Paiste line comparison video by DCP

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Here you go.

Ride and crash are 602 Modern Essentials
Hats are new ? Masters? 602s?
You know I didn't like Jorge's vibes record much, (maybe I'll have to give it another chance,) but this is nice. This engineer got a GREAT sound from the marimba (and from what I've been told, it's a hard instrument to record well.) Great bass sound too. I could still use a little more of a "pianistic approach" instead of a "horn approach" from Jorge in a trio.

But the cool thing is the camera angle on Al. This is a wonderful opportunity to see his touch. Since it's a slower tune, it's really obvious and easy to see Al's "touch adjustments." His use of dead sticking on the ride is something that I noticed years ago, and have been absorbing-using ever since. Also interesting is where Al is playing-striking the ride in an obviously quieter context. He doesn't play on the bell (maybe too obtrusive) much on this, but instead he is right on the bridge of the ride to achieve a nice quieter blend. If you watch his right hand (which I have spent entire nights doing for YEARS!!!!!!) he is constantly making sound adjustments with his touch and by where is is striking the ride cymbal. Another nice adjustment he makes is playing the rim with a mallet, again, maybe a cross stick would have been too piercing. EARS!

I have to admit, I liked this much more than I though that I would. Those cymbals sound pretty nice (and very "AL!") too! I don't think the hats are Masters though, they look like "plain ol 602's," BUT they look like 13's to me (tough to tell though.)

That would be VERY cool if they started making some 602 13's, I have been begging Paiste to make me some 13's for a while. If more people started asking maybe they would. It would also be cool if Al started playing Paiste again, he just sounds so much better on them (in my opinion.)

He probably just borrowed these, does anyone know where this studio might be? I don't recognize it. (Next time I see Al, I have to remember to ask.) If the studio name isn't possible, maybe just where the listed engineer (Gardar Edvaldsson) is located? (That would help.) He did a wonderful job capturing the sounds in the room.

Thanks for posting that Tom, I would never have seen or heard it!
Sorry for the derail, back to drum salesmen bashing cymbals!
MSG

PS. Nice to hear Ed Mann too, we have a "weird" special connection that I found out about when we played together at a NAMM show.
 

tkillian

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You know I didn't like Jorge's vibes record much, (maybe I'll have to give it another chance,) but this is nice. This engineer got a GREAT sound from the marimba (and from what I've been told, it's a hard instrument to record well.) Great bass sound too. I could still use a little more of a "pianistic approach" instead of a "horn approach" from Jorge in a trio.

But the cool thing is the camera angle on Al. This is a wonderful opportunity to see his touch. Since it's a slower tune, it's really obvious and easy to see Al's "touch adjustments." His use of dead sticking on the ride is something that I noticed years ago, and have been absorbing-using ever since. Also interesting is where Al is playing-striking the ride in an obviously quieter context. He doesn't play on the bell (maybe too obtrusive) much on this, but instead he is right on the bridge of the ride to achieve a nice quieter blend. If you watch his right hand (which I have spent entire nights doing for YEARS!!!!!!) he is constantly making sound adjustments with his touch and by where is is striking the ride cymbal. Another nice adjustment he makes is playing the rim with a mallet, again, maybe a cross stick would have been too piercing. EARS!

I have to admit, I liked this much more than I though that I would. Those cymbals sound pretty nice (and very "AL!") too! I don't think the hats are Masters though, they look like "plain ol 602's," BUT they look like 13's to me (tough to tell though.)

That would be VERY cool if they started making some 602 13's, I have been begging Paiste to make me some 13's for a while. If more people started asking maybe they would. It would also be cool if Al started playing Paiste again, he just sounds so much better on them (in my opinion.)

He probably just borrowed these, does anyone know where this studio might be? I don't recognize it. (Next time I see Al, I have to remember to ask.) If the studio name isn't possible, maybe just where the listed engineer (Gardar Edvaldsson) is located? (That would help.) He did a wonderful job capturing the sounds in the room.

Thanks for posting that Tom, I would never have seen or heard it!
Sorry for the derail, back to drum salesmen bashing cymbals!
MSG

PS. Nice to hear Ed Mann too, we have a "weird" special connection that I found out about when we played together at a NAMM show.
Mark. Go to YouTube and look in the comments section. Last week I asked him about the cymbals and he responded
 

Tracktuary

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All of these clips are confirming why I've never owned a Paiste. I'm convinced they are for guys whose hearing is going bad. There are way too many highs in the sonic profile for me. Maybe they would be great with extremely loud music, but having that crystal clear stick sound all night in a jazz club would drive me nuts.
 

michiganice91

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All of these clips are confirming why I've never owned a Paiste. I'm convinced they are for guys whose hearing is going bad. There are way too many highs in the sonic profile for me. Maybe they would be great with extremely loud music, but having that crystal clear stick sound all night in a jazz club would drive me nuts.
You should try a giant beat or big beat. Super washy stuff going on there.
 

mgdrummer

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All of these clips are confirming why I've never owned a Paiste. I'm convinced they are for guys whose hearing is going bad. There are way too many highs in the sonic profile for me. Maybe they would be great with extremely loud music, but having that crystal clear stick sound all night in a jazz club would drive me nuts.

Horses for courses I guess. This is certainly not the sonic impression I’m left with when I listen to Zeppelin, Deep Purple, Tool, Iron Maiden, Pink Floyd, etc.

I’ve personally been playing Paiste since 92, my wife will attest that I hear noises in the house, while driving, etc that no one else picks up on. So I guess my hearing is still pretty much in tact.
 

Tracktuary

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Horses for courses I guess. This is certainly not the sonic impression I’m left with when I listen to Zeppelin, Deep Purple, Tool, Iron Maiden, Pink Floyd, etc.

I’ve personally been playing Paiste since 92, my wife will attest that I hear noises in the house, while driving, etc that no one else picks up on. So I guess my hearing is still pretty much in tact.
Those are not quiet bands at all! That was more of my point: these cymbals can cut when amps are cranked. Danny Carey is one of my favorites, so I have no issues with his sound (although, his more recent use of roto toms instead of standard toms lacks depth to my ears).

My gigging is mainly in the traditional jazz / bop sense these days. And I just don't think Paiste fits that sound well.
 

TPC

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I would argue that the Masters, particularly the Darks, Sig Light Darks, 602 Flats, and many of the other lines can definitely work, and sound spectacular in a straight-ahead context.

One of many possible examples.

 

Tracktuary

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I would argue that the Masters, particularly the Darks, Sig Light Darks, 602 Flats, and many of the other lines can definitely work, and sound spectacular in a straight-ahead context.

One of many possible examples.
I agree that the Masters Dark get there. And those Light Darks had it, but were discontinued! As for flat rides, that's like playing with an AJ6. ;)
 
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dustjacket

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Those are not quiet bands at all! That was more of my point: these cymbals can cut when amps are cranked. Danny Carey is one of my favorites, so I have no issues with his sound (although, his more recent use of roto toms instead of standard toms lacks depth to my ears).

My gigging is mainly in the traditional jazz / bop sense these days. And I just don't think Paiste fits that sound well.
Masters and Trads, man. Masters and Trads.
 

stuart s

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All of these clips are confirming why I've never owned a Paiste. I'm convinced they are for guys whose hearing is going bad. There are way too many highs in the sonic profile for me. Maybe they would be great with extremely loud music, but having that crystal clear stick sound all night in a jazz club would drive me nuts.
Its probably the opposite of what you think, its probably not good sounding to those who have lost the high end of their hearing or cant hear the super highs by design, so all they hear are louder mids thinking thsoe are the highs and all that there is, and not getting the pleasure of hearing all that beautiful shimmering highs.

When I play my signature HHats, I swear I hear a hiss on the top end, like faint tape hiss, Its real neat sounding and dont hear this in any other line, not even from my 15" 2002 SE hats. Im sure a dog could make that out and all stuff above that frequency.
 
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hsosdrum

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I listened to that entire demo, and like all Paiste cymbals have ever sounded to me, every one of these cymbals (except for one*) sound like they had been put through a process that stripped them of the sonic elements that give music it's emotion and character, leaving only the sonic elements that identify them as cymbals. I don't hear any drama, excitement, danger, surprise, love or longing in their sound.

*The one cymbal in that demo that sounded to me me like it had even a glimmer of music in its soul was the 22" 602 Modern Essentials Ride.
 

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