K Con Renaissance

Esotericdrums

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Curious on who all is playing 22 Renaissance rides? I came across a really good deal on one and am tempted to take the bait. I do have a 22 overhammered bounce and 22 MTL. How does the Renaissance compare? I hear they can be trashy and washy. Thanks for any advice!
 

Ptrick

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I picked this one up recently. Good stick, trashy (for a Zildjian, not really trashy compared to a lot of Agops or meinls) A very fun cymbal to play.

 

Base

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I bought one soon after they came out and played it for a few years till I got my old K. It still serves a s a backup that I occasionally take out for fun or bring if the circumstances seem not to be really secure. It definitely has more "shimmer" and attack than the different K Con Medium thins I´ve owned and heard (which I found out to be a good thing for me)

ps you can listen to it in my quite recent thread in the video section
 

NobleCooleyNut

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I bought a 22” a few years back - I planned to use it for a Big Band I play with . Took it to a few rehearsals but it just did not work as a main ride .
 

marc3k

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I always wanted one - to me they seem to be finest zildjians available and they all seem to sound great in the videos. But I always thought they are too expensive compared to (hand made) Agops.
 

mattr

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The Renaissance Ride development was quite the labor of love (and frustration) for Paul Francis and Adam Nussbaum. I had the good fortune of observing most of its final iteration development.

Paul as a “confident” designer of the K sound really kicked in with the 2nd series of Bill Stewart rides (Dry Complex II) and Cindy Blackman’s K Dark Medium, and he was able to hone in on the Bounce Ride with Kenny Washington very quickly. But that mostly had to do because of a new set of processes that had come from an unlikely source of inspiration: the K Symphonics series, developed with Mark Damoulakis. What Paul learned from that development of Orchestral cymbals from really discerning players really opened the doors for him creatively elsewhere.

Those who might have the pleasure of knowing or spoken with Adam Nussbaum know that he’s a Drummers’ drummer: Sweetheart, knows everyone in the NYC scene, nice touch as a player, quick with a joke, unpretentious… and quite cymbal “sound” obsessed. He was a disciple and friend of Mel Lewis (possible student too…), so that most likely began his cymbal “sound” obsession. But getting to the Renaissance Ride for him was at least a 15-20 year journey at that point with Zildjian starting in the mid-1990s with the Pre-Aged Drys (his “main” ride was and maybe still is a 22” Pre-Aged)… and predated Paul in R&D.

But it was the success of Kenny’s Bounce that sort of kicked off a development with Adam again. Adam came up to factory several times during the development. While Adam was up, Paul made endless variations of a quasi-Bounce Rides for Adam with what was then the new “Washington” cup…. Trying different lathings types, hammered/un-hammered cups, lathed/unlathed cups, clustered hammering (different locations and with different concentrations). Adam would play these variants in the Drummers Lounge while a Paul would go back into the factory, hammer and lathe in different changes… bring him back pies with new variations… just shuttling back and forth from the Lounge. Doing that all day long. Trying to narrowing in I’m on what Adam was after.

They final work out the “formula” in the iteration as it exists today for the Renaissance… but, the nature of any obsession, Adam was struggling to commit to the final iteration. Doubt on whether or not it was “it”… and was it any better than his beloved 22” Pre-Aged. The feedback was great from other players, Paul and Leon were into it… but Adam was struggling.

I remember Leon had to take a one-on-one talk with Adam. These two had known each other for decades at this point… but the summary of the discussion was: “the company you endorse likes what you came up with… please get onboard.” Nudge nudge. And this cymbal was exceptional, something worthy of introducing.

When the first several ovens of cymbals were ready for release (think it must have been NAMM 2012), Adam came up and tested the ovens and signed the bottoms of each cup. He was giddy. He even wanted an agreement for him to test every oven produced before it went on to be sold… but you can’t schedule production around flighty musicians… that’s no way to run a railroad!

What Adam taught me on what he learned from Mel about selecting a Ride is that the “stick” needs to be clear. You can have all the swirling overtones and assorted garbage, but that stick needs to be clear… the clarity adds its own prettiness factor. AND, when you accent the ride in a pattern… does the cymbal sound pitch up, stay flat, or go down? It’s just like a conversation between people: when you accentuate a point, your pitch goes up in excitement. Most cymbals don’t pitch up… special ones do.
 

peter

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Had the 20" Renaissance a few years ago... Sounded perfect drumming to John Scofield's "Works for Me" album (Billy Higgins).

Always wanted to try the "Thin Overhammered", but not made in a 20" sadly...
 

AtlantaDrumGuy

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I like the 22 Renn and I use it a lot. Not too trashy IMO. It’s a perfect crash/ride with a pretty good bell. But I will go to several other rides when I need more ping. I was playing a church gig (and relatively loud), and the Renn was actually too quiet for it. I had to go to my K Heavy or Dark Medium instead (or vintage As). Those ended up working better than the Renny in that particular situation.
 


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