Paiste Giant Beat

Giant Beat

Giant Beat

Special order 15" sound edge

Introduction: 1967

Discontinued: 1974

Re-Introduction: 2005

Background: In the late 50’s Paiste experimented with the CuSn8 bronze alloy and pioneered CuSn8 cymbals in 1963 with the "Stambul65" • In the 60’s the electrified sound generated was groundbreaking and popular music, simply stated, became loud and irreverent • CuSn8 bronze that Paiste worked on turned out to be perfect for the new soundscape with its amplified volume and frequencies • 1967 Paiste launched the Giant Beat cymbals, which are characterized by warmth, strength and brilliance drummers had not known before. A resurgence in vintage sounding cymbals was the catalyst in their re-introduction in 2005. Thin Giant Beats were added to the line in 2012.
Innovation: First "fully professional" cymbal series to be manufactured from the popular CuSn8 Bronze, “2002 Bronze” (Stambul65 was the 1st.)

Alloy: CuSn8 (Also known as "2002 Bronze")

Quality: Professional

Production: Manual craftsmanship • Hand hammering, hand lathing • Proprietary manufacturing methods

Applications: Soft to loud settings • Live and recording • Rock, Blues, Rock’n’Roll, Swing, Country, Garage Rock, British Rock and Pop, Beat

Users: Working musicians, enthusiasts • Drummers eager to re-capture Paiste vintage cymbal sounds from the late 60’s

Sound: Bright and warm with a multilayered, full, dark, glassily splendid presence. The following description was posted in the Paiste 1969 catalog:

"Continuing their search for new cymbal sounds and tone colors, the Paiste Development have now turned their attention to the problems and requirements of Beat Group and Big Band drummers.
As the result of extensive consultations between Paiste Technicians and top line drummers in these fields of music, Giant Beat cymbals were evolved.
The obvious problem of the Beat or Big Band drummer is competing with the sound of the amplifiers or a large number of musicians around him - GIANT BEAT CYMBALS provide the answer!
The production of GIANT BEAT is considerably different to the technique normally employed. Each GIANT BEAT cymbal is passed through a unique hardening process to insure it will stand up to the rigors of continuous heavy playing - this process combined with the way in which the cymbals are shaped, hammered and annodised, finally produces a set of cymbals with a sound capable of cutting through the loudest of Groups or Big Band sections.
Although GIANT BEAT cymbals can be purchased individually, they are offered in tuned sets - Matched 15" Hi-hat, 18" Crash and 20" Ride.
GIANT BEAT cymbals with their distinctive SOUND, SHAPE AND COLORING are fast growing in popularity - try them soon you will be impressed."

Rides

• Multi - 18" 19" 20" 21" 22" 24" 26"
  

Crashes

• Thin - 18" 20"
  

Hi-Hats

• Hi-Hat - 14" 15" 16"
  

Giant Beat vintage

For identification purposes, there were 2 different embossing/logos: the first was '69 and had the star, crescent (with 15 -17 cross hatches) and sun rays with the "Trade Mark" over the top ray in smaller lettering. The "Paiste" name was below the star & crescent, with the Location "Made in Switzerland" under that, this is located at the 3-O'clock position.

1971 the logo changes: "Paiste" name at very top in large lettering, sun rays, star and crescent (with 15 cross hatches) under it.The "Trade" and "Mark" were aligned to the outside of the star & crescent where the "Trade" was underneath the "E" in Paiste, and "Mark" was off to the right side of the crescent. The "R.Paiste" signature was under the star & crescent and the "Made in Switzerland" was underneath that.

Introduction: 1967

Discontinued: 1974

Background: In the early 60’s Paiste experimented with the CuSn8 bronze alloy and pioneered CuSn8 cymbals in 1965 with the "Stambul65" • In the 60’s the electrified sound generated was groundbreaking and popular music, simply stated, became loud and irreverent • CuSn8 bronze that Paiste developed turned out to be perfect for the new style of music with its amplified volume and frequencies • 1967 Paiste launched the Giant Beat cymbals, which are characterized by warmth, strength and brilliance drummers had not known before. A resurgence in vintage sounding cymbals was the catalyst in their re-introduction in 2005.
Innovation: Paiste's first professional level series to be made from B8 bronze.

Alloy: CuSn8 (Also known as "2002 Bronze")

Quality: Professional

Production: Manual craftsmanship • Hand hammering, hand lathing • Proprietary manufacturing methods

Applications: Soft to loud settings • Live and recording • Rock, Blues, Rock’n’Roll, Swing, Country, Garage Rock, British Rock and Pop, Beat

Users: Working musicians, enthusiasts • Drummers eager to re-capture Paiste vintage cymbal sounds from the late 60’s

Sound: Bright and warm with a multilayered, full, dark, glassily splendid presence.

Nick Mason playing a full set of "White label" giant beats

Bonham, Sydney 1972 with his "Black label" Giant beats!

Full set of vintage giant beats

The following description was posted in the Paiste 1969 catalog:
"Continuing their search for new cymbal sounds and tone colors, the Paiste Development have now turned their attention to the problems and requirements of Beat Group and Big Band drummers. As the result of extensive consultations between Paiste Technicians and top line drummers in these fields of music, Giant Beat cymbals were evolved. The obvious problem of the Beat or Big Band drummer is competing with the sound of the amplifiers or a large number of musicians around him - GIANT BEAT CYMBALS provide the answer! The production of GIANT BEAT is considerably different to the technique normally employed. Each GIANT BEAT cymbal is passed through a unique hardening process to insure it will stand up to the rigors of continuous heavy playing - this process combined with the way in which the cymbals are shaped, hammered and anodized, finally produces a set of cymbals with a sound capable of cutting through the loudest of Groups or Big Band sections."

The first generation of Giant Beats were printed with white ink at 9:00 O'clock (see picture gallery below) starting in 1967 until early 1972.

The second generation of Giant beats featured Black ink (at 12:00 O'clock) and a slight change to the way they were stamped.

This series was a concept of multipurpose cymbals. Initially, they consisted of three sizes of cymbals and one size of Hi-Hats (15").

*multipurpose

• Giant beat - **18" 20" 24"
  

(From 1972 until early 1974 "black label" versions included 14" Hi-Hats)

Hi-Hats

• Hi-Hat - 14" 15"
  

(*Originally, Paiste did not designate the type of cymbal with the exception of the hi hats (see Paiste profile 1 pictures below), in some advertising they labeled then "crash" or "ride" Ludwig listed the cymbals this way in thier catalogs and not as "multipurpose").
(**The 18" was also listed as a "heavy" in Nick Mason's profile and Bonham's endorsement deal, see pictures below)

Serial numbers

Giant Beats were stamped with serial numbers beginning in 1972 through 1973, any cymbals that were leftovers and sold in 1974 also got serial numbers (4xxxxx).
The numbering system follows the six digit "Swiss standard": first digit of the serial is the year of manufacture i.e. #3xxxxx was made in 1973 (see picture below).
As a rule of thumb: if your Giant beat does not have a serial number, it's definitely a white label.
If the printing is worn off your cymbal, there's two ways to tell the age: the emboss or stamp (early or late version, see above) or if it does or does not have a serial number.
If your Giant beat does have a serial number, it's either a very late run white label or a black label, it's safe to say virtually all black labels had serial numbers!

• 

  Full set: 15", 18", 20", 24"

• Gb 14 serail 1.jpg

  1973 serial number

• 

  15" white label hi-hats

• 

  15" top hat white label

• 

  18" multi black label

• 

  20" multi white label

• 

  24" multi white label

• 

  Very clean White label

• 

  Black label logo

• 

  White label logo

• 

  Paiste magazine 1968

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  Paiste magazine giant beat ad 1968

• 

  Paiste giant beat ad from around 1969/70

• 

  Paiste Catalog/price list 1970

• 

  Ludwig/Paiste catalog 1971

• 

  Paiste giant beat & seven sound set - 1973 Ludwig Catalog

• 

  English distributor: Dallas Arbiter catalog (pre 2002) 1971-'72

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  Bonham's 1971 Giant beat setup

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  Carmine's 1971 Giant beat setup

• 

  Nick Mason's 1971 Giant beat setup

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A word about Bonham's use of Giant beats throughout his career: (since he was by far the most famous user of these cymbals, it's important to understand when he used them and on what albums):
It is believed that when Zeppelin went on tour in the U.S. opening for Vanilla fudge (Dec 1968 through early 1969), Carmine Appice introduced him to and possibly loaned him a set of Giant beats (Carmine also helped him get a Ludwig endorsement which could've led to his 1st. use of Paiste's considering Ludwig was the U.S. distributor!).
It is generally agreed that Bonham started using Giant beats full time in Feb. of 1970 (previously, throughout 1969 he was using a set of 602's possibly mixed with Carmine's Giant beats or a set from Ludwig).
Photos show that Bonham was using 15" 602 sound edges very early in 1970, he may have switched back and fourth between Giant beats and 602's, but it looks and sounds like the 602 sound edges were his main hi-hats until the U.S. tour in May of 1973 (then 2002's).

Album/tour usage*:
Led Zeppelin II: Possibly all 602's or a mix of both, this album was recorded while on tour in the U.S in 1969, he could’ve used Carmine's Giant beats that were loaned to him or a set from Ludwig.
Led Zeppelin III (and tour): 18", 20", 24" Giant beats, 15" 602 sound edges
Led Zeppelin IV (and tour): 18", 20", 24", Giant beats 15" 602 sound edges (yes, "Rock and roll" was recorded with 602 sound edges!)
Houses of the Holy: 18", 20", 24", Giant beats 15" 602 sound edges (early part of the 1973 tour shows him using a 16" 2002 on his far left)
The Song remains the same (May 1973 U.S. tour): 18", 20", 15" sound edges, (all 2002's), 24" Giant beat
Physical Graffiti (and tour): 18", 20", 15" sound edges, (all 2002's), 24" Giant beat
(important note: half the songs on Physical Graffiti were leftovers from the three previous albums, you can compare the differences in cymbals by listening to some songs back to back e.g: "night flight" vs. "in the light")
Presence: 16", 18", 24" , 15" sound edges, (all 2002's)
In through the out door: 16", 18", 24" , 15" sound edges, (all 2002's)
As you can see, on half of the Zeppelin albums he used Giant beats and continued to use his 24" on Physical Graffiti and the subsequent tour in 1975.
It wasn't until the last two albums that he used all 2002's with a 20" 602 thrown in for good measure!

(*) This chart is based on data from various sources, we have made our best effort to ensure it's accurate but it cannot be guaranteed 100%

BONHAM'S CYMBALS - THE CRASHES - ANALYSIS AND DEMO
BONHAM'S CYMBALS - THE RIDES - ANALYSIS AND DEMO
BONHAM'S CYMBALS / THE HI-HATS / ANALYSIS AND DEMO

Bonham's Paiste endorsement July 1971 note: Paiste supplied Bonham an 18" heavy in Feb. of '73

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Information from:Paiste catalogs, Todd Little, George Fludas, Dan Garza
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