Difference between revisions of "Paiste Dimensions 20" Thin China"
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'''Paiste's Description:''' [[Paiste Thin China#Dimensions|<<< - >>>]]<br> | '''Paiste's Description:''' [[Paiste Thin China#Dimensions|<<< - >>>]]<br> | ||
'''Review:''' "The Dimensions Chinas are very thin, so you'd want to invert them to avoid destroying the edge. The bells have a traditional cup shape with an extra-tight lathing pattern. The surfaces of the cymbals have extra bands of hammering in concentric circles, almost like a finishing touch. Some were near the bell, some around the middle, some out at the edge, and some in combination.<br> | '''Review:''' "The Dimensions Chinas are very thin, so you'd want to invert them to avoid destroying the edge. The bells have a traditional cup shape with an extra-tight lathing pattern. The surfaces of the cymbals have extra bands of hammering in concentric circles, almost like a finishing touch. Some were near the bell, some around the middle, some out at the edge, and some in combination.<br> | ||
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All three sizes (but especially the 20") responded well to being struck in different areas. The pitch of the spread seemed to rise as I moved nearer to the bell. I hesitate to use the word "trashy" in describing these cymbals because I liked their sound so much, but that aspect was definitely there—along with plenty of projection. Each cymbal had its own gong-like character and pitch, ranging from floating and high in the 16" to low and smoky in the 20".<br> | All three sizes (but especially the 20") responded well to being struck in different areas. The pitch of the spread seemed to rise as I moved nearer to the bell. I hesitate to use the word "trashy" in describing these cymbals because I liked their sound so much, but that aspect was definitely there—along with plenty of projection. Each cymbal had its own gong-like character and pitch, ranging from floating and high in the 16" to low and smoky in the 20".<br> | ||
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As with the crashes, the larger Chinas had more power when struck or rolled with mallets. The 16" topped out quickly, but the18" was full of potential. The 20" was a virtual furnace of sound, giving off waves of heat.<br> | As with the crashes, the larger Chinas had more power when struck or rolled with mallets. The 16" topped out quickly, but the18" was full of potential. The 20" was a virtual furnace of sound, giving off waves of heat.<br> | ||
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These Chinas would work well in low- to medium-volume settings, the larger ones having the greatest capacity. In addition, I'd consider playing ride patterns on the 20" cymbal in a very quiet situation, using sticks or brushes."<br> | These Chinas would work well in low- to medium-volume settings, the larger ones having the greatest capacity. In addition, I'd consider playing ride patterns on the 20" cymbal in a very quiet situation, using sticks or brushes."<br> | ||
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Review written by Chap Ostrander ("Paiste Dimensions Cymbals", Modern Drummer, April 2000, pp.49-50)<br> | Review written by Chap Ostrander ("Paiste Dimensions Cymbals", Modern Drummer, April 2000, pp.49-50)<br> | ||
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'''Artist/song where it can be heard:''' [[Paiste Paul Bostaph#Paul Bostaph|Paul Bostaph]], [[Paiste Rayford Griffin#Rayford Griffin|Rayford Griffin]] | '''Artist/song where it can be heard:''' [[Paiste Paul Bostaph#Paul Bostaph|Paul Bostaph]], [[Paiste Rayford Griffin#Rayford Griffin|Rayford Griffin]] | ||
Latest revision as of 01:53, 2 November 2024
Group: Chinas (& Swishes)
Type: Thin China
Size: 20 Inch
Series: Dimensions
Weight: 1612g (1999 Serial Number), 1615g (6 rivets, 1999 Serial Number)
Median Weight: 1614g (n=2)
Years of production: 1999 - 2005
Sound file: Dimensions 14/16/18/20 Thin China Set
Paiste's Description: <<< - >>>
Review: "The Dimensions Chinas are very thin, so you'd want to invert them to avoid destroying the edge. The bells have a traditional cup shape with an extra-tight lathing pattern. The surfaces of the cymbals have extra bands of hammering in concentric circles, almost like a finishing touch. Some were near the bell, some around the middle, some out at the edge, and some in combination.
All three sizes (but especially the 20") responded well to being struck in different areas. The pitch of the spread seemed to rise as I moved nearer to the bell. I hesitate to use the word "trashy" in describing these cymbals because I liked their sound so much, but that aspect was definitely there—along with plenty of projection. Each cymbal had its own gong-like character and pitch, ranging from floating and high in the 16" to low and smoky in the 20".
As with the crashes, the larger Chinas had more power when struck or rolled with mallets. The 16" topped out quickly, but the18" was full of potential. The 20" was a virtual furnace of sound, giving off waves of heat.
These Chinas would work well in low- to medium-volume settings, the larger ones having the greatest capacity. In addition, I'd consider playing ride patterns on the 20" cymbal in a very quiet situation, using sticks or brushes."
Review written by Chap Ostrander ("Paiste Dimensions Cymbals", Modern Drummer, April 2000, pp.49-50)
Artist/song where it can be heard: Paul Bostaph, Rayford Griffin
