Bosphorus Syncopation Series Cymbals

Neal Pert

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i happened upon a few Bosphorus Syncopation series cymbals and I was immediately struck by how much I liked them. i managed to find a ride and set of hats used, and that fueled my interest. So, I got a couple more. Now here we are:


I'll write more about them once I've had some time and gigs with them. Here's what you are hearing and seeing in the video. the mic is a shure mic that's plugged into an iPhone. Nothing fancy.

1. 22" SW
2. 20" Lathed
3. 18" Lathed
4. 14" SW hats

I also have a 19" SW crash, but it sits right around the same pitch as my 22 and with a very similar stick and crash sound, so I'm selling that one. It's awesome but there's no need to have two cymbals that more or less do the same thing.

My initial feeling is that they are just incredibly cool, expressive cymbals-- unique but in a very attractive way. I was using a Zildjian 20" Cluster Crash as a sort of "target" sound and all the crashes in that line were trashier than the Cluster. They also all had a really nice, articulate ride sound (I went to an online dealer who has tons of Bosphorus and got to try them in person). All of the crashes are ride-able and all the rides are crashable, so the distinction is more about the gram weights than the functions. The SW and lathed cymbals really compliment each other beautifully-- the SWs open up less and have shorter, drier crashes but they still sound great together. They also go from an absolute whisper to a roar, as you can probably see in the video.

I'm going to use these for all my gigs for a while and see how it goes.
 
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Neal Pert

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Here's what Tony from Cymbalsonly.com has to say about them:

The syncopation series introduces an entirely new, and trashy/dirty sound for Bosphorus players. Bosphorus is typically known for smooth, silky, warm, lush, silvery, "pretty" sounding cymbals with various levels of dryness, with woody clicky stick sounds, great crashablity, flexible edges, and incredible stick/wash control. The new syncopation and SW series adds a level of dirty complexity, with some gritty trashiness that was not formerly available. You could always have described a Bosphorus cymbal as complex, but I would never would have described them as "trashy" or dirty. These adjectives were reserved for other brands, most notably Istanbul Agop. Within this series, there are two distinct, intertwining cymbal styles that can be mixed and match at will. The singly named Syncopation pieces are traditionally lathed, top and underside, with more, deeper, and larger hammering in spots than any of their other pieces. They also have a taller than usual profile to emphasize sticking in the upper-midrange frequencies. This higher profile truncates a little of the lows, usually associated with flatter profiled cymbals, and adds a tiny bit of extra stiffness - not much, but if you're used to the normal, super-crazy-flexible Bosphorus feel, these feel a tiny bit stiffer, but still NOWHERE near as stiff as other brands.​
The Syncopation SW series has all the attributes of the former, but is drier, with less wash, and offers greater stick definition, with less overall decay. Their appearance is darker due to the extra patina process they are put through - similar to the Black Pearls and 20th anniversary - which gives them this dryness. SW stands for "sand washed," which is the final build process they go through. Bosphorus doesn't reveal what this process is, but a visual inspection might suggest a final "lathing" with course grit sandpaper after patination. This is just my educated guess. Who cares what it really is - they sound great!​
Hi-hats, crashes, rides are available in all sizes, and any desired weight.​
 

JDA

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Zildjian just took your name down off the wall No really I get exactly what you're saying in sound and words. Bosphorus are a bit of a revelation. They- with all the centuries of tradition- don't try to be something they aren't. They just do the best they can and ask you to believe. Once "you" come forward (to them) ..it's hard to look "back".. they're on the money..

One of the most bizarre Bosphorus revelations was many years ago seeing Bob Dylan live where he blew Paul Simon (who opened) off the galaxy and Dylan's drummer (David Kemper) was using Bosphorus. Man that was ... Dylan and Bosphorus let that sink in..about a versatile expressive cymbal ..
 
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JDA

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there's a sinking giving play-thru feeling that comes from being hand not machine hammered. That (not the tone) that is similar with old Ks. That the tone, is dissimilar with hand made Zildjians (old Ks) becomes irrelevant.
When I put old Ks up and take Bosphorus down; old Ks are frightening.
New Avedis Ks have that frightening side sticks all over the place sound.
But the Feel wins out - even if they won't sound- like old Ks..
The ease of playing that play-thru is why they're the easier choice to play
I think. Old Ks (and even Avedis Ks) have a heavy sound. That after 10-15 years ya get tired of.
I mean one's not "there" to listen to your(self) cymbals. You're there to get "someplace else"..
I get "there" quick w/ Bosphorus, Altho- at times in comparison- I miss that heavy "old K" , ,Zildjian, sound.. sometimes it's just not worth it. I call Bosphorus "the breeze" the Turkish breeze.
Way in the back of my mind I think old Ks would record stand up better under that scrutiny but the playing ease of B's supercedes that live.
 
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Tracktuary

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I went down the Bosphorus path (22" Antique Thin, 14" Master Hats, 21" Master Vintage), but eventually came back to Zildjian. It's in the stick sound -- no one is on Zildjian's level to my ears. My guess is that it pertains to the cup in some way. The alloy might be a part of that, as well. An unlathed Bosphorus sounds like you're riding on ceramic. Agops have a zing when I want a tang. It's in the stick.

B feels great, it sounds pretty on sound files, but it gets lost in the group.
 

Neal Pert

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I went down the Bosphorus path (22" Antique Thin, 14" Master Hats, 21" Master Vintage), but eventually came back to Zildjian. It's in the stick sound -- no one is on Zildjian's level to my ears. My guess is that it pertains to the cup in some way. The alloy might be a part of that, as well. An unlathed Bosphorus sounds like you're riding on ceramic. Agops have a zing when I want a tang. It's in the stick.

B feels great, it sounds pretty on sound files, but it gets lost in the group.
But give these a listen. The stick is pretty different and much better than what I've heard previously from Bosphorus.

BTW, I still have all my regular Zildjians -- that's been the gold standard for years now.
 
J

jaymandude

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there's a sinking giving play-thru feeling that comes from being hand not machine hammered. That (not the tone) that is similar with old Ks. That the tone, is dissimilar with hand made Zildjians (old Ks) becomes irrelevant.
When I put old Ks up and take Bosphorus down; old Ks are frightening.
New Avedis Ks have that frightening side sticks all over the place sound.
But the Feel wins out - even if they won't sound- like old Ks..
The ease of playing that play-thru is why they're the easier choice to play
I think. Old Ks (and even Avedis Ks) have a heavy sound. That after 10-15 years ya get tired of.
I mean one's not "there" to listen to your(self) cymbals. You're there to get "someplace else"..
I get "there" quick w/ Bosphorus, Altho- at times in comparison- I miss that heavy "old K" , ,Zildjian, sound.. sometimes it's just not worth it. I call Bosphorus "the breeze" the Turkish breeze.
Way in the back of my mind I think old Ks would record stand up better under that scrutiny but the playing ease of B's supercedes that live.
It’s weird. I played some of the new Paul Francis K prototypes recently. Some of them sound particularly excellent. But they all have a certain kind of stick sound that is very stiff and agresssive. When Bosphorous in general I would say is much more inviting.
 

Tracktuary

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But give these a listen. The stick is pretty different and much better than what I've heard previously from Bosphorus.

BTW, I still have all my regular Zildjians -- that's been the gold standard for years now.
These definitely have a different stick sound than the ceramic sound I mentioned. That's how my Master Vintage started to sound to me. And once I heard it, I couldn't unhear it on any of those models.

I think the normal sized cup helps with the Syncopation series, whereas the Master series have hardly any cup at all.
 

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I went down the Bosphorus path (22" Antique Thin, 14" Master Hats, 21" Master Vintage), but eventually came back to Zildjian. It's in the stick sound -- no one is on Zildjian's level to my ears. My guess is that it pertains to the cup in some way. The alloy might be a part of that, as well. An unlathed Bosphorus sounds like you're riding on ceramic. Agops have a zing when I want a tang. It's in the stick.

B feels great, it sounds pretty on sound files, but it gets lost in the group.
Similar experience here. Lovely tone and fairly easy to settle in on the particular lines that they offer once you have sampled a few but couldn't cut it for me on the amplified gigs. I even custom ordered some heavier weights in the lines I liked but eventually realized that my preferred A and K Zildjians were much more functional and satisfying for me.
 

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But give these a listen. The stick is pretty different and much better than what I've heard previously from Bosphorus.

BTW, I still have all my regular Zildjians -- that's been the gold standard for years now.
That is definitely a different stick than I'm used to hearing with Bosphorus and this set you have sounds and looks very nice. Curious to hear your updates once you have gigged with them. Nice sounding drums and playing too!
 

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I loved a 21" that I had with w/3 rivets. Beautiful cymbal. I totally get what Joe said up there and I agree about the feel.
I did end up getting rid of it, though. It just could hang w/ guitar amps. Especially bass.
Ive had a few Bosphorus pies now and really have only cared for that syncopation and trads. There's something about the Masters and Masters Vintage lines that feel/sound like toy cymbals to me. Almost brass like. Not enough meat in some part of the sound. Don't know how else to describe it.
 

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Zildjian whether Old Ks (yep from another continent), Avedis Ks, old A's, A's.....have a sound that is exclusive to zildjian. It's orange.
Bosphorus are more..blue..
 

JDA

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I went down the Bosphorus
You see in Tract's small (room?) group setting I can see his love for Zildjian and Old K Zildjian. That stick/stick/ necessary. In looser more electric settings or Louder settings. the Bos wash up and fill the surrounding area..
They're not the near-field- cymbal, a strong Zildjian K may be.

Dis regard the Flugelhorn player sit-in) and what the Bos sound like in a hi ceiling big room 22 Hammer, 19 Antique thin ride, Trad dark 14 hats. They project don't they? Can hear the time? yea no?



 
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Gunnellett

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These might be what I've been looking for. I like a little grit and dirt in my cymbals. We have a really small jam space so being able to lay into cymbals that have a lower ceiling volume wise is perfect. The hats sounded nice being played loose. I might want an ever so slight more stick definition with the ride but it still sounds great.
 

JDA

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So Zildjian.. "limited time" "part of our limited time offer" "rarities program for 2011"....
why isn't a series
why isn't
it a year in year out
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

I know why. No drummer can spell rarities.

they'd give Bosphorus a run
for the money..but they're limited rareities
Like my patience
Available for a Limited Time
 
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Gunnellett

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So Zildjian.. "limited time" "part of our limited time offer" "rarities program for 2011"....
why isn't a series
why isn't
it a year in year out
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

I know why. No drummer can spell rarities.

they'd give Bosphorus a run
for the money..but they're limited rareities
Like my patience:
Available for a Limited Time
You mean like these?!
 

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Gunnellett

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appears to be the 19, 22 and hats?
I'd like to take a chance on the 19 to go with my Dark Medium Cindy K22... Yes.
but I've stuck a bosphorus there..on the left with the Cindy) thin trad crash 18..
Yep. The 19, 22, and 14 hats. The full line.
 
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Tracktuary

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There's something about the Masters and Masters Vintage lines that feel/sound like toy cymbals to me. Almost brass like. Not enough meat in some part of the sound. Don't know how else to describe it.
I said something almost identical to this when I gigged my 21" Master Vintage over a stretch. I couldn't believe how quiet it was, and I typically play in a trio setting in restaurants and bars. It reminded me of a toy cymbal ("Aw, this is cute!"). I found myself trying to coax out sounds that did not exist: no felt, played more aggressively, etc. Ultimately, it had to come off of the stand so that a legitimate cymbal could go up.
 


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