K Constantinople Rides and Hihats

GEARREVIEWS
102 RHYTHM APRIL 2006
KEY FEATURES
The new Hi Bell rides are easily
distinguishable from the regular K
Constantinople rides on account of their
more pronounced bell shape (hence the
name). The design comes from a pair of
18" K cymbals made in Constantinople
in the early 20th century, now owned by
Joe Adato of the Cleveland Orchestra.
The larger surface area of the bell is
intended to provide a wider range of
frequencies without being overpowering.
Lathe to the rhythm
The theory behind the spiral lathing
featured on the Hi Bell rides is that it
helps keep the cymbals controllable,
so while the rides are all thin enough
to open easily for crashing, sticking
is reproduced cleanly without being
swamped by wash. The spiral lathing
is only present from the bell to roughly
halfway out of each cymbal, in order
to strike a balance between control
and liveliness. The exception to this is
the Dry ride, which features full spiral
lathing right up to the outer edge.
The three 20" models are known
respectively as Thin High, Thin Low and
Medium Thin Low (the fi rst part of each
name refers to the cymbal thickness, the
second the tuning). All three cymbals are
supremely responsive and the more you
play into them, the more involved they
become (as opposed to simply louder).
The Thin High model gives a sweet,
silvery ping over a light frothy wash. As
its name suggests, the cymbal has a high
tuning – while its pitch is indeed high, the
overall tone of the ride is rounded and
warm. The prominent nature of the
bell means that moving up to it brings
a distinct focus to patterns.
The Thin Low model is a good deal
deeper in pitch and overall the cymbal
gives a slightly fatter and more insistent
note in comparison to the Thin High. The
bell is similarly meatier in its response,
but the distinctions are all relative – this is
still a wonderfully subtle cymbal. Sitting
in between the two Thin models in pitch
is the Medium Thin Low ride. Its extra
weight and thickness imbues it with
a brighter and louder response and a
fraction less wash. Beneath the opening
clarity sits a delicious low note.
Hi and dry
Trading up to the 22" rides magnifi es all
of the qualities found in the 20" models.
The bigger cymbals are fabulously
complex instruments and it is near
impossible to do them justice in a few
sentences. The Thin High, Thin Low
and Medium Thin Low examples, while
all being very different, are as desirable
as any ride cymbal that I have ever
encountered. The stick sound is clear
and tight, the murmur of background
wash is simply perfect, and crashing
brings to life all of their wondrous colour.
They respond intimately, fl owing with
whatever you play and it is diffi cult to
think of any way in which these cymbals
could be improved.
The Dry ride is a heavier cymbal and
doesn’t give in quite the same manner
as the other cymbals, but it is extremely
articulate as a result. It generates a
sparser wash and its note is very dark and
very dry. Aside from the obvious jazzers,
Latin players and even a fair few rockers
would fi nd that there is plenty about this
cymbal to love.
Flat out
The two Flat rides are both delightfully
thin and, like their Hi Bell counterparts,
are rippled with a comprehensive pattern
of hammering and lathing. Both models
wobble sensuously when played, the
larger of the two quite voluptuously.
The 20" gives a clean, warm stick
sound over a gentle wash. The 22" ride
is far darker and mellower and produces
a lovely, woody stick sound. The best
Flat rides are full of subtleties, dynamic
capabilities and character and either
of this pair make splendid examples.
The 13" hi-hats are, in a single word,
amazing. Closed, they have a soft and
delicate tone, without sounding mushy.
All three of the 20" rides are supremely
responsive and the more you play into them,
the more involved they become. Trading up to
the 22" models magnifi es these qualities.
The cymbals have been
extensively hammered
and lathed and the Hi Bell
models feature dramatic-
looking spiral lathing.
While Vintage Ks will always be sought after by collectors,
these cymbals show that modern equivalents can sound just
as special. If the existing K Constantinople range was already
held in high regard, these new cymbals manage to surpass the
standards set. Paul Francis has taken over where Armand Zildjian
left off and produced some of the most complete rides that I’ve ever
heard, while the hi-hats are nothing short of a revelation. All of the
cymbals here work across various dynamic boundaries and though
they have clearly been designed with the needs of jazzers in mind,
they should appeal to a broad range of drummers. Musical players
from pretty much any genre would be advised to take a listen.
Outstanding cymbals that are full of
character and bursting with musicality.
Such individuality means the cost is high, the range
is currently restricted to rides and hi-hats only.
★★★★★
RATING
When played with brushes they are
almost feather-like and stepping brings
a dry, warm ‘chick’ sound. However,
they open for a sizzling wash that quickly
reaches a roar, while the crunch that they
deliver when they are half open is much
thicker-sounding than their diameter
would suggest. They never sound
anything less than eloquent and musical,
and are an excellent and incredibly
versatile pair of hats.
The shape of the new Hi Bell rides
was modelled on that of a 100-year-old
pair of Zildjian orchestral cymbals.
Each of the K Constantinople
ride cymbals represents a week’s work.
Only a select few Zildjian
cymbalsmiths get to work on K
Constantinoples and they are
only made in small batches.
RHY123.gear_zildk 0102RHY123.gear_zildk 0102 20/2/06 4:25:06 pm20/2/06 4:25:06 pm