Sabian HH 21" Raw Bell Dry Ride

Group: Rides
Type: Raw Bell Dry Ride
Size: 21 Inch
Series: HH
Weight: 2846g, 2909g, 3000g, 3047g, 3106g, 3107g, 3108g, 3130g, 3164g, 3185g, 3194g, 3262g, 3320g, 3362g, 3370g, 3435g, 3440g
Median Weight: 3147g (n=16)
Years of production: 1995¹ - ?
Sound file: HH 21" Raw Bell Dry Ride
HH 21" Raw Bell Dry Ride
HH 21" Raw Bell Dry Ride
HH 21" Raw Bell Dry Ride
HH 21" Raw Bell Dry Ride
HH 21" Raw Bell Dry Ride
HH 21" Raw Bell Dry Ride
Sabian's Description: <<< - >>>
Review: "The term "dry," when applied to a ride cymbal, usually implies a certain lack of overtones, resulting in a more focused sound with enhanced definition. Some dry cymbals are downright "clanky," while others (such as Sabian's original Jack DeJohnette Signature rides) are more "clicky." Sabian has found the balance point between these two extremes with the 21" Raw Bell Dry Ride, which features an unlathed bell on an otherwise standard lathed-and-hammered cymbal.

The sound is tight and focused, but not to such an extreme as to sound unmusical. There are just enough overtones to provide a nice cushion behind a band's sound and still give plenty of definition. The unlathed bell, as expected, is clear and cutting—but not quite as anvil-like as one might expect. Again, there are just enough overtones. As is typical, the Brilliant version is just a bit more contained than the regular model.

Sabian promotes the Raw Bell Dry Ride as "ideal for funk, fusion, and rock." I would add big band jazz to that list, since the cymbal will cut through a big sound. It could also work in smaller jazz combos, especially for fast tempos in which response and articulation are crucial."

Review written by Rick Mattingly ("Product Close-Up - Sabian Hand Hammered Additions", Modern Drummer, June 1996, p. 26)

Review: "The unlathed bells of the four models contributed greatly to the cymbals' focused sound. But they weren't as thick and cutting as I would have expected, given their raw appearance. The bells on the HH and HHX models had a surprisingly mellow sound that might be more at home on a Motown record than on a blistering fusion or funk tune. Steve Ferrone's ride sound with Tom Petty is a good example of these models in action. If you're looking for a ride with a bell that will cut through anything and melt faces at twenty-five yards, I would suggest checking out the AA and AAX models over their hand-hammered brethren.

Playing the four Raw Bell Dry rides side by side, I could really appreciate the subtle distinctions of each, which were mostly found in their pitch and their bells. The HH and HHX models had lower fundamental pitches than the AA or AAX model.

The HHX was the darkest and funkiest of all the Raw Bell Dry rides, and the AA was most similar to the other cymbals in its line. I found the HH to be the most versatile, which explains why it has been so popular among drummers of many types. The AA and AAX models would be appropriate in a loud rock or pop situation, where everything is amplified and you want your ride to come through with clarity and not as a wall of sound. They'd function better, for example, in Neal Peart's setup with Rush than in Brad Wilk's kit with Rage Against The Machine, as Wilk often bashes his ride for a washy wave.

Each of Sabian's Raw Bell Dry rides served its intended purpose well. Don't expect them to open up and scream, but do expect them to project your bow and bell sticking patterns to the last seat in the house, with a slightly different color from each series. If you favor the AA line of crashes and hi-hats, you'll probably like the AA Raw Bell Dry ride best. If you're an HHX drummer, you'll most likely prefer that one, and so on. This speaks volumes about Sabian's ability to create cohesive families of cymbals while still allowing each model to have its own voice."

Review written by Ben Meyer ("Sabian Raw Bell Dry Rides", Modern Drummer, September 2009, p. 37)

Artist/song where it can be heard: John Blackwell Jr., Phil Collins, Flo Mounier, José Pasillas, Calvin Rodgers

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Source:
¹ "Highlights Of Summer NAMM" (Modern Drummer, December 1995, p.26)