Difference between revisions of "Istanbul Agop Mel Lewis 1982 20" Ride"
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'''Zildjian's Description:''' [[Istanbul Agop Crash Ride#Mel Lewis Signature|<<< - >>>]]<br> | '''Zildjian's Description:''' [[Istanbul Agop Crash Ride#Mel Lewis Signature|<<< - >>>]]<br> | ||
'''Review:''' "I played the Mel Lewis 20" 1982 ride in a few different settings, including blues, light rock, and folky-jazz. The cymbal held its own under all circumstances. It was pingy, with clear stick definition. But it also produced multi-layered overtones that ranged from very light to very dark.<br> | '''Review:''' "I played the Mel Lewis 20" 1982 ride in a few different settings, including blues, light rock, and folky-jazz. The cymbal held its own under all circumstances. It was pingy, with clear stick definition. But it also produced multi-layered overtones that ranged from very light to very dark.<br> | ||
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When I laid into the ride to play a traditional swing beat, my attack chattered away clearly. However, to my surprise the cymbal also had incredible spread, almost like a current of wind swirling under my wood-tipped sticks. (It would probably generate even more color with nylon-tipped sticks.) I was able to keep time and add surging hisses to communicate with the band in dynamic ways.<br> | When I laid into the ride to play a traditional swing beat, my attack chattered away clearly. However, to my surprise the cymbal also had incredible spread, almost like a current of wind swirling under my wood-tipped sticks. (It would probably generate even more color with nylon-tipped sticks.) I was able to keep time and add surging hisses to communicate with the band in dynamic ways.<br> | ||
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Next I used brushes to generate a sonic mist. And when I took mallets to the cymbal, a pleasing cloud of dark noise hovered over the music like a warm blanket.<br> | Next I used brushes to generate a sonic mist. And when I took mallets to the cymbal, a pleasing cloud of dark noise hovered over the music like a warm blanket.<br> | ||
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The ride also recorded well. Though a simple ADAT and two-mic’ setup was all we used, the ride simply shimmered. On playback, my patterns were clear and well defined. The only drawback was the virtually nonexistent bell sound. Nonetheless, this is a great cymbal that would work not only for straight-ahead jazz, but also for big band and soft jazz."<br> | The ride also recorded well. Though a simple ADAT and two-mic’ setup was all we used, the ride simply shimmered. On playback, my patterns were clear and well defined. The only drawback was the virtually nonexistent bell sound. Nonetheless, this is a great cymbal that would work not only for straight-ahead jazz, but also for big band and soft jazz."<br> | ||
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Review written by Will Romano ("Istanbul Agop Mel Lewis 1982 Cymbals And Alchemy Custom Hi-Hats - Distinct Voices For Jazz And Rock", Modern Drummer, April 2002, pp. 42-43)<br> | Review written by Will Romano ("Istanbul Agop Mel Lewis 1982 Cymbals And Alchemy Custom Hi-Hats - Distinct Voices For Jazz And Rock", Modern Drummer, April 2002, pp. 42-43)<br> | ||
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'''Artist/song where it can be heard:''' | '''Artist/song where it can be heard:''' | ||
Revision as of 10:06, 20 August 2024
Group: Rides
Type: Ride
Size: 18 Inch
Series: Mel Lewis Signature
Weight: 1838g, 1862g, 1870g, 1884g, 1884g, 1890g, 1892g, 1900g, 1902g, 1902g, 1904g, 1905g, 1914g, 1928g, 1945g, 1960g
Years of production: 2002 - Present
Sound file: Mel Lewis 1982 20" Ride
Mel Lewis 1982 20" Ride
Mel Lewis 1982 20" Ride
Mel Lewis 1982 20" Ride
Mel Lewis 1982 20" Ride
Mel Lewis 1982 20" Ride
Mel Lewis 1982 20" Ride
Mel Lewis 1982 20" Ride
Mel Lewis 1982 20" Ride
Zildjian's Description: <<< - >>>
Review: "I played the Mel Lewis 20" 1982 ride in a few different settings, including blues, light rock, and folky-jazz. The cymbal held its own under all circumstances. It was pingy, with clear stick definition. But it also produced multi-layered overtones that ranged from very light to very dark.
When I laid into the ride to play a traditional swing beat, my attack chattered away clearly. However, to my surprise the cymbal also had incredible spread, almost like a current of wind swirling under my wood-tipped sticks. (It would probably generate even more color with nylon-tipped sticks.) I was able to keep time and add surging hisses to communicate with the band in dynamic ways.
Next I used brushes to generate a sonic mist. And when I took mallets to the cymbal, a pleasing cloud of dark noise hovered over the music like a warm blanket.
The ride also recorded well. Though a simple ADAT and two-mic’ setup was all we used, the ride simply shimmered. On playback, my patterns were clear and well defined. The only drawback was the virtually nonexistent bell sound. Nonetheless, this is a great cymbal that would work not only for straight-ahead jazz, but also for big band and soft jazz."
Review written by Will Romano ("Istanbul Agop Mel Lewis 1982 Cymbals And Alchemy Custom Hi-Hats - Distinct Voices For Jazz And Rock", Modern Drummer, April 2002, pp. 42-43)
Artist/song where it can be heard:
