Your turn: what's your custom cymbal model or line?

markkarj

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If you could get some prototypes or envision a new model (or even a new line) that works with your music, what would it be?

For the longest time, I wanted smaller, thinner Giant Beat crashes and maybe a medium pair of hats. But Paiste has made clear that ain't gonna happen. And as I get older, I'm finding B8 to be a bit shrill for my ears.

Given my musical taste now, I'd maybe look for an A Custom "sweet" series. Somewhere half-way between the Sabian AAXplosion fast crashes and regular A Custom crashes... just a bit more shimmer I suppose.

The A Customs regular crashes and the fast crashes seem to be too "gong-y" for my taste. Although I do love the anniversary rides in the series... they seem gorgeous with a light touch. And my A Custom flat bell is a very delicate cymbal too.
 

TPC

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Mine would be a medium-heavy B20 22" ride that has a strong stick sound because of the weight, but is also relatively dry (partial lathing) and quiet (loose tension).

I actually custom ordered a ride with these characteristics from Matt Nolan. He hit it out of the park.
 

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Prufrock

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Mine would be a medium-heavy B20 22" ride that has a strong stick sound because of the weight, but is also relatively dry (partial lathing) and quiet (loose tension).

I actually custom ordered a ride with these characteristics from Matt Nolan. He hit it out of the park.
I just picked up a Matt Nolan 22 with a strong and somewhat bright stick definition (around 2700g), but with some dark controlled wash and a crash that would scare Satan. Matt's work is always distinctive, always meticulous.
 
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Mcjnic

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THESE!!!

Why the HECK Erik and the Swiss Cymbalistas EVER stopped producing these goes deep into the realm of I don't give a darn. There's no excuse valid enough.
These Paiste Twenty Thin Crashes in the 18, 19, and 20 inch sizes are and will always be some of the perfect crash sounds ... to my ears. The 16 is pretty good, too.



 

TPC

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^ I think the Twenty series is quite underrated, overall. For loud music, the rides and crashes are superb. Your Thin Crashes sound real good.
 

Mcjnic

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^ I think the Twenty series is quite underrated, overall. For loud music, the rides and crashes are superb. Your Thin Crashes sound real good.
Those aren't mine ... those are some guy on the YouzeTuubz.
I've got my sets here ... I don't film myself (which is ironic).
... but man oh man ... this guy has one of the best 18's and 19's I've ever heard.
 

D. B. Cooper

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THESE!!!

Why the HECK Erik and the Swiss Cymbalistas EVER stopped producing these goes deep into the realm of I don't give a darn. There's no excuse valid enough.
These Paiste Twenty Thin Crashes in the 18, 19, and 20 inch sizes are and will always be some of the perfect crash sounds ... to my ears. The 16 is pretty good, too.



Why do you like that long sustain so much? When you're playing loudly, doesn't it all get to become too much sound?
 

D. B. Cooper

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Mine would be a medium-heavy B20 22" ride that has a strong stick sound because of the weight, but is also relatively dry (partial lathing) and quiet (loose tension).

I actually custom ordered a ride with these characteristics from Matt Nolan. He hit it out of the park.
Wow. That is super cool. Is it hard to get it to open up?
 

Mcjnic

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Why do you like that long sustain so much? When you're playing loudly, doesn't it all get to become too much sound?
I do not do live gigs anymore ... unless it is for a film project or a serious favor to a person that has given me a kidney or a liver. Not interested in the live shows anymore.
So, I use my cymbals under a mic in a studio. I have quicker ones and long ones.
I like the longer sustaining ones because if you barely strike them, they have a nice warm response ... and if you strike them a bit harder, it's an increased response ... and if you strike them a bit more hard, it's an even broader and fuller response ... and so on and so on and so on.
It's a cymbal that just keeps on giving and giving.
I like a multidimensional instrument in the studio.
Under the studio mic - that's where a great cymbal can really show it's stuff.
The longer sustaining crash is a creative drummers place to play.
 

D. B. Cooper

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I do not do live gigs anymore ... unless it is for a film project or a serious favor to a person that has given me a kidney or a liver. Not interested in the live shows anymore.
So, I use my cymbals under a mic in a studio. I have quicker ones and long ones.
I like the longer sustaining ones because if you barely strike them, they have a nice warm response ... and if you strike them a bit harder, it's an increased response ... and if you strike them a bit more hard, it's an even broader and fuller response ... and so on and so on and so on.
It's a cymbal that just keeps on giving and giving.
I like a multidimensional instrument in the studio.
Under the studio mic - that's where a great cymbal can really show it's stuff.
The longer sustaining crash is a creative drummers place to play.
Awesome answer.
 

JDA

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most of my great/favorites played off the rack maybe some special exclusive racks but nonetheless; so I'm good.
 
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Iristone

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Give/sell me a full line of cursive script Amati Kraslice cymbals please! I know these are very rare and not worth much, but they have the sound to me. Basically, B20 bronze, Paiste Precision style hammering, and really (I mean REALLY) uniform lathing. Made in Czechoslovakia. Or I'd take the Paiste equivalent if there's one. :thumbup:
 

Iristone

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On second thought I found that all Amati cymbals have the same connected but not oblique (is it still called cursive?) font on their stqmp. Mine doesn't have the star and CSSR on top. It looks like this:
9CC25D0F-0F4C-4BFA-AE03-5066D996D25A.jpeg

Note the very "industrial" looking lathing ;-)
 
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EvEnStEvEn

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If you could get some prototypes or envision a new model (or even a new line) that works with your music, what would it be?
I'm of the mindset that at this point we have enough models, brands, lines, prototypes and custom offerings to satisfy even the most particular of drummers until the end of time.
 

Old PIT Guy

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Once I decided on selecting sounds for what worked best for what I wanted to convey in what position rather than by brand, I lost the desire to shop -- after the trial and error.
The first thing I think when I see a pristine set of [same brand] cymbals with all the logos positioned for readability is that someone is shopping with their eyes and not their ears.
 

mgdrummer

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THESE!!!

Why the HECK Erik and the Swiss Cymbalistas EVER stopped producing these goes deep into the realm of I don't give a darn. There's no excuse valid enough.
These Paiste Twenty Thin Crashes in the 18, 19, and 20 inch sizes are and will always be some of the perfect crash sounds ... to my ears. The 16 is pretty good, too.



Hi, I am “that guy” on YouTube! The 18” and 19” get the most use out of all of them. I still wish I knew what the story is regarding the 19” and 20” Twenty thin crashes as they were never officially offered in the line.

The only “custom” cymbals I’m interested in at the moment are a few Paiste (I believe, feel free to correct me if I’m not) have made in the past: 22” 2002 Novo china (I see Matt Chamberlain has one in his new Paiste set up) and a 22” 602 heavy to be used as a ride.
 

JDA

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When the topic of 'custom' cymbals comes up, I'm of the belief If the cymbal 'sound' is in your head... then you've heard it already, somewhere, before, in a cymbal, before..

unless you want a cymbal that sounds like 12 squawking monkeys
 
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