Difference between revisions of "Orion Strondo 17" Rock Crash"
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The one thing I couldn’t foresee was the physical effect these cymbals had on my body. The first time I played the Strondo crashes, I felt a sharp stinging sensation shooting through my hands and arm. The cymbals were so responsive, I had to adjust my playing style slightly to make sure I was hitting the cymbals on their “sweet and safe spots” to avoid that wonky feeling in my hands. Despite this, I enjoyed using the cymbals and was quite taken by their vibrancy. | The one thing I couldn’t foresee was the physical effect these cymbals had on my body. The first time I played the Strondo crashes, I felt a sharp stinging sensation shooting through my hands and arm. The cymbals were so responsive, I had to adjust my playing style slightly to make sure I was hitting the cymbals on their “sweet and safe spots” to avoid that wonky feeling in my hands. Despite this, I enjoyed using the cymbals and was quite taken by their vibrancy. | ||
| − | The 17" and 18" sizes were surprisingly different in texture. While the 17" boasted bright and cutting qualities (with a relatively quick decay), the 18" was noticeably dull and trashy. I had the feeling that there were multi-layered firecracker blasts hidden under the surface, just dying to get out. But the sound was inexplicably masked by a rush of darker tones. They were so dark, in fact, that I decided at one point to use the 18" crash as a China, offsetting the heavy ride’s loud “tick.”" <br> | + | The 17" and 18" sizes were surprisingly different in texture. While the 17" boasted bright and cutting qualities (with a relatively quick decay), the 18" was noticeably dull and trashy. I had the feeling that there were multi-layered firecracker blasts hidden under the surface, just dying to get out. But the sound was inexplicably masked by a rush of darker tones. They were so dark, in fact, that I decided at one point to use the 18" crash as a China, offsetting the heavy ride’s loud “tick.” |
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| + | In one test session I set up all three crash cymbals straight across the front of my kit, and played them as an “ensemble.” I played dynamic fills, dividing beats between the snare, toms, and cymbals. A cutting, near-lethal wash lingered shortly, but then quickly evaporated. It sounded absolutely amazing: crisp and loud, with lots of wetness. At one point I thought I was listening to recorded, processed drums. This prospect might turn off some readers, but it’s just one example of how professional these cymbals sounded when played." <br> | ||
Review written by Will Romano ("Product Close-Up - Orion Strondo Series Cymbals - These Brazilian Beauties Speak In Many Tongues", Modern Drummer, July 2006, p. 40)<br> | Review written by Will Romano ("Product Close-Up - Orion Strondo Series Cymbals - These Brazilian Beauties Speak In Many Tongues", Modern Drummer, July 2006, p. 40)<br> | ||
''' Artist/song where it can be heard:''' | ''' Artist/song where it can be heard:''' | ||
Latest revision as of 12:29, 12 August 2024
Group: Crashes
Type: Rock Crash
Size: 17 Inch
Series: Strondo
Weight: ?g
Years of production: 2006 - ?
Sound File: unknown
Orion's Description: <<< - >>>
Review: "Our review batch included 17", 18", and 19" Rock crashes. Orion states that these cymbals are geared to heavy-hitting rock drummers. Accordingly, I suspected that they would be clear, loud, and cutting. They were. Their properties were enhanced by what appeared to be sideswiped welts on the surface of the cymbals, put there to ensure brightness and sonic control.
The one thing I couldn’t foresee was the physical effect these cymbals had on my body. The first time I played the Strondo crashes, I felt a sharp stinging sensation shooting through my hands and arm. The cymbals were so responsive, I had to adjust my playing style slightly to make sure I was hitting the cymbals on their “sweet and safe spots” to avoid that wonky feeling in my hands. Despite this, I enjoyed using the cymbals and was quite taken by their vibrancy.
The 17" and 18" sizes were surprisingly different in texture. While the 17" boasted bright and cutting qualities (with a relatively quick decay), the 18" was noticeably dull and trashy. I had the feeling that there were multi-layered firecracker blasts hidden under the surface, just dying to get out. But the sound was inexplicably masked by a rush of darker tones. They were so dark, in fact, that I decided at one point to use the 18" crash as a China, offsetting the heavy ride’s loud “tick.”
In one test session I set up all three crash cymbals straight across the front of my kit, and played them as an “ensemble.” I played dynamic fills, dividing beats between the snare, toms, and cymbals. A cutting, near-lethal wash lingered shortly, but then quickly evaporated. It sounded absolutely amazing: crisp and loud, with lots of wetness. At one point I thought I was listening to recorded, processed drums. This prospect might turn off some readers, but it’s just one example of how professional these cymbals sounded when played."
Review written by Will Romano ("Product Close-Up - Orion Strondo Series Cymbals - These Brazilian Beauties Speak In Many Tongues", Modern Drummer, July 2006, p. 40)
Artist/song where it can be heard:
