hat Mutes are a breeze to get up and ready. They install and remove in seconds without disturbing felt washers and wing nuts. So now you can practice anytime, anywhere. Well, don't practice in the car, especialy while driving. A little common sense, please.

The SoundOff Ride will retail for $21.99 U.S. and fits 20" and 21" cymbals. The SoundOff Hi-hat Mute will retail for $14.99 U.S. and fits 14" and 15" hi-hats.

Zildjian's ZHT series is a range of affordable sheet bronze cymbals that features an already impressive array of models. Joining the existing ranks are a pair of Fast Crashes, a Crash/Ride and new pair of Mastersound Hi-Hats.

The ZHT range differs from its ZBT and ZXT stablemates in its use of a B12 bronze alloy. The 12 in B12 represents the percentage ratio of tin to copper in the alloy (12 percent tin to 88 percent copper). The alloy that is used in all other Zildjian sheet bronze cymbals is B8 (eight percent tin to 92 percent copper).

Such an apparently small increase in tin content really does make a difference, especially when you consider that the tin content, even for high-end cymbals, peaks at 20 percent.

Into the mix

Sheet bronze cymbals are produced by cutting discs out of rolled sheets of bronze alloy and then working them (a process that involves hammering, lathing, polishing and so on) into cymbals. This is a much cheaper way of manufacturing cymbals than the conventional method of casting each cymbal individually and then hammering it into shape.

At this end of the market, the sheet bronze method is frequently used by all of the manufacturers. This is not simply to keep costs down, but also because the relatively straightforward manufacturing process will always produce consistent results.

Sonically, sheet bronze cymbals tend to distinguish themselves by being higher in pitch, brighter and quicker to decay than their cast counterparts. Zildjian's use of B12 is clearly an attempt to balance these characteristics with a little more warmth and musicality. The influence of the B12 alloy also extends to the visual appearance, as it gives the cymbals a slightly darker, richer hue.

Stacking up

The ZHT series is already bursting with cymbals, including seven pairs of hi-hats and mini-hats (the latter having been designed in conjunction with Marco Minnemann), over ten varieties of splashes and crashes, a quartet of chinas and EFXs and even a flat ride, which is extremely rare at this price point.

The 13" Mastersound hi-hats are a smaller alternative to an existing pair of ZHT 14" Mastersound hats. Mastersound is the term Zildjian use for hammering the outer edge of the bottom cymbal into a crinkled wave. Both cymbals bear plenty of lathing bands, beneath which sit shallow hammer marks.

The hats are tight, bright and not a little cutting. For their small diameter they are surprisingly loud and in use were clearly audible across the muddiest of backlines. The Mastersound edge helps air to escape when closing the hats, giving them a speedy response, while also providing a pleasing definition to stepping. After hearing this 13" pair, we would ideally like to have heard the 14" equivalents alongside them.

Crashing in

At the other end of the scale and on the other side of the kit (unless you happen to be Simon Phillips or Mike Bordin) is the 20" crash/ride. Cymbals that attempt to straddle the two very different disciplines of crashing and riding are usually interesting specimens, regardless of whether or not they actually succeed at bridging the gap.

So it is with this particular example. When used as a straight ride, the body of the cymbal produces a glassy, almost brittle response that is not far off being only audible to dogs. However, moving up onto the well-proportioned bell the cymbal reveals a completely different side, serving up a meaty feast of clanging authority that is penetrating without being too raw.

Giving the whole thing a whack unleashes a colossal crash that is crammed full of shifting overtones and some splendid convolutions.

The two Fast Crashes (15" and 17") are unsurprisingly a darn sight quicker than the 20" Crash/Ride. The 15" Fast Crash model displays the unmistakable topiness of sheet bronze, giving a decidedly sharp, short burst of noise that was way too shrill. The 17" cymbal, meanwhile, possessed a much better balance of tonality, producing a rapid opening brightness with a deeper note beneath. A harmonious decay rounded things nicely, making it an infinitely more pleasing cymbal.

The reality of owning affordable cymbals is that, if you are serious, they are inevitably a stepping stone to more expensive, cast cymbals. The B12 bronze used in the ZHT series brings with it a little more tonal sophistication that should delay the day that the cymbals are traded in.

The K designation traditionally indicates a darker and warmer sound, not so brash and loud perhaps as Zildjian's As or Zs. K Custom cymbals are a 'contemporary expression' of the K sound, with drier but still complex sounds.

The 20" K Custom Session ride is an unlathed, medium thin cymbal in a brilliant finish, featuring crater-like hammerings and a smooth bell. It's a larger version of the previous 18" ride, which was developed in conjunction with Zildjian's prize champion Steve Gadd. Gadd has often preferred an almost perversely dry cymbal sound, to the point he would play an old favourite cracked 18" ride. In his hands it worked, and the sound of that cracked cymbal became the inspiration for the 18" Custom Session ride.

You'd expect then an extremely dry - virtually dead, even - cymbal, but that's not what we found. The cymbal was anything but dull. It was brighter and fuller than anticipated. But maybe that's the idea? After all, sitting behind a cymbal, you hear a different sound to the audience or what ends up on a finished record, where overtones are buried in the overall band sound.

Maybe the audience hears a more Gadd-like sound than the player? What did remind us of Gadd was the wonderfully distinct stick sound. When the band is roaring away, you can still hear every ride stroke. This clarity extends to the quite raw and bright bell.

Although the cymbal is designated 'session' we found it worked great live. In fact it would suit many different types of player, reflecting Gadd's legendary versatility. Although it is medium thin and sonically inspired by a cracked cymbal, it is neither too dark nor too dry.

Top hats

These are also an addition to a previously available model, the 14" Special Dry hats. In contrast to the Custom ride, the hats are rough looking with a dark brownish top, heavy lathing and pronounced circular crater hammerings. Also unlike the ride, the bell is lathed rather than smooth.

The top cymbal is medium-thin and is paired with a slightly heavier, medium weight bottom. This time we found the sound too dry at first. In fact, our immediate reaction was the hats were so dry they lacked flavour and warmth. But we soon realised they were sharp and crisp, suiting them to miking and recording.

Being 13" they have a slightly higher pitch than standard 14" hats, but since they're relatively light they are also fairly dark in timbre. The thin-ish top cymbal means they don't sustain as much as heavier hi-hats when opened up. The result is a clean, short-ish wash and a concise pedalled 'chick'.

The magic letter 'K' always bestows a mysterious quality and these latest cymbals are not quite what you'd expect. Regarding the 20" ride, it's hard to see how you can replicate the sound of a cracked cymbal except by cracking it.

Zildjian's K Constantinople range made its debut in 1998 and was one of the final projects undertaken by the late Armand Zildjian. An exercise in recapturing the mystical qualities of old, Turkish-manufactured K cymbals, the success of the K Constantinople range was a reflection of Armand's lifetime within the industry.

The original Ks that inspired the K Constantinople range were made under the tutelage of Kerope Zildjian in the late 19th and early 20th century in what was Constantinople (now Istanbul). They became popular among jazz drummers in the '50s and '60s and specimens still change hands, today.

Since Armand's death in 2002, Zildjian's research and development team, led by Paul Francis, has continued work on the K Constantinople range, in effect reproducing cymbal-making techniques from 100 years ago. The result is 10 new cymbals - seven Hi Bell rides, two Flat rides (the first K Constantinople examples) and a new pair of hi-hats.

Back to the future

K Constantinoples begin life in the Zildjian factory alongside other cast Zildjian cymbals, but once they have been rolled and cupped they go to a select team of cymbalsmiths to be worked by hand. Only 40-50 cymbals are ever produced and all work is overseen by Paul Francis.

The cymbals certainly have the appearance of being handmade and are covered in a network of deep hammer marks and extensive lathing. In addition, radical spiral lathing is found on the Hi Bell models, whereby the metal between the lathing grooves is left unfinished. Each cymbal takes around seven days to make and any pits or other surface impurities that would usually be removed on modern cymbals are retained, providing all-important individual character.

The Hi Bell rides are available in a choice of weights and tunings in two diameters - 20" and 22", with the exception of the Dry ride, which comes in the 22" diameter only. The two Flat rides are similarly separated by their sizes (20" and 22"), while the hi-hats are 13" versions of the existing 14" K Constantinople hats.

The new Hi Bell rides are easily distinguishable from the regular K Constantinople rides on account of their more pronounced bell shape (hence the name). The design comes from a pair of 18" K cymbals made in Constantinople in the early 20th century, now owned by Joe Adato of the Cleveland Orchestra. The larger surface area of the bell is intended to provide a wider range of frequencies without being overpowering.

Lathe to the rhythm

The theory behind the spiral lathing featured on the Hi Bell rides is that it helps keep the cymbals controllable, so while the rides are all thin enough to open easily for crashing, sticking is reproduced cleanly without being swamped by wash. The spiral lathing is only present from the bell to roughly halfway out of each cymbal, in order to strike a balance between control and liveliness. The exception to this is the Dry ride, which features full spiral lathing right up to the outer edge.

The three 20" models are known respectively as Thin High, Thin Low and Medium Thin Low (the first part of each name refers to the cymbal thickness, the second the tuning). All three cymbals are supremely responsive and the more you play into them, the more involved they become (as opposed to simply louder).

The Thin High model gives a sweet, silvery ping over a light frothy wash. As its name suggests, the cymbal has a high tuning - while its pitch is indeed high, the overall tone of the ride is rounded and warm. The prominent nature of the bell means that moving up to it brings a distinct focus to patterns.

The Thin Low model is a good deal deeper in pitch and overall the cymbal gives a slightly fatter and more insistent note in comparison to the Thin High. The bell is similarly meatier in its response, but the distinctions are all relative - this is still a wonderfully subtle cymbal.

Sitting in between the two Thin models in pitch is the Medium Thin Low ride. Its extra weight and thickness imbues it with a brighter and louder response and a fraction less wash. Beneath the opening clarity sits a delicious low note.

Hi and dry

Trading up to the 22" rides magnifies all of the qualities found in the 20" models. The bigger cymbals are fabulously complex instruments and it is near impossible to do them justice in a few sentences. The Thin High, Thin Low and Medium Thin Low examples, while all being very different, are as desirable as any ride cymbal that we have encountered.

The stick sound is clear and tight, the murmur of background wash is simply perfect, and crashing brings to life all of their wondrous colour. They respond intimately, flowing with whatever you play and it is difficult to think of any way in which these cymbals could be improved.

The Dry ride is a heavier cymbal and doesn't give in quite the same manner as the other cymbals, but it is extremely articulate as a result. It generates a sparser wash and its note is very dark and very dry. Aside from the obvious jazzers, Latin players and even a fair few rockers would find that there is plenty about this cymbal to love.

Flat out

The two Flat rides are both delightfully thin and, like their Hi Bell counterparts, are rippled with a comprehensive pattern of hammering and lathing. Both models wobble sensuously when played, the larger of the two quite voluptuously.

The 20" gives a clean, warm stick sound over a gentle wash. The 22" ride is far darker and mellower and produces a lovely, woody stick sound. The best Flat rides are full of subtleties, dynamic capabilities and character and either of this pair make splendid examples.

The 13" hi-hats are, in a single word, amazing. Closed, they have a soft and delicate tone, without sounding mushy. When played with brushes they are almost feather-like and stepping brings a dry, warm 'chick' sound. However, they open for a sizzling wash that quickly reaches a roar, while the crunch that they deliver when they are half open is much thicker-sounding than their diameter would suggest. They never sound anything less than eloquent and musical, and are an excellent and incredibly versatile pair of hats.

While Vintage Ks will always be sought after by collectors, these cymbals show that modern equivalents can sound just as special. If the existing K Constantinople range was already held in high regard, these new cymbals manage to surpass the standards set. Paul Francis has taken over where Armand Zildjian left off and produced some of the most complete rides that we've ever heard, while the hi-hats are nothing short of a revelation.

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

Lighten up

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

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

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

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

Cindy's cymbal

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

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

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

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

Whacking it results in a full, loud and exhilarating crash, one whose reverberations continue for some time after the initial attack has decayed. This is a well-conceived cymbal that performs strongly in all disciplines and excels in many of them. Between them, Zildjian and Ms Blackman have come up with a good 'un.

Light on two feet

The second new K ride is the 24" Light model. Ride cymbals that crest the two-foot diameter are not so common nowadays and this new model is the only 24" cymbal in the current K range. Featuring the same neat, pin lathing as found on the Light hi-hats the ride is thin and feels quite light for such a large disc of metal.

In use, it gives a fat, almost expansive stick sound that is spiced by the faintest hint of trashiness. The edge of the cymbal wobbles deliciously as a visual foil to the great surge of wash that it generates. Stepping up from clear sticking patterns to a rolling wash is easily done, but thanks to the lightness of the cymbal, coupled with its musical tonality, it doesn't tend to overpower other kit elements.

The bell isn't huge and, as such, doesn't single itself out with a penetrating sound. This type of cymbal isn't about delivering commanding bell figures, though. If you like the warm, sloshy cymbal sounds that Ronnie Vannucci is fond of, then you will find this ride irresistible. It's not only the choice of Ronnie but of Joey Castillo and Travis Barker too. Good company to be in...

Dark tonality and inherent playabilty is what you'd expect of cymbals bearing the fabled K marque, but where Ks have long been seen as the province of jazzers, there's a definite leaning towards contemporary musical environments with the new models. These cymbals are louder than classic Ks of yesteryear, and are also capable of showing a more aggressive edge, particularly the hi-hats.

If there's a better drum product name than Zildjian's Armand 'Beautiful Baby' ride, then we've yet to hear it. At once the name is both a fond nod to the man who inspired its creation and stirs an image of carefree '60s abandon. And since its introduction in 2004, the ride has won itself a dedicated little niche of fans.

Its 19" size and three rivets mean it's hardly the most mainstream offering in the current Zildjian catalogue, but it was good enough for Armand, and the recreation of the man's favourite ride has caught the imagination of many.

So much so that Zildjian has pushed the button and developed a complete range of Armand cymbals, taking their lead from the Beautiful Baby blueprint. A couple more rides, four crashes, two pairs of hats and a 10" splash now bear the great man's name, and while there's still only one Beautiful Baby, the rest of the family don't seem to shape up too badly at all.

Build

Given that a flavour of the '60s runs through each of the new Armand cymbals, it's fitting that they're unadorned by a flashy modern finish and accoutrements. Instead, this lot sport a traditional finish plus the understated Avedis-style logo and model description. It's the perfect way to turn out instruments like these - they already look slightly vintage-y, and the lack of mirror finish means they should develop a glorious 'hard life of rock'n'soul' patina after a few years of sweat-soaked gigs.

The range is also characterised by relatively light weights across the board. Each instrument is either thin or mediumthin, again perfectly reflecting the retro nature of the collection. There are certainly no XXL Meathead Death ride types to be found bearing the Armand moniker. And lathing and hammering is subtle too; small, even hammer marks are evident on all cymbals (except the splash) and the precise lathing is similar to that found elsewhere in the Avedis line-up.

In terms of sizes, the Armand range is conservative, with 13" and 14" hats, 10" splash, 16" and 18" crashes and 20" and 21" rides now joining the original 19" Beautiful Baby ride. It's a good choice of dimensions, and one that allows you to put together a full Armand setup without leaving any obvious gaps in your cymbal array. Unless, of course, you're from the Mike Portnoy school of 'one of every size from 6" to 22", with a couple of gongs for good measure please'.

Hands On

If you're more of a trad cat, however, these are going to be right up your street. And we don't just mean trad in the jazz sense. For anyone playing Moon-inspired rock, dirty funk, grownup pop or, indeed, electric jazz, there's something here for you. That's down to a great blend of warm, vintage body tone and crisp articulation that each of the series delivers in one form or another.

Clearly, each cymbal is designed to sound different from the rest of the line, but that sweet, round, classic tone is always present.

The thinness of the crashes means that they explode quickly when struck with conviction, springing into action and subsiding without getting in the way of the groove itself. We have to admit to a real fondness for the medium thin 16" and 18", which strike us as fab multi-purpose types.

The rides are perhaps the most obviously classic-oriented elements of the Armand series; there's something wonderfully evocative about the way they serve up a mix of pronounced 'ping' supported by a lovely murmur of wash. And once you really lay into them they roar into a crash-ride noise beautifully. Very Who-like indeed, perfect for Moonie fans.

Hats are stunningly good too, and capable of dealing with slightly more aggressive forearms than some of the others in the line. The 13"s are focused and super-crisp, with a rewardingly crisp chick tone when pedalled, while the 14"s deliver a richer mid-range, more crunch and volume and are better suited to louder applications.