PAISTE_Magazine_high_2010

StorieS Matt Byrne

Jason sutter

Percussionists

2002 series History

Product reviewS alPHa Brilliant cyMBals

artist Quotes

series Facts

cyMBal aPPlication Guide

interviewS cHarlie Benante

JiM Keltner

nicKo McBrain

dave McaFee

aQuiles Priester

dicK Jones

Jeremy Spencer # 5FDp www.Paiste.coM

www.Paiste.com • Qual ity crafted cymbalS23

The paiste cymbal company has been in our family for four generations,

with the beginnings going back over a century.

Great-grandfather michail T. paiste opened a music store in St.

petersburg, russia, in 1901. Fairly soon thereafter, the first cymbals,

and also gongs were custom made to order in the repair shop, because

cymbals were not otherwise available. michail T. paiste moved his

music store to our ancestral home in Tallinn, estonia during the russian

revolution.

There, Grandfather michael m. paiste took a strong interest in cymbal

and gong making, and made it his main occupation in the 1930s.

Through hard work and dedication he fully developed the art of making

cymbals and gongs, and laid the foundation for our present know-

how. He achieved growing success and recognition, and supplied his

instruments all over europe and even to the USA.

Through the turbulences of the Second World War, the family ended up

in Germany in 1945, where Grandfather had to rebuild his business from

the ground up.

The family made the decision in the 1950s to seek a new permanent

home, and my Uncle robert paiste, and my father Toomas paiste,

established our present headquarters in Switzerland in 1957. Here, they

worked hard at advancing the family business, and finally achieved

international success through such venerable lines as the Formula 602,

Giant Beat, and the 2002 in the 1960s and 1970s, as these cymbals took

to the drumming world like a storm.

Today, we hold a unique and strong position in the world of cymbals

and gongs. Of course, we owe this to the hard work and dedication of

generations of paiste family members, and to the loyal and devoted

cymbal and gong makers who work for us. most importantly though, we

owe all this to the generations of drummers and percussionists who have

played our instruments, who have helped us identify musical trends, and

who have assisted us in developing up-to-date sounds at all times.

With this in mind, it is my great pleasure to extend our deep gratitude

and heartfelt appreciation to all you drummers and percussionists out

there who continue to support us and allow us to keep a great tradition

alive. We promise to keep it up!

erik paiste

creditseditorial/concept: renato müller

contributions by: erik paiste, Kelly paiste, matt Byrne,

ed clift, meelis Kasepalu, Jörg Kohlmorgen, rich mangicaro,

Tim Shahady, Andrew Shreve, roger Staffelbach, Jason Sutter,

Wayne Wilburn

contribution photographers: Ingo Baron, robert Downs,

ronn Dunnett, James Ferris, Harmony Gerber, ross Haflin,

Jeff Ivester, Diana Killian, Antonio rossa, Tim Shahady,

rob Shanahan, T. Volkmer

pAISTe SWITZerLAnD

phone: +41-41-9393333 / Fax: +41-41-9393366

pAISTe GermAny

phone: +49-4331-94790 / Fax: +49-4331-947932

pAISTe USA

phone: +1-714-529-2222 / Fax: +1-714-671-5869

Toll Free: 800 4pAISTe

[email protected] | www.paiste.com

elcome to the PaiSte world.W

Nicko mcBraiNInducted in Guitar Center’s DrumLegends Hall of Fame

Truly a legend of heavy metal, Iron maiden’s nicko mcBrain was

inducted into Guitar center’s “Drum-Legends” Hall of Fame at Guitar

center’s Drum-Off grand finals in Los Angeles. nicko brought the house

down performing Iron maiden classics “The Trooper” and “Hallowed Be

Thy name”.

iroN maideN moVie FliGHt 666“Flight 666” takes viewers around the world from India to Australia,

from Brazil through the United States to canada on Iron maiden’s

customized Boeing 757, “ed Force One”. playing 23 shows in 13

countries in only 45 days, the band lets viewers experience the

challenges and the good times of a sold out world tour. now music

fans can know what it’s like to live the life of metal legends Iron maiden.

www.Paiste.com • Qual ity crafted cymbalS4 www.Paiste.com • Qual ity crafted cymbalS 5

Carlos McSwain, Kelly Paiste, Snoop Dogg

Paiste at LoLLaPaLoozaThis year at Lollapalooza the weather was all over the map, but the paiste

artists were on fire. chicago’s Grant park was packed from edge to edge as

music fans from around the world came together to see some of the best

established bands as well as some of the hottest up and coming groups at the

festival.

Throughout the three day festival paiste cymbals were heard on every stage,

thanks to Danny carey of Tool, Jeremiah edmond of manchester Orchestra,

nathan Followill of Kings of Leon, carlos mcSwain of Snoop Dogg, matthew

Abeysekera of Amazing Baby, Olly peacock of Gomez, Tony “Thunder” Smith

of Lou reed and Kevin rice of The Virgins.

phil rudd # Ac/Dc - “Black Ice” Tommi portimo # Sonata Arctica - “The Days Of Grays”Larry mullen Jr. # U2 - “no Line On The Horizon” matt Byrne # Hatebreed - “Hatebreed”Dave Witte # municipal Waste - “I’m Going Away”matt KuyKendall # All Shall perish - “Awaken The Dreamers”mike Ambrose # Set your Goals - “This Will Be The Death Of Us”Jason mcGerr # Death cab For cutie - “meet me On The equinox” (Twilight movie “new moon” sound track) & “The Open Door” epDave mcAfee # Toby Keith - “American ride”Bill rieflin # r.e.m. - “Live At The Olympia”Josh Freese # Weezer - “raditude”Steve Jordan # John mayer - “Battle Studies”Jordan Burns # Strung Out - “Agents Of The Underground”Jeremy Spencer # Five Finger Death punch - “War Is The Answer”Sammy merendino # The Harlem parlor music club - “Salt Of The earth”Dave Lombardo # Slayer - “World painted Blood”

artist recordiNg HigHLigHts2009 was an amazing year for Paiste artists on recordings. From the long anticipated new releases by rock heroes U2 and AC/DC to breakout hits by up and coming bands Five Finger Death Punch, Electric Six, Set Your Goals and The Agonist, Paiste cymbals were heard around the world by listeners of every style of music.

2009 wiNter Namm artist get-togetHerErik & Kelly Paiste hosted an artist get together at the 2009 Winter NAMM Show. Paiste artists from around the globe spent the evening with the Paiste family and company staff to re-hash old friendships. Pictured from left to right: Mikkey Dee, C.G. Ryche, John Robinson, Nicko McBrain, Jason Sutter, Kelly Paiste, Franklin Vanderbilt, Erik Paiste, Charlie Paxson, Enzo Todesco, Bobby Jarzombek, and Dave McAfee.

PaiSte artiSt & cymbal newSaleX van Halen gUitar Hero game

After almost a year of wide-spread rumors, Activision launched it’s highly anticipated Guitar Hero “Van Halen” video game. As one of the most talked about and influential bands in rock music history, Van Halen’s three decade existence has led them to over 56 million albums sold in the USA.

Guitar Hero VH seats you at Alex’s full kit with his paiste cymbals

including his 40” Symphonic Gong directly behind you. play along on

Van Halen hits, including “running With The Devil”, “everybody Wants

Some”, “Hot For Teacher” and “Jump”. you’ll be performing with band

mates eddie, David and Wolfgang on one of the most elaborate stages

ever built in front of thousands of screaming fans. That’s rock n’ roll!

Cymbal Set 2009/10:

20” 2002 medium

19” 2002 crash

15” 2002 Sound edge Hi-Hat

20” 2002 crash

24” Giant Beat multi-Functional

20” 2002 medium

20” 2002 china

22” 2002 crash

40” Symphonic Gong

Paiste News


Paiste creates “Ferrari” cymBaLs for nicK Masonpink Floyd drummer and long time paiste artist nick mason’s passion

extends beyond the drum set to the race track. As a car enthusiast,

collector and passionate driver nick drove a Lola-cosworth T297

(painted to evoke the cover of the band’s ground breaking 1979

album “The Wall”) to a 2nd place finish in his class at the 6 Hours of

Silverstone endurance sports car race.

When the Henry Ford museum asked nick to be a part of the rock

Star’s cars and Guitars 2 exhibition he contacted paiste to create a

very special set of cymbals for the exhibit. Black colorsound Signature

“Ferrari” cymbals were designed in coordination with nick and Ferrari

for this special event.

U2 - “the 360° toUr”

Kelly Paiste and Frank Beard

artist toUriNg HigHLigHts biggeSt world toUrS – long awaited/antiCipated

2009 was a year of long awaited

world-wide concert tours from some

of today’s top bands. Whether they

were r&B, pop, rock, or metal shows,

paiste had another record breaking

year with many of the most highly

anticipated tours of the year.

phil rudd # Ac/Dc - “Black Ice”

Larry mullen Jr. # U2 - “The 360° Tour”

nathan Followill # Kings of Leon

Stacy Jones # miley cyrus

reiner “Kallas” Hubert # Sarah Brightman

Jukka nevalainen # nightwish

Abe Laboriel Jr. # paul mccartney

matt Letley # Status Quo

Scott crago & Don Henley # eagles

nigel Olsson # elton John

chuck Burgi # Billy Joel

Tris Imboden # chicago

rashid Williams # John Legend

Franklin Vanderbilt # Lenny Kravitz

Dave mcAfee # Toby Keith

rafael Gayol # Leonard cohen

Lenny castro # Fleetwood mac

Joey Jordison # Slipknot

Danny carey # Tool

Andreas Brobjer # Lady Gaga

Derrick Wright # Adele

carlos mcSwain # Snoop Dogg

FranK Beard zz toP’s aNNiVersary set of 2002s & goNgpaiste made a full set of 2002 cymbals and a 40”

Symphonic Gong with a one-of-a-kind “40th Anniversary”

logo for the legendary drummer Frank Beard of ZZ Top.

Originally formed in 1969, this Texas Trio still contains

all three original members, (Frank Beard, Billy Gibbons,

and Dusty Hill) after 40 successful years in the music

business.

They are still touring and rocking with their ever-classic

line-up, performing songs like “Tush”, “Gimme All your

Lovin”, “cheap Sunglasses”, amongst other classics.

ZZ Top is “That little ol’ Band from Texas”, as they call

themselves yet they always know how to put on a big

show and continue to fill arenas around the globe. Their

charisma on stage is unsurpassed and the show is one

that all fans need to witness.

aiste NewsP


DAVe ASTOr

# pATHOLOGy

JOSe LUIS AyALA Jr.

# DUeLO

AnDreAS BrOBJer

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JeFF BrOWn

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neIL cOOper

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rOBIn DImAGGIO

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pArIS eScOVeDO

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cHrISTIAn GrOcHAU

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KeVIn rIce # THe VIrGInS

pHILIpp ScHADeBrODT # eISBLUme

LArry HerWeG

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mArTIn InnerBIcHLer

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ArnO KAmmermeIer

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cHerry KOyAnAGI

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cHrIS THOmpSOn# eLI yOUnG BAnD

LUKA VAn De pOeL # DeWOLFF

New sigNiNgsPaisteN ew sigNiNgs

www.Paiste.com • Qual ity crafted cymbalS1 0 www.Paiste.com • Qual ity crafted cymbalS 1 1

the SoUnd developmentSound Development is our r&D team, made up of members of the

paiste family, key production personnel, and experienced working

drummers. Together these individuals from different backgrounds pool

their knowledge and execute the search for new sounds. They review

feedback and input from drummers and percussionists across the

world, and so interpret and then formulate our understanding of their

needs. The resulting sound idea is then translated into likely production

parameters and prototypes are made. These are reviewed and revised

over and over until they match our

understanding of the original sound

idea. prototypes will then be reviewed

with top paiste artists who evaluate

their usefulness and accuracy for the

stated purpose. Further changes may

be made until the final prototype is

declared good and becomes the master

cymbal, of which several will be made

for later production purposes.

the maSter CymbalThe master cymbals created by Sound Development form the basis

for production and are kept as references in the different production

departments. each department’s goal is to contribute to producing

faithful copies of these reference cymbals. This is the principle that

ensures the ultimate in consistency and quality.

“My visit to the Paiste Factory was like walking into cymbal heaven. The

employees are so warm and welcoming, and through that, transfer the

sound we all know and love. The production line consists of masters in

cymbal making. From the melted metal to the finished product, each

step of the process is done with care and precision.” Curt Bisquera # Bisquera Brothers

the Firing departmentThe firing department prepares the round disks for later stages of

production. A visual inspection ensures uniformity and sorts out flawed

disks. The center of the cymbal is then heated to soften the metal, so

that a bell can be pressed into it. A hole is then punched through the

center of the bell. Some cymbals are sent through a high temperature

oven in order to anneal them.

“As a career Paiste cymbal user, it was always a desire to visit the actual

place where they made the magic happen. In doing so, I realized the level

of dedication and love for their craft that ALL in the Paiste family share.”

Scott Travis # Judas Priest

the hammering departmentThe hammering department gives the cymbal its shape. To conserve

human energy, we utilize a pneumatic hammer. This tool aids the

craftsman in the initial shaping of the cymbal. With his feet the craftsman

controls the velocity and force, and with his hand the spacing and

pattern of the hammering. The process is comparable to mastering four-

way independence in drumming. extensive and careful hand hammering

using only hammer and anvil accomplishes the fine-tuning of the shape.

An important aspect of this process is the truing, ensuring uniformity in

shape throughout the cymbal.

“First of all, I have never in my life seen a factory so incredibly clean

and orderly. I would literally feel comfortable “eating off the floors”! The

attention to detail I found to be unsurpassed in any other workplace I

have ever seen, right down to how the cymbals are stored at completion.

Unbelievable! It all bespeaks of that incredible Paiste precision. That

precision carries over into the sound of a Paiste cymbal. So focused,

defined, exact, and musical!” Tris Imboden # Chicago

the lathing departmentThe lathing department reduces the thickness of the cymbal to the

correct parameters which usually also involves a thinning of the surface

towards the edge of the cymbal. Our tolerances are minute, and

measuring by micrometer is necessary to achieve them.

“Watching the master craftsmen at Paiste hammer out cymbals is a

wonderful sight. This human element is stunning. There isn’t a machine

here just pounding out cymbals.” Tony “Thunder” Smith # Lou Reed

the FiniShing departmentThe finishing touches are then applied by smoothing the cymbal’s edges,

silk-screening brand marks and model designations on the instrument

and then coating it with a special protective solution to prevent

oxidization.

“Finally, I found in Paiste cymbals exactly the sound I have been looking

for: Silvery, crystal clear and straight as an arrow, with a great sustain!

After having seen the factory and having met the people involved, I know

why: Everyone being sound fanatics with passion and enthusiasm for

their job.” Dani Löble # Helloween

the QUality ControlQuality control procedures are implemented frequently throughout the

production process. This involves checking the production cymbals

repeatedly against the reference cymbals to ensure that the precise

parameters are executed to perfection. The final - and arguably most

important - step in production is to hand test each and every finished

cymbal against the master cymbals produced by Sound Development.

If a cymbal does not conform to our exacting standards, it is destroyed.

Only instruments of perfect quality and consistent sound character are

allowed to leave our workshop.

There is much conflicting and nebulous information circulating about how cymbals are made. Cymbal companies have different ways of doing things, and naturally they all maintain that their way is the best, while their competitor’s ways are not so good. We do things our way because it works for us and we get superior results. Our manufacturing philosophy is simple: we know that a human being has the intuition and ability to create superior musical instruments. To mimic this ability with a machine would require a highly sophisticated robotic device controlled by advanced artificial intelligence. This is a very interesting concept but unfortunately still within the realm of science fiction. So we do things the tried and true way. We make cymbals by hand. And since the results are magnificent we see no reason to

change. In our professional series, we craft cymbals by hand exclusively. We will use mechanical devices sparingly and only as aids to hand manufacture, but never at the expense of sound and quality. Such devices help remove strenuous labor from our artisans, and allow them to concentrate their talents and energy on creating instruments of the highest sound quality and consistency. In the creation of our mid-range cymbals we will introduce automation. Our value class cymbals are entirely machine made, because this helps us lower the cost of such cymbals. The true art of cymbal making is to select the right methods to achieve the desired goal, whether it is ultimate professional sound quality or whether we strive to achieve the best price/value relationship.

the art of cymbal making

swiss cymBaL ProdUctioNtraditioNaL HaNd maNUfactUre

Sound Development Artists:

Fredy Studer & Kaspar Rast

ymBaL ProdUctioNC


Interview by Andrew Shreve

WHAT Were yOUr FIrST ImpreSSIOnS UpOn ArrIVInG TO THe

FAcTOry?

After so many years of playing paiste I was so excited to go and see

how these cymbals are made. The first time I had a chance to visit the

factory was back in 1989 but it was closed!!! Twenty years later I made it

back and when I arrived it was like being a kid in a candy store!!

I probably would not have appreciated the first visit as much as this one.

Over the twenty + years of playing paiste I’ve come to appreciate them

so much more now than years ago.

TeLL me ABOUT WALKInG THrOUGH eAcH DepArTmenT AnD

SeeInG HOW eAcH STep OF prODUcTIOn IS DOne.

It’s amazing to see how cymbals are made and how it starts out as a

flat round disk and slowly transforms to a beautiful musical instrument.

Seeing this piece of bronze and knowing what it’s going to become is

interesting and watching each stage executed with a science is truly

incredible.

erIK pAISTe menTIOnS HOW THe pneUmATIc HAmmerInG pHASe

IS cOmpArABLe TO mASTerInG FOUr-WAy InDepenDence In

DrUmmInG. AS yOU WITneSSeD, THe crAFTSmAn cOnTrOLS THe

VeLOcITy AnD FOrce OF THe HAmmer STrIKe WITH HIS FeeT AnD

WITH HIS HAnDS THe SpAcInG AnD pATTern OF THe HAmmerInG.

DID THIS pOrTIOn OF prODUcTIOn Seem THe mOST DIFFIcULT TO

yOU?

This portion of cymbal making made me nervous just watching due to

the difficulty. How do they know how much force to apply to the hammer

and when to move the cymbal? The hammering noise was so intense, so

primal. I wonder if the guys that do the hammering hear that tapping in

his head after he leaves the factory. (laughs)

They were making a rude china during this stage and it was really cool

to see how the shaping was taking place. I thought to myself, “So that’s

how the china gets its unique look.” I also noticed the pitch changing as

he was hammering the cymbal. It became more musical before my eyes,

something I’ll never forget.

THe HAnD HAmmerInG ASpecT OF prODUcTIOn IS nOT JUST

HOLDInG THe cymBAL On TOp OF THe AnVIL AnD HAmmerInG

THe crAp OUT OF IT. WHAT WAS yOUr experIence In TryInG TO

HAmmer A cymBAL yOUrSeLF?

It was no small task. I equate it to trying to hit a baseball with a bat.

When you swing a bat and it connects with the baseball in the right

spot, it feels just right. That’s how it should feel when hand hammering a

cymbal but that’s not easy. not every stroke was being hit in the “sweet

spot” and it often felt funny because I wasn’t getting a clean strike.

you’ve got to hit it dead center not off center, like aiming for the bull’s

eye.

TO me, THe LATHInG DepArTmenT LOOKS LIKe THe “DO-Or-DIe”

pArT OF prODUcTIOn. BASIcALLy IT AppeArS THAT IF yOU GeT IT

WrOnG, yOU’Ve JUST cOmpLeTeLy DeSTrOyeD ALL THe WOrK

THAT THe HeATInG AnD HAmmerInG DepArTmenTS HAVe DOne

SO FAr.

This part of the tour was one of my favorites. When I walked in this room it

looked like tinsel town with all the cymbal shavings all over the place. The

lathers are magicians; they take a dull piece of hammered bronze and turn

it into a piece of art!! These guys are the cosmetic surgeons in the paiste

Factory. man, if you don’t do this part right it gets all fouled up.

WHAT STrIKeS SO mAny WHO VISIT THe FAcTOry IS THe exTreme

ATTenTIOn TO DeTAIL THAT eAcH crAFTSmAn AppLIeS TO mAKInG

A cymBAL.

Absolutely. We all take for granted on the effort that goes into making a

cymbal and how much time the craftsman put into what they’re about

to create. every aspect of production is spot on. From the bell press

all the way through to the testing process, it’s all completed with such

precision.

It’s funny… as I was playing my new cymbals at the Anthrax gig after the

factory tour, I was thinking about how they were made and the craftsman

who made them.

WHAT QUALITy cOnTrOL prOceDUreS DID yOU nOTIce AS yOU

TrAVeLeD THrOUGH THe prODUcTIOn prOceSS?

It was really cool to see the hammering department use the master

cymbal as a reference. The guy would hammer a bit then take a look at

the master cymbal and then go back to working on the blank. Only he

knew what to look for while reviewing the master against the production

piece. I had no idea what he was checking out.

I can’t see how paiste could mass produce cymbals like other

companies, there’s just too much time and effort involved. I’m sure that

some models are less time consuming to make than others which makes

me wonder if the production crew ever dreads making a particular piece

because it’s so labor intensive.

most importantly, these cymbals can’t be made without the overalls.

They gave me a pair that I wore at the show and I played better!! IT’S

ALL ABOUT THe OVerALLS!!!!

charlie benante # antHraX

Clockwise: Charlie…in his own Paiste overalls outside the factory in

Nottwil; …getting a hand hammering lesson; …hammering his own

cymbal

actory toUrF


cymbal overview

alPHa SerieS now in brilliant!


STEWART COPELAND # THE POLICE

siGnature FaMily series

Forged from a proprietary bronze developed specifically for cymbals, handcrafted from start to finish by highly skilled Swiss craftsmen, conceived and executed according to uncompromising sound concepts, Signature Cymbals are instruments of unsurpassed quality for the discerning drummer’s quest for personal creativity and musical excellence.

siGnature «traditioNaLs» & «dark eNergy»

factsSignatUre «traditionalS» vintage SoUnd For Jazz, FUSion & beyond

Since: 1996

Alloy: proprietary Signature Bronze

Applications: Soft to medium loud settings • Live and recording

• Classic to modern Jazz, Blues, Swing, Big Band, Country,

Funk, reggae, r&B and Soul as well as pop and moderate rock

• Also excellently suited for acoustic and vocal-oriented music

and Percussive playing with sticks, mallets, or hands • Very well

suited for classical applications and swelling accents

Sound: Dark, broad, complex, warm, smoky, oriental and

sparkling with special emphasis on volume control, dynamics

and stick feel

SignatUre «dark energy» modern SoUnd For Jazz, FUSion & beyond

Since: 2004


Applications: Soft to medium loud settings • Live and recording

• Jazz, Swing, Blues, Latin, R&B, Pop, Country, moderate Rock

• Also excellently suitable for acoustic music and classical

settings and mallet rolls

Sound: Dark, multi-layered, warm, crisp and rich with special

emphasis on control, projection, balance and comfort for

supreme playing feel

SignatUre «traditionalS»

ride Light ride 20”/22”

Light Flat ride 20”

medium Heavy ride 20”

CraSh Thin crash 16”/17”/18”

hi-hat medium Light Hi-Hat 14”

China medium Light Swish 20”/22”

SignatUre «dark energy» rideLight Dark ride mK I 21”

Dark energy ride mK I 20”/21”/22”

Dark energy ride mK II 20”/21”/22”

Dark Dry ride mK I 21”

CraShDark energy crash mK I 16”/17”/18”/19”

hi-hat Light Dark Hats mK I 14”

Dark energy Hats mK I 13”/14”

SplaSh Dark energy Splash mK I 8”/10”

«traditionalS» light ride“The Light Ride is the most versatile ride I’ve

ever played. Whether it’s swinging behind

Sonny Rollins, groovin’ with John Mayer or

rockin’ with The Verbs, it’s purely musical, all

the time.”

STeVe JOrDAn # JOHn mAyer, THe VerBS

«dark energy» hatS mark i“This hi-hat is a must-have for today’s modern drumset

playing… rich, full and combines finesse and articulation with

cutting power and raw energy. I’m delighted to play it! This

hi-hat enables me to achieve any kind of music so easily. We

dreamed about it, Paiste succeeded in making it!”

AnDrÉ “DÉDÉ” ceccAreLLI # InDepenDenT

«dark energy» CraSh mark i“The Dark Energy Crash cymbals are the most dynamic, explosive,

versatile cymbals I have ever played. They handle the scrutiny of

recording as well as the pressure of rocking live! They more than live

up to the name Paiste!”

ABe LABOrIeL Jr. # pAUL mccArTney

ymBaL seriesC


siGnature series artists

factsSignatUre & SignatUre «reFleCtor» SUpreme SoUnd For mUSiCal exCellenCe

Since: 1989 & 2004


Applications: Most volume settings • Live and

recording • Wide range of music styles such as

pop, rock, Hard rock, Heavy metal, Funk, r&B,

classic, Avant-garde, Big Band, country, Blues

and Gospel

Sound: musical, transparent, beautiful, rich,

colorful, full, clear, expressive sound • The range

of models features everything from particularly

delicate, well balanced and sensitive to expressive,

potent and powerful and projective qualities

SignatUre

ride Dry crisp ride 20”

Full ride 20”

Dry ride 20”

Bright ride 20”

Dry Heavy ride 20”/21”

Dark metal ride 20”/22”

Blue Bell ride 22”

CraSh crystal Thin 16”/18”/20”

mellow crash 16”/18”

Fast crash

14”/15”/16”/17”/18”

Full crash

14”/16”/17”/18”/19”/20”

power crash

16”/17”/18”/19”/20”

hi-hatcrystal Hats 14”

medium Hi-Hat 14”

Dark crisp Hi-Hat 13”/14”

Heavy Hi-Hat 14”

Sound edge Hi-Hat

13”/14”

SplaSh Splash 6”/8”/10”/12”

ChinaThin china 16”/18”

Heavy china 18”

SpeCial SoUndSFlanger Bell 12”

mega cup chime 13”

cool Bell 8”

SignatUre «reFleCtor»

ride refl. Bell ride 20”/22”

CraShrefl. Full crash 16”/18”

refl. Heavy Full crash

16”/17”/18”/19”/20”/22”

hi-hat refl. Heavy Full Hi-Hat 14”

SplaSh refl. Splash 8”/10”

Chinarefl. Thin china 18”

riChie barShay# herbie hanCoCk

CUrt biSQUera # biSQUera broS.

paUl broChU # gino vanelli

dean bUtterworth # good Charlotte

mario Calire# ozomatli

rene CreemerS & wim de vrieS # drUmbaSSadorS

mikkey dee # motörhead

hena habegger# gotthard

triS imboden# ChiCago

StaCy JoneS # miley CyrUS

riCky lawSon # grover’S grooverS

daniel löble # helloween

pat maStelotto# king CrimSon

larry mUllen Jr. # U2

nigel olSSon # elton John

John “Jr” robinSon # StUdio great

eriC SliCk# adrian belew

tiCo torreS # bon Jovi

nathaniel townSley # aleJandro Sanz

Chad waCkerman# allan holdSworth

siGnature & sigNatUre «refLector»

SignatUre power CraSh“Even in the loudest musical situations I find

myself in, my Paiste Signature Power Crashes

cut through with character, articulation, and

color. They are simply the best rock crash

cymbals made.”

DAnny cArey # TOOL

«reFleCtor» bell ride“I am truly honored Paiste has crafted for me this beautiful 22"

«Powerslave» Bell Ride. It is a stunning piece with fantastic

resonance and power, but does not saturate or over express. The

tones are magic and the bell sound is distinct and superb. Truly,

it is a wonderful sounding instrument.”

nIcKO mcBrAIn # IrOn mAIDen

«reFleCtor» heavy FUll CraSh“Clean, mean, and pristine! Paiste’s Heavy Full Crash is precise,

direct and exactly what I need when switching gears between

my studio work, punk rock gigs and everything in-between.”

JOSH FreeSe # WeeZer, DeVO

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JiM KeltnertHe sigNatUre sessioN master

When it comes to the art of drumming in it’s truest form, few drummers have accomplished what Jim Keltner has. It’s really quite astonishing. It’s not only the amount of amazing records he’s played on or even the legendary artists he’s collaborated with…and believe me, there are many. It’s the fact that Jim has paved the way for most of the drummers you hear today to be themselves…to be individuals. Jim Keltner is arguably one of the most original drummers in recording history. When you listen to him on any of his great tracks – John Lennon, George Harrison, Eric Clapton, Roy Orbison, Bob Dylan (I told you), it’s not just what he played, but how he played it. How he crafts his parts, how he plays the song, what sounds he chooses…all these things make him a true innovator. Paiste has worked with this incredible artist for the past 27 years and although words cannot completely express what an honor that is, we remain humbly thankful. We recently spoke with Jim about his experience playing the Signature sound family, in the session world from which he reigns.

JIm, BaCK WHEn yOu fIRSt StaRtED ExPERImEntInG WItH tHE SIGnatuRE SOunD famILy, WHat WaS yOuR fIRSt ImPRESSIOn?Jim Keltner: Back then, the Sound Creation series were what I was used to…that darker, complex sound and the Signatures were the complete opposite of that. they were so much brighter than what I was using. that was interesting to me because I play to the sound I’m hearing and I’ll play differently, depending on the sound I’m hearing from my drums and cymbals. the Signatures brightened up my sound big time. I did a bunch of records with them, however when the traditionals were introduced, they freaked me out. they were so completely different than anything Paiste had ever made and they put me into my Jazz head. I remember that it was the first time in a long time, that I thought more about ride cymbals. most of my work focuses on crashes & hi-hats, so when the traditionals came out, I found myself going more to the ride. What I also loved was that even though they still possessed that Paiste consistency, there were subtle differences between each one, which can be very important when recording. What I love about the rides is that they all have a great crash, with what I describe as a good, cough-like sound. I love that and they also work very well with rivets. then, when the Dark Energys came out, they were once again different…they took your ear to another place. I would find myself going back and forth between the traditionals and Dark Energy rides. I especially love the Dark Energy hi-hats and I was using a combination of 16” Dark Energy and traditionals crashes as my primary hats, for a while. more recently, I’m using 15” twenty Series Hi-Hats, which were made a bit thinner for me.

WHEn yOu BEGan uSInG tHE tRaDItIOnaLS, IS tHERE a SESSIOn fROm tHat tImE, WHICH yOu Can COmmEnt On…mayBE SOmE ImPRESSIOnS WHEn yOu fIRSt HEaRD PLayBaCKS?JK: I wish I could, but there’s been so many that I used them on. I’m sure I have it written down somewhere, but what I do remember is how I protected my first 16” traditionals thin Crash. I was so worried that I would crack it and it was the most beautiful crash I’d ever heard. I’m sure you remember I wanted you to get me a couple more, exactly the same! those cymbals are on a lot of records I did around that time.

JIm, yOu’RE WELL KnOWn fOR tHInKInG OutSIDE tHE BOx…fOR OffERInG a COmPLEtELy DIffEREnt aPPROaCH tO a RECORDInG…mOSt tImES, COmPLEtELy DIffEREnt fROm WHat mIGHt BE ExPECtED OR tHOuGHt Of aS tyPICaL. HOW DOES tHIS aPPLy tO yOuR SOunD?JK: I went through a dark phase, wanting darker sounding cymbals, when pretty much everyone else was using brighter cymbals and now, it’s kind of gone full circle where most drummers are looking for dark sounds and I’m the opposite. It’s sort of a semi-conscious thing on my part, I guess. to my ears, what may seem normal or accepted is almost like a signal to try something else, but then I know a lot of drummers who are like that.

I’m SuRE a BIG PaRt Of WHat yOu DECIDE tO Put uP, DEPEnDS On tHE SOnG anD WHat tHE muSIC DICtatES. taLK a BIt aBOut tHat.JK: that’s exactly what I go by. and, it can be what I want for the song. Because of my track record, I’m trusted now for my input and I feel fortunate to have that leeway. the producers I work with know me and have given me this freedom, which of course enables me to try things and to experiment…not only just with music choices but also sound choices. I’ve always gotten great feedback about my cymbals.

WHat WOuLD yOu Say IS tHE mOSt ImPORtant tHInG, aftER aLL tHESE yEaRS WItH PaIStE, WHICH HaS HELPED yOu WItH yOuR WORK In tHE StuDIO?JK: What has made this relationship so special to me is the collaboration between us. Whenever I’ve had an idea or a desire for a sound, Paiste has aLWayS been there. their sound development procedure, how they interact with the artist and how these collaborations ultimately produce such great instruments is what’s so exciting to me. they made so many things for me over the years and I know that some of our brainstorming sessions have produced some cymbals for the market. I’m proud of this and have loved this part of being a Paiste artist. I’m truly honored to have this interaction with them. Robert and Erik Paiste, fredy Studer and toomas early on - and everyone at Paiste really loves what they do, and it shows. I can’t wait to see what they’ll come up with next!

dave McaFeesigNatUre coUNtry

Dave mcafee has been actively working in the nashville music scene for over 22 years. Since 2000, he’s been the drummer for the multi-Platinum Country star toby Keith. He recently played on and co-produced Jamey Johnson’s album “that Lonesome Song”, which was nominated for 3 Grammy awards including Best album. Dave quotes the track “In Color” from this recording as a great showcase for his beloved Paistes. Dave also won the 2009 modern Drummer’s Reader’s poll as Best Country Drummer. this Paiste artist is ridin’ high in Signature Country and we recently talked about his choice of cymbals and what makes them so special to him.

DavE, WHEn yOu fIRSt StaRtED PLayInG tHE SIGnatuRE SOunD famILy, WHat WaS tHE fIRSt tHInG tHat HIt yOu aBOut tHEm?Dave mcafee: Back in the late ‘80s, Jeff Porcaro had just begun playing what was to become the Signature line and like everyone, I liked his sound. When I heard them in the stores, it was a significant difference from what I’d heard with any other cymbal. I couldn’t put my finger on exactly what it was other than they just sounded better and cleaner. Even today, it’s hard for me to describe it other than they just sound right to me.

WHat’S SOmE Of tHE fEEDBaCK yOu GEt, BOtH LIvE anD In tHE StuDIO, fROm OtHER PLayERS OR EnGInEERS anD PRODuCERS yOu WORK WItH?Dm: I’ll give you a great example. about a week ago, I was down in muscle Shoals at “fame” recording studios, working for an artist named Wayd Battle, who’s the guitarist for the Jamey Johnson records and also a singer/songwriter. He particularly likes my drums and cymbal sounds. So, when I got to the studio, it was about 7:30am and the engineer for the session already had his drums and cymbals, which weren’t Paiste, all miked up. at first, I wasn’t sure what to do so they had me try his kit first, even though I had my drums and my recording Signatures with me. So, we dabbled a bit on his kit and the drums sounded OK, but the cymbals just were not gonna work. Just then, the artist came in

and asked me to set my kit up with my cymbals and although the engineer wasn’t very happy at first, we ended up cutting 9 tracks that day and by the end of it all, he was complimenting me and asking about the cymbals, calling them “Paste-eez” and becoming a new fan. now this was an experienced, new york engineer, but he acted like he had never worked with Paiste cymbals before and was very impressed.

WHat’S yOuR SEtuP?Dm: my hats are 14” Dark Crisp. I have the 20” Dry Ride – it’s my favorite, I have 3 of them…it’s just so very versatile. Crashes are 17” and 18” full Crash, 15” mellow Crash and I also use the 19” 2002 Wild Crash, which I like for crash-riding.

HavE yOu EvER GOttEn IntO DISCuSSIOnS WItH OtHER DRummERS WHO PLay OtHER COmPanIES CymBaLS? WHat WaS tHat LIKE?Dm: yeah – One particular, well-known accomplished drummer here in nashville, who plays another cymbal brand ended up on my kit one time when we were sharing a showcase gig. He said, “man that’s not the first time I’ve been up on your rig, but I absolutely love your cymbal sounds…can you get me an array of Paistes for me to use in the studio?” So you can imagine why I can’t say his name here.

WELL, It’S nOt tHE fIRSt tImE I’vE HEaRD tHat KInD Of StORy! DavE, HaS tOBy KEItH OR OtHER LEaDERS yOu WORK WItH EvER COmmEntED aBOut WHat yOu uSE anD If SO, Can yOu SHaRE SOmE Of WHat tHEy’vE SaID?Dm: from toby’s standpoint, when his whole thing is firing on all cylinders, he totally trusts everyone around him, his musicians, his crew…his entire team. He feels that everyone in his band is just doing their thing and delivering. Since I’ve been with him, he has noticed the consistency with which I offer, from the drum chair…both playing-wise and sound-wise. When we’re traveling and using cymbals that aren’t my personal ones, but are still Paiste – he has asked how it’s possible that they sound just as good. So, that speaks volumes that he notices and about what Paiste is doing right.

Stories & Interviews by Rich Mangicaro

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nicKo McBrain oN toUr witH sigNatUresfor almost 28 years, metal giants Iron maiden have had to deal with the jesting of nicko mcBrain. they’re the better for it though…and they know it. Seriously, which is not often the case with nicko…he’s the real deal…a true Rock & Roll powerhouse. voted by Rolling Stone as one of the Best Rock Drummers Of all time, he is one of the most influential and revered in Rock history. Shortly before joining maiden, nicko found what was to be his ‘cymbal home’ for life, when he signed with Paiste. Some 30 years later, 18 maiden albums, thousands of loyal fans, a fervent golf habit anD a twin-engine pilot’s license, nicko and Paiste are still flyin’ high. We recently managed to coral the larger-than-life, “mad mcBrain” into talking to us about his Signature Reflector Series cymbals and how the road is treatin’ him. actually, that’s not an entirely true statement. this gracious, hilarious man is always happy to talk about his Paistes…and we’re the better for it.

nICKO, WHat WaS yOuR fIRSt ImPRESSIOn WHEn yOu SWItCHED tO uSInG tHE SIGnatuRES REfLECtORS? LaSt tImE yOu anD I WORKED tOGEtHER, yOu WERE uSInG 2002S anD RuDES.nicko mcBrain: although I love the 2002’s and love the way they sound up close within my world, the Signatures have much more cut and project much better for our live show…for our intense live volume. the guys can hear them better on stage and I feel I get more power with less energy. I love them so much that our last 2 albums have the Signatures on them. What I love about the Reflectors is that I get a great crash sound and then, the decay is a bit quicker than the normal Signatures. they speak a bit quicker, for me. I believe by the time people read this article, we’ll have recorded our next album, on which I’ll use the Reflectors.

HaS tHERE BEEn any fEEDBaCK fROm yOuR fROnt-Of-HOuSE EnGInEER, aftER maKInG tHE CHanGE On yOuR KIt?nm: Oh yeah…it’s amazing. Doug has been with the band longer than I have. I think he’s got a frickin’ wheel chair and a pension plan from the band! He’s got potatoes growing out of his ears too! Seriously, I’d say 70% of my sound comes from the overhead mics. I have 14 cymbals on the kit and he gets a great sound every night. He’ll say, “the ride cymbal cuts so beautifully.” and he’ll comment on how great he made me sound! (laughs hardily) But he loves them and says they’re very balanced.

nICKO, tHE Way yOu HavE yOuR CymBaLS anD DRumS anGLED IS unIquE. anyOnE WHO’S Sat BEHInD yOuR KIt, aS I HavE, WILL nOtICE tHat yOu’vE COnfIGuRED yOuR SEtuP tO WORK PERfECtLy fOR yOuR PHySICaL fRamE. WatCHInG yOu PLay, It SEEmS yOu Can PLay COmfORtaBLy, fOR LOnG PERIODS, GEt tHE POWER yOu nEED anD nOt ExERt any

mORE EnERGy tHan nECESSaRy. HavE yOu nOtICED any CHanGES PHySICaLLy In tHE PaSt fEW yEaRS anD tHEn HaD tO aDJuSt yOuR SEtuP?nm: yeah, we’ve brought ‘em down a bit! (laughter!) Great question. I’ve always had really, really bad posture and I know that you always have more power when you sit up straight. I get a lot of pain in my shoulders and I tend to slouch when I play. Some years ago, we went with a rack system, so we had to adjust the drums and cymbals accordingly, but the kit really hasn’t changed that much since. my technique has though and I have to consciously make myself sit up bit more. Doing a 2 hour show with the band, I’ve gotta know when I can sit back and reserve my energy and when I can let it go. When I feel myself tiring, I’m reminded to sit up and focus on my breathing and I’ll get more control.

yOu KnOW, I RECEntLy HaD a COnvERSatIOn WItH tERRy BOzzIO anD nEIL PEaRt aBOut tHE PHySICaL aSPECt Of WHat WE DO anD tHE EffECtS Of aGInG On DRummERS. WE GOt IntO tHIS WHOLE COnvERSatIOn aBOut yOGa anD WEIGHt tRaInInG anD HOW’S It’S HELPED uS. I KnOW yOu PLay GOLf a LOt But DO yOu HavE an ExERCISE PROGRam tHat yOu aDHERE tO?nm: you’ll never guess what I made an appointment for, just today? a yoga series! I can’t believe you’re bringing this up! my manager has been at me for a year to get into a yoga class. Here’s what he said: “nicky – you’ve got to get into a bloody yoga class! I’ve been doin’ it for years and I feel great!” I asked him why and he said, “So I can get another 10 years outta ya!” So I start this week and we’re talking about taking a yoga teacher on tour with us too.

tHat’S GREat! yOu’LL BE PLEaSantLy SuRPRISED at tHE RESuLtS, tRuSt mE. nICKO, fInaL quEStIOn…OvER tHE yEaRS, EItHER at SHOWS OR at OnE Of yOuR DRum CLInICS, Can yOu RECaLL an IntEREStInG COmmEnt OR fEEDBaCK fROm a fan, a quEStIOn yOu RECEIvED, tHat JuSt StICKS Out In yOuR mEmORy?nm: I do remember when I did my very first drum clinic in London, I was very nervous. I get much more nervous at one of those events, where I’m in front of a bunch of drummers, than I do in front of a quarter of a million people! So I did my solo…it went all right and then got up in front of the crowd, talked a bit and asked if anyone had any questions. Some bright spark out there asked me an embarrassing, stupid question, which I can’t repeat for this article, as I’m sure we’re G rated! But, I answered him, making a joke and the place fell about laughing…I fell about laughing and then I thought, I’ve cracked it! the nerve issue is solved. Every time I do a drum show, to break the ice, I’ll tell jokes….really bad, corny jokes! and that has become part of my drum show now and I don’t experience the nerves like I used to. all from that very first drum show…from that kid in the audience!

aQuiles PriestermixiN’ it UP witH sigNatUre

till aquiles Priester was 14 years old, he thought he was going to be a pro soccer player. then one day, he walked by a club with his father and saw a drum kit…and his future changed. aquiles has become one of the most famous Rock drummers to hail from Brazil and his incredible bass drum chops are renowned. a band he started called Hangar began receiving critical acclaim and were soon asked to open for angra, Brazil’s greatest metal act. after a few years of hard work, aquiles’ name value increased and he finally was asked to join angra…one of his favorite bands. He enjoyed many years with them and has influenced thousands of drummers worldwide. Since 2001, he’s been voted Brazil’s Best Heavy metal drummer in virtually all the metal magazines and websites. In early 2009, Hangar once again found the good fortune that aquiles was available and he re-joined his old friends. We asked him recently about his eclectic setup and how he utilizes different series of cymbals on the same kit:

aquILES, WHat quaLItIES DO yOu LOOK fOR In a RIDE CymBaL?aquiles Priester: I worry a lot about the definition of each note played on the ride. for the kind of music I play, the projection of notes on my ride has to be very defined. Paiste has a great variety of rides with a very characteristic sound irrespective of the line in question. In my case, I love 24” rides with gigantic bells because that is what I use the most, the bell. Recently, Paiste manufactured 18” rides with the bell of a 24” for me and I am very pleased with them. DO DIffEREnt muSICaL SItuatIOnS yOu PLay In DICtatE WHEtHER OR nOt yOu CHanGE yOuR SEtuP COnfIGuRatIOn? If SO, DO CERtaIn CymBaLS REmaIn tHE SamE REGaRDLESS?aP: most times when I’m invited to record with other artists, it

is still some style linked to Rock in general so I basically use the same cymbals, but when I’m recording, I use less cymbals. So as not to lose the distinctive sound of these artist’s songs, I usually use another ride with a smaller bell since cymbals with large bells are mostly used in heavy metal. When recording, I opt for smaller crashes because I prefer having more control over the bleed of the rack tom microphones…something impossible with large cymbals that have greater sound projection. WHat’S yOuR IDEaL CRaSH CymBaL fOR PROJECtIOn?aP: It’s one that you can hear clearly no matter the part of the song - be it simpler or more refined. I’ll mention Signature full and Power Crashes. they are unbeatable in any situation. Lately, I’ve also have been loving the sound of my Rude 18” & 19” thin Crashes. aquILES, yOuR KIt IS vERy ImPRESSIvE. I KnOW yOu taKE GREat PRIDE nOt OnLy In tHE SOnIC quaLIty Of yOuR InStRumEntS, But aLSO tHE vISuaL aPPEaRanCE. DO yOu EvER maKE CHanGES, JuSt fOR vISuaL REaSOnS? aP: I only change my cymbals when they break and that doesn’t happen very often. I try to keep them as clean as possible so that the kit always looks new. I’m very concerned about Paiste’s image and always want to represent it in the best possible way. I only change the cymbals when I need a different sonority during recordings, but that is very rare. WHat DO yOu LIKE BESt aBOut mIxInG vaRIOuS SERIES?aP: I like the variety of sounds I can achieve. I’m a drummer faithful to the cymbals I use. I always try using practically the same cymbals in the same places, even when they have to be substituted. Only Paiste can guarantee the same cymbal sound when these are the same model and size. I became spoiled because this is a character that only Paiste has: sound fidelity. If I now have a signature way of playing my ride and cymbals, Paiste is definitely my pen.

Stories & Interviews by Rich Mangicaro

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Paiste’s Percussionists PaiNtiNg mUsic witH soUNdsby rich mangicaro

With such a diverse and expansive collection of different sounds, it’s no wonder that some

of the most influential and amazing players on the planet play paiste. From cymbals, to

gongs, to eclectic sounds, paiste has virtually everything a percussionist could want…and

more. We decided to highlight these incredible artists and find out how they color music,

add the sonic spice and make what we listen to more fun!

For the past 50 years, emil richards has been Hollywood’s first call percussionist and has

performed on over an astounding 2000 soundtracks! Along with his studio work, emil has

performed with true legends in our business including George Harrison, Frank Zappa and

Frank Sinatra. Too many to mention, the list is as long as his career. emil has influenced

virtually every percussionist living today…period.

emil: “Back in 2002, for Danny elfman on his Spiderman score, he wanted to hear a

different cymbal for every suspended cymbal part, even within the same cue! So that meant

the 4 of us each had to have 3-4 cymbals up and the same for gongs and hand cymbals.

Since then, we never use the same cymbal twice, which gives such a freshness and variety

to each cue. paiste is great for this…they make so many different sounds and colors, that

we can cover it all. Speaking of gongs, on the original Star Wars… in the beginning of the

film when the ship was entering the screen, coming over your head and you heard that low,

eerie roar, that was me, softly playing a paiste 60” gong!”

The term virtuoso is not only accepted but also encouraged to describe the multi-talented

paulinho Da costa. Originally from Brazil and since moving to the States, paulinho has

played on the biggest selling hit records in history, including “Thriller”, “We Are The World”

and “All night Long”. For over 40 years, he’s appeared on Grammy award-winning albums

and hit movies that number in the thousands and is considered one of the most recorded

percussionists in history. paulinho is a master of placement and sound…it’s no wonder why

Downbeat magazine labeled him as “one of the most talented percussionists of our time”.

paulinho: “The magic sound of paiste cymbals inspire my work.”

For the past 30 years Lenny castro has been one of the world’s most in-demand live and

recorded percussionists. From his early days with Diana ross or Boz Scaggs to his most

recent work with Joe Sample or Stevie nicks, Lenny has played with just about everyone.

He has natural ability, amazing technique, perfect feel and sound, but most importantly

he possesses an uncanny ability to know just what to play, right in the perfect place. Just

listen to Toto’s “Africa” which features Lenny and Jeff porcaro. case closed. About paiste,

Lenny says, “Their wide spectrum of sounds and instruments, along with their great quality

gives me a large musical palette to express myself in countless ways.”

Brad Dutz, who plays on many films and TV shows including the mega-popular, animated

series, Family Guy says, “The massive sound library that paiste offers is what’s so great.

I love the strange, exotic sound effects and eclectic metal sounds. Last year, I got their

Twenty Series mini chinas and they opened a whole new world for me. every year it’s like

christmas with paiste…they’re always coming up with some new invention!” Other paiste

artists behind our favorite shows and films that we must make mention and thank for all

their creative ideas and talent are michael Fisher, Bob Zimmitti, Gordon Gottlieb and Steve

Forman.

perhaps one of the most respected percussionists in Jazz, r&B and popular music is Los

Angeles’ own munyungo Jackson. munyungo has performed with the most influential artists

in music including miles Davis, Stevie Wonder, Sting and Herbie Hancock. munyungo: “I

use a lot of the smaller cymbals, to blend better with the drummer. I like the higher pitched

sound colors, the smaller Signature Series splashes, the small chinas…so many choices for

us that it’s great to experiment and combine different things.”

In the Latin world, eric Velez plays with two matrimonial giants…mark Anthony & Jennifer

Lopez. About paiste, eric says, “I love the way my Signature and Alpha crashes speak

right away and then decay naturally and quickly. I’m also comfortable knowing that they’re

durable and can take it, out on the road.”

In nashville’s busy recording scene, eric Darken and Tom roady have commanded the

percussionist’s chair for many years. eric’s credits include Taylor Swift, Keith Urban, carrie

Underwood and Bon Jovi. eric: “paiste offers me the widest variety of cymbal and sound

effect choices. I’m always covered no matter what the musical situation is.” Tom roady’s

talents have graced recordings with the Dixie chicks, Brooks & Dunn, Trisha yearwood and

James Brown. Tom says, “When I saw Stewart copeland with his paiste percussion Set, I

knew that company was the one for me. The eclectic sounds in that rack are what brought me

to paiste. All the other cymbal companies have been playing catch up since.”

r&B giants Earth, Wind & Fire have been making us dance for decades and through all their

years of grand success, paiste percussionist and E,W&F founding member ralph Johnson

has been there, always loyal. Speaking of r&B giant, the Queen of Soul - Aretha Franklin, for

years, has grown accustomed to Larry Fratangelo as her percussionist. Lately, Larry has been

hittin’ the road with another one of Detroit’s own - Kid Rock. Speaking of dancing and the

road, mega-hit TV show “Dancing With The Stars” toured last year and percussionist carlos

Lopez juggled the many musical styles required to keep the contestants happy. And, when it

comes to road shows, one of Broadway’s longest-running, “The Lion King” features the multi-

talented paiste perc player pete Korpela. Once a student of master teacher, veteran paiste

artist Jerry Steinholtz, pete quotes Jerry as a main influence. Also one of Jerry’s students,

multi-published author/folkloric percussion expert Kalani has performed at huge shows,

like the Acropolis with Yanni and many others, while conducting countless workshops on

community drumming. And, when it comes to Jam bands, String Cheese Incident keeps the

Grateful Dead torch lit and percussionist Jason Hann, armed with his exotic array of paiste

sounds and electrifying solos, always gets a standing ovation. Finally, speaking of ovations,

new york’s Daniel Sadownick is most deserving, as he is the 2009 winner of the rising Star

percussionist Award in Downbeat’s critic’s poll.

With so many wonderful percussionists in our family and because space is limited, we’d also

like to pay homage to the following great artists and say thank you:

Frank colón (manhattan Transfer) Steve Shehan (Hadouk Trio) Sue Hadjopoulos (Joe Jackson)

ed roscetti & maria martinez (World Beat rhythms ensemble) Jeff moore (educator) Frank

Kumor (educator) morris palter (redfish Bluefish) m.B. Gordy (Doobie Brothers) John

Bergamo (master teacher/Hands On’Semble) randy Gloss (educator/Hands On’Semble) c.G.

ryche (Independent) roger Squitero (Vanessa Williams) rock Deadrick (Tracy chapman)

eddie Drayton (Jeff Kashwa) Bobby matos (Afro Latin Jazz ensemble) paris escovedo

(escovedo project) Shakerleg (Soloist) and Trè Balfour (michael Bolton).

Thank you to all the percussive artisans, for adding their creative strokes to our favorite songs

and soundtracks, using the ever-expanding paiste paintbrush!

ymBaL seriesC

Emil Richards

Paulinho Da Costa

Lenny Castro

Brad Dutz

Munyungo Jackson

Eric Velez

Eric Darken

Tom Roady


Jason McGerr # Death cab for cutie

ride Light ride 20”/22”

ride 20”/21”/22”


crash 16”/17”/18”/19”/20”

hi-hatLight Hats 14”

Hi-Hat 12”/13”/14”/15”

medium Light Hats 16”

SplaShSplash 8”/10”/12”

China Thin china 14”/16”/18”

mini china 8”/10”/12”

china 16”/18”/20”

twenty series traditioNaL BroNze cymBaLs witH moderN soUNd

Two worlds combine to create cymbals with a completely new and modern blend of sound character and feeling. Twenty cymbals feature at once the clarity, definition, functionality and musical harmony that are the hallmark of Paiste, and the dark, mystic and deeply warm musical feeling that is intrinsic to the original ancient bronze.

factsSince: 2007

Alloy: cuSn20, also known as “Traditional Bronze”

Applications: Medium soft to loud settings • Live and

recording • Blues, Soul, R&B, Rock, Pop, Jazz, Big Band,

country, and Latin.

Sound: Warm, broad, deep, sparkling, dark, oriental,

trashy, bright and forceful • Cymbals with a raw and

untamed mystical sound force, yet with the projection,

harmony, balance and consistent function & quality that is

essential for modern playing

CraSh“I’ve been using the Twenty series for a while now and it never ceases

to amaze me the type of quality that’s being brought to the table. The

20” crash is indeed a breath of fresh forceful air. It can be aggressive

when played on hard hitting tunes and soft and sensitive for ballads. It’s

definitely a beast of a cymbal.”

cHAUn D. HOrTOn # nATASHA BeDInGFIeLD

mediUm light hatS“I play music that covers ALL styles and genres, with Lucinda Williams.

These 16” hats help me create the greasy down home soul, the Chicago

blues, the country train beat, the smoky Jazz, the hard core heavy rock,

the delta blues ballad, and every other challenge that I’ve encountered

on this gig. The tonal pitch of the pair seem to adapt effortlessly to all

the instruments around me, they blend perfectly.”

BUTcH # LUcInDA WILLIAmS

ride“This ride is a great multidimensional cymbal. It

has high end, depth and definition. It is a very

versatile cymbal that sounds great in various

musical settings.”

nDUGU cHAncLer # GeOrGe DUKe

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rasHid williaMs # JoHN LegeNd

Go see a John Legend performance and you will immediately want to know more about

his drummer Jimmy rashid Williams. even though he is still a relative newcomer to the

scene, his power, finesse and musicality are well advanced.

rashid picked up the drumsticks at three and began his professional musical life in

church at the ripe old age of seven. Since then he has played behind many of the best

choirs, musicians and artists in every genre. Drumhead magazine’s Jonathan mover

quotes: “At only 22-years old, rashid Williams plays with the maturity of someone twice

his age. He has a dangerous combination of chops, groove and impeccable time, well

balanced and expertly displayed.”

rashid has been performing with John Legend on stage, TV, and in the studio for several

months and has been across the U.S. and around the world with the r&B superstar. At

the start of the tour rashid was prepared to serve as the groove keeper, maintaining his

distance from the spotlight. As the tour grew and the relationship between rashid and

Legend strengthened, rashid was given the green light and pushed to make a bigger

statement during the shows.

What you get now is a drummer who is playing at an incredibly high level but keeping the

music the most important part of the gig. Goapele, eric roberson, nerD, Benita Farmer

are just a few artists that have been lucky enough to have rashid support them.

rashid plays a full Twenty set-up: 13” Hi-Hat, 16”/17” Thin crash, 18” crash, 10”/12”

Splash, 19” crash, 22” ride, 16”/17” crash, 16” china

BertraM enGel # Peter maffay & Udo LiNdeNBerg

Bertram engel is not only one of Germany’s busiest touring and

studio drummers, but he’s also recognized as the drummer for

vocalists Udo Lindenberg and peter maffay. Bertram is very

well known as a very musical, powerful, and highly respected

drummer. His deep pocket is outstanding and you can clearly

feel the 30 years of touring experience by watching him play.

In 1976, Bertram officially joined Udo Lindenberg’s band and

together they recorded Udo’s first album, “Sister King Kong”.

Following that session, he played on peter maffay’s first record

entitled “Dein Gesicht”. Since these first two sessions, Bertram

has been on numerous tours with both artists spanning over

more than three decades.

Bertram has also worked with Joe cocker, the late robert

palmer, Amanda marshall, marius müller-Westernhagen and

Wolfgang niedecken.

Bertram plays: 16” Twenty medium Light Hats, 19” Twenty crash,

20” Twenty Light ride, 22” Twenty ride, 22” Twenty Light ride,

20” Twenty china, plus a 24” 2002 ride w/rivets

twenty series artists

ALFOnZO AnDre

# JAGUAreS

crAIG BLUnDeLL

# eDUcATOr

FreDrIK BrArUD

# ApOpTyGmA BerZerK

cHAD BUTLer

# SWITcHFOOT

JeFF cAmpITeLLI

# JOe SATrIAnI

LArry DArreLL

# rHOnDA SmITH

WILL DenTOn

# LeAnn rImeS

peTe eLLArD

# ScOUTInG FOr GIrLS

SAm FOGArInO

# InTerpOL

SHAnnOn FOrreST

# FAITH HILL

Terence HIGGInS

# DIrTy DOZen BrASS BAnD

ryAn HOyLe

# InDepenDenT

ZWAnIe JOnSOn

# FeTTeS BrOT

pAUL LeIm

# STUDIO GreAT

HArry meADS

# THe DAyS

SImOne pAce

# BLOnDe reDHeAD

JImmy pAxSOn

# STeVIe nIcKS

TOBIAS rALpH

# 24-7 SpyZ

reIner „KALLAS“ HUBerT

# SArAH BrIGHTmAn

pAUL WerTIcO

# pAUL WerTIcO TrIO

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NATHAN FOLLOWILL # KINGS OF LEON

2002 seriesLegeNdary soUNd for rock & BeyoNd

The legendary cymbals that defined the sound of generations of drummers since the early days of Rock. The present 2002 is built on the foundation of the original classic cymbals and is expanded by modern sounds for today’s progressive popular music.

factsSince: 1971

Alloy: cuSn8 Bronze, also known as “2002 Bronze”

Applications: Medium soft to very loud settings •

Live and recording • Classic Rock, Blues, Punk,

Hard rock, Heavy metal & most modern metal

styles, crossover, country rock, Ska, rockabilly,

Funk, r&B, Soul, Gospel and modern hybrids rooted

in those styles

Sound: Brilliant, clear, warm, strong, musical and

very precise with high energy levels and powerfully

reliable projection

ride ride 20”/22”/24”

Heavy ride 20”/22”

power ride 20”/22”

Wild ride 20”/22”

Wild crush ride 18”/19”/20”

CraSh Thin crash 16”/17”/18”/19”

crash 14”/15”/16”/17”/18”/19”

/20”/22”/24”

medium 16”/18”/20”

power crash

16”/17”/18”/19”/20”

Wild crash 17”/18”/19”/20”

hi-hat medium Hi-Hat 14”/15”

Heavy Hi-Hat 14”

Wild Hats 14”/15”

Sound edge Hi-Hat

13”/14”/15”

SplaSh Splash 8”/10”/11”/12”

Wild Splash 10”

China china Type 16”/18”/20”/22”

novo china Type 18”/20”

Wild china 15”/17”/19”/21”

SpeCial SoUndS Accent cymbal 4”/6”/8”

cup chime

5”/5.5”/6”/6.5”/7”/7.5”/8”

Bell chime 6”

wild CraSh“The reason I chose 2002 Wild Crashes is the combination of good sound characters

and durability. Our music includes so many different musical elements that it’s very

important for cymbals to be able to perform perfectly in all kind of surroundings. In

delicate parts, where you have to be able to control the volume, Wild Crashes respond

fast and easy to a gentle hit. But when all hell breaks loose and you need to get your

message through a massive wall of sound, you can count on the Wild Crashes to serve

the purpose. Just hit it and you will be heard!”

JUKKA neVALAInen # nIGHTWISH

SoUnd edge hi-hat“I play the 2002 Sound Edge Hi-Hat because I admire that classic

sound. 2002 Sound Edge Hats deliver a full bodied sound with a

classic wash that’s undeniable.”

FrAnKLIn VAnDerBILT # Lenny KrAVITZ

power CraSh“I love how aggressive and explosive they are…

like a sonic boom. At the same time they are very

versatile and controllable. Over all, these cymbals

are amazing.”

ALex GOnZALeZ # mAnA

ymBaL seriesC


The 2002 is as much a celebrated cymbal sound and an icon of music

culture, as it is an ongoing quest: the repeated effort to find new

sound qualities in a pioneering bronze alloy and the relentless pursuit

of cymbal sounds to match trends in music. For pAISTe, that makes it

a vision more than anything else.

The beginnings of the 2002 and its predecessor Giant Beat are

intimately related to the early period of rock music. The story begins

sometime in the early 1960’s with the discovery of a new bronze alloy.

Up to the 1950’s, pAISTe mainly uses nickel-Silver for cymbals. The

company then develops the Formula 602 in the late 1950’s from the

traditional 20% Bronze, a cymbal line rooted in Jazz and acoustic

rock ’n’ roll that exhibits a cool, rich, sophisticated sound character

and gains pAISTe its first wave of international notoriety. yet the

company does not rest, experiments with cuSn8 bronze alloy, and

pioneers cuSn8 cymbals in 1963.

Around the same time, the world is experiencing the rapid expansion

of rock music, which emerges forcefully from the foundations of Blues,

Folk, country and rock ’n’ roll as bands like the rolling Stones,

yardbirds, Animals, Beatles, Kinks and the Who take the stage. The

electrified sound they generate is groundbreaking. popular music,

simply stated, becomes loud and irreverent.

keith moon # the whocymbal Set 1972: 2002, 15” Heavy Hi-Hat / 2002, 16” crash / 2002,

18” crash / 2002, 20” crash / 2002, 18” medium / 2002, 22” ride

The new bronze alloy pAISTe is already working with turns out to

be perfect for the new soundscape with its amplified volume and

frequencies. In 1967 pAISTe launches Giant Beat cymbals, which are

characterized by warmth, strength and brilliance such as drummers

had not known before. Key players Keith moon, John Bonham, nick

mason and carl palmer immediately embrace the new cymbals and

they thrive on the revolutionary sound.

John bonham # led zeppelincymbal Set 1975: 2002, 15” Sound edge Hi-Hat / 2002, 16” medium /

2002, 24” ride / 2002, 18” ride / 2002, 18” medium / Formula 602, 20”

medium ride

Around the time of the Giant Beat launch, rock explodes into

numerous varieties. It branches out into Blues, Folk and neoclassical

revival and psychedelic rock, with artists like pink Floyd, The

Grateful Dead, Jimi Hendrix, cream and Fleetwood mac adding depth,

color and diversity to the genre. emerson Lake & palmer, yes, Genesis,

King crimson and Jethro Tull take on ambitious and stylistically

diverse directions and craft progressive rock. At the same time, Led

Zeppelin, Deep purple and Black Sabbath take rock to new levels

of energy and create Hard rock. Further major musical factors are

Jazz giants like miles Davis, Tony Williams and Weather report, who

vigorously pursue the electrification of Jazz.

Carl palmer # emerSon, lake & palmercymbal Set 1972: 2002, 14” Sound edge Hi-Hat / Formula 602, 16”

Thin crash / 2002, 20” medium / Formula 602, 11” Seven Sound Set

no.2 / 2002, 20” china / Formula 602, 20” Heavy / 2002, 22” crash /

Formula 602, 20” medium / Giant Beat 18” / Giant Beat 20” / 2002, 22”

ride

niCk maSon # pink Floydcymbal Set 1981: Formula 602, 15” Heavy Hi-Hat / 2002, 16” crash /

2002, 18” medium / 2002, 18” ride / 2002, 20” ride / 2002, 18” china

This causes pAISTe to work on new cymbals to match the

revolutionary blend of electrified volume and sophistication. A fusion

of the design principles of the sophisticated qualities of Formula

602 and the energy and brilliance of the Giant Beat together with

the cuSn8 bronze formula proves to be the magical mixture, and

the 2002 is inaugurated in 1971. most of the major rock drummers

of the time flock to the new cymbals and make them part of their

sound. Drummers like John Bonham, with his thunderous power and

groundbreaking style, or carl palmer with his dazzling speed and

drumming technique, and Ian paice with his crisp, tight, and powerful

playing style are inspired by and bring out the best in 2002 cymbals.

ian paiCe # deep pUrplecymbal Set 1975: 2002, 15” Sound edge Hi-Hat / 2002, 20” crash /

Formula 602, 8” Seven Sound Set no. 1 / 2002, 22” ride / 2002, 22”

medium / 2002, 22” crash / Formula 602, 11” Seven Sound Set no.2

Throughout the 1970’s, rock’s popularity explodes, draws ever

larger crowds, and embraces Folk, roots and Jazz influences. Two

developments of the latter 1970’s stand out and will have a main

influence on pAISTe’s work with cymbals. The first is the explosive

growth of the rock genre Heavy metal, as pioneered by Judas priest,

motörhead, Iron maiden, Ac/Dc and Van Halen. The second is the

counterculture advent of punk lead by the ramones, Sex pistols, The

Damned and The clash. As ideologically diverse as the styles may be,

both are characterized by extreme volume, speed and midrange heavy

distortion. pAISTe’s answer is the creation of rUDe cymbals, whose

raw power and energy stems from their hand hammered, un-lathed

uniform thickness design, and naturally, the cuSn8 bronze. punk

Story by erik paiste

PAISTE’s 2002 is one of the most successful and long-lasting musical instrument brands ever. 2002 cymbals helped define the sound and music of generations of drummers, and for them, the 2002 is a legendary piece of music history.

2002- Ready to make history. Again.

ymBaL seriesC


and Heavy metal players like rat Scabies, marky ramone, Alex Van

Halen, and Bobby rondinelli gladly welcome rUDe cymbals into their

arsenals.

As rock music enters the 1980’s, exploring the stylistic boundaries of

punk and new Wave, two 2002/rUDe players stand out, both in terms

of success and stylistic influence: Stewart copeland with his intricate,

textured drum work in the context of police’s stripped down punk-

reggae inspired mix, and Larry mullen Jr. with his instinctual drumming

style in the hugely successful U2, the band that bridged the simplistic

vehemence of punk rock with the mass appeal of pop. metal, punk

and Hardcore continue to expand their stylistic variety throughout the

decade and beyond, as pAISTe players like Dave Lombardo, charlie

Benante and Tico Torres prove that their 2002 and rUDe cymbals

effortlessly hold up to the merciless and powerful playing styles that

are unleashed on them.

In 1986, pAISTe launches the 3000, which advance the 2002 sound

based on 1980’s musical trends. Towards the late 1980’s the Formula

602 starts to lose its relevance in the musical context of the times.

Both series are quickly overshadowed by the groundbreaking

development of the Signature series in the late 1980’s, which utilizes

pAISTe own proprietary bronze alloy and sets a new standard for

advanced pAISTe sound. The Formula 602 is discontinued soon

thereafter. In 1994, pAISTe decides to merge the rUDe series and

selected 3000 models into an expanded 2002.

The 1990’s definitely reinvigorate rock music and give it new

directions. The decade starts out with the development of Alternative

& progressive rock and swiftly moves into Grunge. roots rock

brings country, Folk, and Soul elements to the table. emocore in its

many sub varieties infuses Hardcore with punk, pop, Ska, Ballad,

and Jazz elements. metal breeds new sub styles, and in the process

incorporates progressive elements, punk minimalism and even funk

and rap. It refines its dark side with Black and Doom metal, while

Gothic rock and metal are alive throughout.

What’s significant in all this dizzying variety, explosion and integration

of styles is the underlying technical ability and stylistically broad

training of the era’s musicians in general and the drummers in

particular that perform a magnificent range of rock music. certainly,

the drummers of the 1990’s are well served by the selection of 2002,

rUDe and Signature cymbals available to them. Satisfied pAISTe

drummers in progressive Grunge, Hardcore, punk, metal and roots

based rock include such able and superb drummers as Danny carey,

David Silveria, Aaron montgomery, Joey Jordison, John Dolmayan,

and Aquiles priester.

pAISTe nonetheless recognizes the tremendous musical developments

of the decade and once more sets out to create new cymbals from the

tried and true cuSn8 bronze alloy. To develop new cymbals based on

the 1990’s musical developments, pAISTe borrows design principles

from the Signature and Traditionals series and applies them to the

trusted cuSn8 bronze alloy. In 1999 pAISTe launches the new cymbals

under the Dimensions name and returns the 2002 to a smaller lineup of

classic models. At the same time, pAISTe re-launches rUDe cymbals

under their original name.

rock music has undertaken a tremendous exploration of stylistic

variety over the last three decades. In the late 1990’s and 2000’s, it is

returning to the exploration of the textures and dynamics of its origins,

which coincide with the era of the launch of the 2002. As the resurging

popularity of the 2002 in the early 2000’s thus eclipses the critical

acclaim for Dimensions, pAISTe is compelled to recognize once and

for all the tremendous resilience of the 2002 in the context of rock

music. In 2005, pAISTe once again makes the 2002 a core series for

the future, and the most popular Dimensions models are incorporated

into a newly expanded 2002.

perhaps the most tantalizing addition to pAISTe’s program is the 2005

re-launch of the legendary Giant Beat. In today’s musical context, the

unique nature of these cymbals seems to eclipse their original design

purpose, as such exceptional drummers as patrick Keeler of The

raconteurs, Jeremiah edmond of manchester Orchestra, and ryan

mcmillan of matchbox Twenty, make Giant Beat cymbals the latest

addition to their sets, and even a venerable drummer such as Bobby

rondinelli re-acquaints himself with the origins of rock cymbal sound.

From 2006, the company then vigorously applies itself to new

directions for the 2002 and the rUDe, the objective being to add the

sophistication, control and flexibility desired by today’s drummers in

the heavier popular genres. The rUDe thus gains Thin crash models,

and a whole new category of “Wild” models is created for both the

2002 and the rUDe, which includes crashes, rides, Hi-Hats, chinas

and Splashes. Drummers embracing the new cymbals include Gas

Lipstick of HIm, Jordan Burns of Strung Out, matt Byrne of Hatebreed,

carlos mcSwain of Snoop Dogg and paul Bostaph of Testament.

During the same time, a number of the classic 2002 models in larger

sizes make it back to the line-up, as contemporary drummers’ thirst for

size becomes prevalent.

pAISTe’s family of professional “2002” Bronze cymbals has already

had a fascinating and breathtaking musical trip across four decades.

Today, as much as ever, the Giant Beat, 2002, and rUDe stand ready

to make music history - again.

mid 1960’S to early 1970’S britiSh invaSion # Folk rooted CoUnterCUltUre

# pSyChedeliC roCk # blUeS, Folk & neoClaSSiCal

revival # progreSSive roCk # hard roCk #

CoUntry & rootS roCk

Keith moon # The Who (2002)

Bobby elliott # The Hollies (2002/FO602)

mick Avory # The Kinks (2002/FO602)

John Wilson # Them (FO602)

nick mason # pink Floyd (GB/2002)

Keef Hartley # John mayall (FO602)

Leon ndugu chancler # Santana (2002/FO602)

carl palmer # eLp (GB/2002/FO602)

Brian Davison # The nice (GB/2002/FO602)

paul Thompson # roxy music (2002/FO602)

Barriemore Barlow, clive Bunker # Jethro Tull (2002/FO602)

Bill Bruford # yes, King crimson (2002/FO602)

cozy powell # Jeff Beck, Black Sabbath, rainbow (2002/FO602)

Jon Hiseman # Jack Bruce, colosseum (GB/2002/FO602)

Kenney Jones # Small Faces, Faces (2002)

John marshall # Jack Bruce, Soft machine (2002/FO602)

robert Townsend # Family (2002/FO602)

mel pritchard # Barclay James Harvest (2002/FO602)

Ian paice # Deep purple (2002/FO602)

John Bonham # Led Zeppelin (GB/2002/FO602)

Andy parker # UFO (2002)

Herman rarebell # Scorpions (2002)

John coghlan # Status Quo (2002)

Simon Kirke # Bad co. (2002)

Frank Beard # ZZ Top (2002)

chris Slade # Uriah Heep (2002)

prairie prince # The Tubes (2002/rUDe)

michael J. Derosier # Heart (2002)

Don Henley # eagles (2002/FO602)

mid 1970’S to mid 1980’S heavy metal # prog & Jazz roCk # SUper groUpS #

ameriCan & britiSh graFFiti # pUnk roCk # gothiC

roCk # hardCore # Ska & reggae # moderniSm #

new wave # Synth-pop # blaCk metal # pop metal

# Speed metal

pete Gill, mikkey Dee # motšrhead (2002)

clive Burr, nicko mcBrain # Iron maiden (2002)

phil rudd # Ac/Dc (2002)

Alex Van Halen # Van Halen (2002/rUDe)

Dave Holland # Judas priest (2002)

eric carr # Kiss (2002/rUDe)

Bobby rondinelli # rainbow (2002/rUDe)

nigel Glockler # Saxon (2002)

paul Burgess # 10cc (2002/FO602)

carl palmer # Asia (GB/2002/FO602)

Bill Bruford # Bill Bruford, UK (2002/FO602)

Dennis elliott # Foreigner (2002)

pick Withers # Dire Straits (2002)

rick Buckler # The Jam (rUDe/2002)

marky ramone # ramones (rUDe)

rat Scabies # The Damned (rUDe/2002)

Stewart copeland # The police (2002/rUDe)

Larry mullen jr. # U2 (2002/rUDe)

Wolfgang rhode, Vom ritchie # Toten Hosen (rUDe/2002)

Ingo Schwichtenberg # Helloween (2002)

Bobby Blotzer # ratt (2002)

Tico Torres # Bon Jovi (2002)

Leonard Haze # y&T (rUDe/2002)

Dave Lombardo # Slayer (2002/rUDe)

Scott columbus # manowar (2002)

charlie Benante # Anthrax (2002/rUDe)

Scott Travis # racer x (2002)

reed St. mark # celtic Frost (rUDe)

mid 1980’S to 2000’SgrindCore # death metal # progreSSive metal

# Street SoUnd # grUnge # rootS roCk # SpaCe

pop # indUStrial metal # pUnk CroSSover # noiSe

roCk # poSt-roCk # alternative roCk # neo blUeS

# alternative pop # neo Folk # rootS roCk #

emoCore # glam-metal # prog-metal # doom-

metal # Stoner roCk # FUnk & rap metal # angSt-

metal # gothiC roCk # gothiC metal # pop pUnk

Franklin Vanderbilt # Lenny Kravitz (2002/SIG)

nathan Followill # Kings of Leon (2002/SIG)

Alex Gonzalez # mana (2002/SIG)

patrick Keeler # The raconteurs (GB)

Samuel Giers # mando Diao (GB)

Johnny Dee # Doro (SIGn/2002)

Gas Lipstick # HIm (2002/SIG)

Andreas Brobjer # Lady Gaga (2002)

Iwan Griffiths # The Automatics (2002/GB)

Jerry Gaskill # King’s x (2002)

Flo Weber # Sportfreunde Stiller (2002)

Louis perez # Los Lobos (2002)

Danny carey # Tool (2002/SIG/rUDe)

pat mastelotto # King crimson, Tuner, KTU (2002/SIG)

Jürgen Stiehle # Die Happy (2002)

Jordan Burns # Strung Out (2002/rUDe)

Aquiles priester # Hangar (rUDe/SIG)

Fabian Halbig # Killerpilze (2002)

Jens carstens # rosenstolz (2002)

Brad Wilk # rage Against the machine, Audioslave (2002/SIG)

Jukka nevaleinen # nightwish (2002)

Aaron montgomery # Trapt (2002/rUDe/SIG)

Joey Jordison # Slipknot (rUDe/2002/SIG)

John Dolmayan # Scars on Broadway (SIG/rUDe)

meg White # White Stripes (2002/SIG)

randy ebright # molotov (2002/SIG)

Oleg pungin # mumiy Troll (rUDe/2002/SIG)

Andrew Kearton # Brigade (2002)

Hjalte Thygesen # Grand Avenue (SIGn/GB)

makis Gioulis # Socrates (2002)

Jakob Sinn # revolverheld (2002)

Danny morris # After midnight project (2002/SIG)

Simon mcKay # The Agonist (rUDe/SIG)

Bogie Bowles # Joe Bonamassa (2002/SIG)

Kevin rice # The Virgins (GB)

Stefan Arnold # Grave Digger (2002)

ryan macmillan # matchbox Twenty (2002/GB)

Jimmy Bower # Down (2002)

Jeff potter # The Lost Trailers (2002)

Ira elliot # nada Surf (2002/GB)

Tobias Danne # Itchy poopzkid (2002)

michael ehre` # Uli Jon roth (2002)

Olly peacock # Gomez (GB/SIG)

Julien Blais # The Stills (2002/GB/SIG)

paul Bostaph # Testament (rUDe/SIG/2002)

philipp Schadebrodt # eisblume (2002)

chuck Burgi # Billy Joel (2002/SIG)

ryan carman # rocco De Luca & The Burden (GB)

Jeremiah edmond # manchester Orchestra (2002/GB)

George Schwindt # Flogging molly (2002/SIG)

ryan Loerke # Secret & Whisper (2002/SIG)

Felix Bohnke # edguy (rUDe)

Bernd Herrmann # Söhne mannheims (2002/SIG)

Georg Lenhard # Die Apokalyptischen reiter (2002/rUDe)

Tamon nüssner # La Fee (2002)

markus reinke # Destruction (2002/rUDe)

Gunnar Spies # mia (2002/SIG)

Juri Schewe # panik (2002)

Luka van de poel # DeWolff (GB/2002)

matthew Abeysekera # Amazing Baby (2002)

Stefan ‚Zteff‘ Orhamn # Fatal Smile (2002/SIG)

Felix Keith # Aloha From Hell (2002)

Jeff campitelli # Joe Satriani (2002/SIG)

russell Gilbrook # Uriah Heep (2002)

Jason Bowld # pitch Shifter (2002/SIG)

Lyn Jeffs # Annotations of an Autopsy (rUDe/2002)

Tommy Aldridge # Thin Lizzy (rude/2002/SIG)

Bobby Jarzombek # Sebastian Bach (2002/SIG/rUDe)

matt Byrne # Hatebreed (2002/rUDe)

Vom ritchie # Die Toten Hosen (2002/SIG)

GB - Giant Beat (1967) / re-launched in ‘05

2002 - paiste 2002 (1971)

rUDe - paiste rUDe (1980) / “2002 rUDe” from ‘94 to ‘98

SIG - Signature (1989)

notes: Artist Setups taken from the relevant music periods,

musical genres indicate major trends, and are not meant to be

complete or chronologically precise.

rock History & seLected Paiste artists

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2002 SerieS artiStS ac/dc’s dick JoNes & PHiL rUdd … oN tHe road for 30 years by rich mangicaro

FOr mAny OF US, IT’S HArD TO ImAGIne DOInG One JOB FOr 30 yeArS. ImAGIne IF THAT JOB KepT yOU On THe rOAD, ALL THe TIme AnD eAcH nIGHT, yOU Were TeSTeD. IF yOUr JOB perFOrmAnce WASn’T perFecT, THe cOnSeQUenceS cOULD Be HUGe. THAT’S THe JOB OF A prOFeSSIOnAL, BIG ArenA rOcK DrUm TecH. THere’S nO FOOLIn’ ArOUnD WITH THIS GIG. yOU GOTTA Be On, 100% OF THe TIme AnD TO DO IT rIGHT, yOU reALLy HAVe TO LOVe yOUr WOrK. THUS IS THe cASe WITH DIcK JOneS. FOr THe pAST 30 yeArS, DIcK HAS Been pHIL rUDD’S rIGHT-HAnD mAn. AS THe DrUm TecH FOr meGA-rOcK’S SUperSTArS Ac/Dc, yOU JUST HAVe TO WOnDer WHAT IT’S LIKe? We DecIDeD TO FInD OUT AnD ASK THe mAn HImSeLF. AnD FOr THIS LOnG TenUre WITH One OF rOcK’S GreATeST BAnDS, pAISTe HAS Been ALOnG FOr THe rIDe ALL THe WAy.

DIcK, THe LAST TIme yOU &I WOrKeD TOGeTHer FOr pHIL’S

neeDS, He WAS USInG SIGnATUreS, I BeLIeVe. He’S nOW GOne

BAcK TO USInG 2002’S, LIKe THe OLD DAyS. TeLL me ABOUT THIS

cHAnGe?

Dick Jones: When we did the new recording, he had cymbals sent out

and he specified that he wanted to try 2002 again. They worked out so

well for what they were doing that he decided to stay with them for the

tour. phil feels he’s identifiable with the 2002 sound, just as much as he

is with his Sonor drums. He’s always open to trying new things but feels

comfortable with these sounds for what he’s doing now.

WHAT DIFFerence, IF Any, HAVe yOU nOTIceD Or HAS pHIL

nOTIceD WHen yOU mADe THe cHAnGe BAcK TO THe FAmILIAr

cymBALS OF HIS pAST?

DJ: It’s difficult to say really…I think he thinks the other lines are great

but as soon as he put the 2002’s back up, we’ve never gone back. phil

uses all 19” and 20” crashes with 14” hats and since we’ve gone back to

the 2002s, eveyone’s happy. They just work so well for this music, they’re

durable and just do the job. We did a photo shoot before the tour and

there’s a nice overhead shot of his kit, up on paiste’s website that shows

the cymbals really well.

DIcK, HOW AnD WHen DID yOU AnD pHIL meeT?

DJ: I got the job in 1980. I just finished working with Jethro Tull as the

assistant to the monitor engineer, funny enough. I was looking for a drum

tech job and bumped into Jake Berry who was the production manager

for Ac/Dc. He told me they were looking for a drum tech and I was one of

3 guys they considered. I ended up getting the job and they told me they

would try me out for 3 months and if I worked out all right, we would then

talk about more work. That was 30 years ago.

THAT’S GOT TO Be A recOrD, WOrKInG WITH One BAnD FOr THAT LOnG!

DJ: rich, I consider myself very lucky and it’s been a dream for me, really.

The guys in the band are such gentlemen…every one of them. I can’t

remember how many shows I’ve done with them, but with every show,

they have always put in 100% - every show. They truly love what they do

and considering their consistent success, there’s the proof.

WHAT WOULD yOU SAy Are THe mOST ImpOrTAnT FAcTOrS ABOUT

yOUr JOB?

DJ: you have to have a real passion for what you do. you have to greatly

respect the artist you’re working for. I have a set routine that I follow every

day and by maintaining that routine, I cover all the areas I need to cover. I

make sure when phil sits down on the kit, that it’s exactly the same every

night, so he’s immediately comfortable. I try to learn something new every

day, to keep it fresh, but the thing that keeps me going is the passion…I

truly love what I do.

WHAT’S THe mOST DIFFIcULT ASpecT OF yOUr WOrK?

DJ: The nerves. every evening before the show, we do a line check, about

15 minutes before the boys come up on stage. you see, the Band doesn’t

do sound checks very often. The back line crew does a simulated sound

check in the afternoon for our sound and monitor engineers. So, during

that 15 minutes, my stomach quivers a bit and my heart rate increases…

just because I want it to be right. It’s been this way for every single show

I’ve done with them. That’s the hardest thing I have to deal with. All of

us in the crew take this very seriously and we all find our place in our

heads before a show, to get prepared. And, it gets heightened when we

play the bigger cities. After a great show, the sense of relief we feel when

nothing’s gone wrong and everyone’s happy is just fantastic.

WHAT’S THe STrAnGeST, FUnnIeST Or ScArIeST THInG THAT

HAS eVer HAppeneD, DUrInG A SHOW, THAT yOU HAD TO FIx/

cOrrecT?

DJ: I’ve been thinking about that. you know, I sit right behind cliff’s

bass cabinet and it’s like sitting on the tarmac next to a jet engine, so

it’s sometimes difficult to communicate with phil. I end up lip-reading

when he tries to tell me something and that’s difficult because he’s quite

often smoking a cigarette! regarding something scary, the one thing as

a tech we all dread is if the bass drum head goes, but luckily that’s never

happened to me, with phil. It did happen once, with another drummer I

was working with, but I managed to change it within a minute or two, with

the help of the monitor guy.

DO yOU HAVe Any SecreTS Or TIpS THAT yOU cOULD SHAre WITH

OTHer DrUmmerS?

DJ: you gotta be confident and you gotta enjoy what you’re doing. At the

end of the day, you’re there to entertain people so you gotta be prepared

and know what you’re doing. One other thing I guess I would say is

don’t eat any Indian food before a show! That in itself could lead to a few

problems, least of which would be changing a bass drum head. most

importantly, have a passion for what you’re doing.

phil rUdd’S “blaCk iCe” toUring Cymbal Set: From left to right

14“ 2002 medium Hi-Hat

20“ 2002 crash

19“ 2002 crash

20“ 2002 crash

20“ 2002 crash

19“ 2002 crash

19“ 2002 crash

19“ 2002 crash

JImmy BOWer

# DOWn

BOGIe BOWLeS

# JOe BOnAmASSA

cHUcK BUrGI

# BILLy JOeL

rAnDy eBrIGHT

# mOLOTOV

nIGeL GLOcKLer

# SAxOn

GAS LIpSTIcK

# HIm

cArLOS mc SWAIn

# SnOOp DOGG

DAnny mOrrIS

# AFTer mIDnIGHT prOJecT

eLOHIm cOrOnA nOBLeS

# mODerATTO

TOSS pAnOS

# rOBI DrAcO rOSA

prAIrIe prInce

# THe TUBeS

VOm rITcHIe

# DIe TOTen HOSen

GeOrGe ScHWInDT

# FLOGGInG mOLLy

STeVe SInATrA

# LITTLe BIG TOWn

JAKOB SInn

# reVOLVerHeLD

GUnnAr SpIeS

# mIA

Jeremy THOmpSOn

# nASHVILLe pUSSy

STepHen VAn HAeSTreGT

# WITHIn TempTATIOn

FLO WeBer

# SpOrTFreUnDe STILLer

BrAD WILK

# rAGe AGAInST THe mAcHIne

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Joey Jordison # slipknot

wild CraSh“When you incorporate a RUDE Wild Crash into your Paiste cymbal set

up, you will hear just why they call them ‘WILD’. I added two on my set up

and by the second day they had my other RUDEs smoking and drinking...I

said they were WILD!”

cHArLIe BenAnTe # AnTHrAx

mega power ride“While travelling to Switzerland, to collaborate on

the specifics of this cymbal, I discovered a greater

knowledge of exactly what I wanted from my ride and I

hope that you enjoy it as much as I have come to love it.

If you want the loudest, most aggressive sound possible

for a ride, then ‘The Eclipse’ should rank among your

top choices.”

JOHn DOLmAyAn # ScArS On BrOADWAy

novo China“I use two 20” Rude Novos in my setup. I love

the immediacy of these cymbals…they spit

and then disappear. They are plenty ‘RUDE’

with lots of cut...just what I like in a China.”

TOmmy ALDrIDGe # THIn LIZZy

rude series tHe origiNaL PUNk & metaL soUNd

These definitely different cymbals were inspired by the revolution of punk and metal during the late 1970s. RUDE continues to be the leading choice of sound for raw, merciless and powerful musical energy in Rock, Metal, and Punk.

factsSince: 1980


Applications: Medium loud to extremely loud • Live and

recording • Punk, Heavy Metal, Hard Rock, Rock/Metal

crossover Styles & Derivatives, and contemporary styles rooted

in/or similar to those styles

Sound: raw, metallic, powerful, lively, sparkling, bright, icy and

energetic with heavy mid-range harmonics and powerful, cutting

characteristics

ride ride/crash 20”

power ride 20”

mega power ride 24”

CraSh Thin crash 16”/17”/18”/19”/20”

crash/ride 16”/17”/18”/19”

Wild crash 17”/18”/19”/20”

hi-hat Hi-Hat 14”

Wild Hats 14”

Sound edge Hi-Hat 14”

SplaSh Splash 10”

China china 18”/20”

novo china 18”/20”

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TOmmy ALDrIDGe

# THIn LIZZy

crAIG AnDerSOn

# IGnITe

FeLIx BOHnKe

# eDGUy

pAUL BOSTApH

# TeSTAmenT

JOrDAn BUrnS

# STrUnG OUT

DAVe cULrOSS

# mALeVOLenT creATIOn

SIr G.

# DIe ApOKALypTIScHen reITer

GOrDOn HecKAmAn

# pOWermAn 5000

BOBBy JArZOmBeK

# SeBASTIAn BAcH

peeTer JOGIOJA

# InDepenDenT

DAVe LOmBArDO

# SLAyer

SImOn mcKAy

# THe AGOnIST

AQUILeS prIeSTer

# HAnGAr

mArKy rAmOne

# THe rAmOneS

mArKUS reInKe

# DeSTrUcTIOn

erIc STOcK

# STrOKe 9

ScOTT TrAVIS

# JUDAS prIeST

cHArLIe ZeLeny

# BeHOLD THe ArcTOpUS

DIeSeL

# crOSSBreeD

HOrGH

# ImmOrTAL

rude SerieS artiStS

matt ByrNe of HateBreed refLects oN His earLy iNfLUeNces aNd wHy He PLays Paiste rUde cymBaLs

I began playing the drums when I was 13 years old. I tried playing

guitar first but failed miserably. I was set up to fail with that one,

actually. Taking lessons from a “church-lady” type who only shows

you basic chords to songs like “Kumbaya” on an acoustic guitar is

in no-way studying and emulating the shredding of eddie Van Halen,

Jimmy page, etc. that had attracted me to the instrument in the first

place. So, I gave the drums a shot.

I was heavily influenced by John Bonham, Dave Lombardo, Alex

Van Halen, nicko mcBrain and charlie Benante. I wanted to use

the equipment that they used and to sound just like them. Being a

young drummer, the ultimate equipment for me was paiste cymbals

because that was the stuff many of my favorite metal guys were

using.

The first time I heard the rUDe cymbals was on the earlier

recordings of Van Halen and Anthrax. On certain songs from both

bands, they would be riding this crash cymbal and creating this

huge, consistent, dark wash that was stronger than any other cymbal

sounds I had heard on previous records from anyone. The sound

was so consistent and loud, yet completely uncommon and non-

traditional. It was such a “trademark” sound that only they seemed

to have. It was part of their identity.

I did some research and found that these players had paiste rUDe

cymbals somewhere in their set up. I wanted to be one of those

players that achieved that same type of “trademark” and identity in

my playing, so I worked these rUDe cymbals into my set up. The

physical appearance of the cymbals became the icing on the cake.

no other cymbals in the world have the raw, dirty, earthy, natural-

metal looking texture of the rUDe. They’re “mean” looking and are a

perfect compliment to the heavy metal/hardcore stage show.

I think my band mates have come to realize the role my rUDe

cymbals play in our recorded and live sound. They are very

distinctive and powerful. many a night have we come off stage with

our ears ringing saying- “God damn, that thing is LOUD!!!” (referring

to my 20” rUDe ride/crash).

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PATRICK KEELER # THE RACONTEURS

Giant Beat series ViNtage rock soUNd

These venerable cymbals – developed during the 1960’s rapid expansion of popular music – were faithfully recreated and re-launched by Paiste in 2005. Giant Beat cymbals offer the big, warm, brilliant vintage sound that takes you straight back to the roots of Rock.

factsSince: 2005 (Original introduced in 1967)


Applications: Soft to loud settings • Live and recording • Blues, Rock

’n’ roll, Beat music, rock, country

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

splendid presence and a wonderfully loose, lively and big feel

mUlti-FUnCtionalGiant Beat 18”/20”/24”

hi-hat Hi-Hat 14”/15”

mUlti-FUnCtional 24““I love my Giant Beat’s. They are explosive without being harsh. They are

extremely musical and don’t overpower my kit…to me balance is everything. My

24’’ Giant Beat sounds great, the bell sings and crashes beautifully. What more

could you want?”

BOBBy rOnDIneLLI # THe LIZArDS

mUlti-FUnCtional 20““I like that the 20” falls into a ‘cymbal’

category and not just a ‘crash’ category,

it’s made to crash but it’s also meant to

ride. Whether I use it live or in the studio,

the 20” is a full spectrum cymbal… from a

whisper to a scream. I’ve literally only used

the 20” & 24” on my set up since Giant Beat

was re-released in 2005. They speak for

themselves.”

JOHn FAy # THe TrAGIcALLy HIp

hi-hat“When I started playing drums at 12, I played on a vintage

15” hi-hat. The Giant Beat 15” Hi-Hat is the best I’ve ever

played since then. It’s got a great mix between vintage and

new. It sounds great whether you play soft, closed, or if

you’re really banging on it open. So far I have not broken

one!”

SAmUeL GIerS # mAnDO DIAO

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giant beat SerieS artiStS

saMuel Giers # maNdo diao

Samuel started playing drums at the age of 12 years and immediately

put together a band with his two friends. Soon after he took his first

drum lesson and at the age of 15 he knew what his passion was –

playing the drums! After finishing 9th grade Samuel went to a music

gymnasium and that’s where he first met with Daniel Haglund, mando

Diao’s first organ player.

mando Diao is a garage rock band from Borlänge, Sweden. The band

got their breakthrough with the release of the album “Hurricane Bar”.

The song “God Knows” was featured in the FIFA’06 soccer video

game and the popularity of the band exploded over night. In 2009, the

band released a new album “Give me Fire” and the first single “Dance

With Somebody” was a serious charts breaker, being number 1 all

over europe.

mando Diao is constantly touring and their fan base is rising with

each performance. Samuel’s trademark is his energetic and groovy

drumming style that he lays down on his rather minimalistic retro

drum set.

Samuel plays: 15” Giant Beat Hi-Hats, 18” & 19” 2002 Wild crash, 24”

Giant Beat multi-Functional

PatricK Keeler # tHe racoNteUrs

nashville based patrick Keeler is a fun drummer to watch perform. Attend a raconteurs or

Greenhornes concert and you’ll see a drummer that resembles the look, feel, and groove very

similar to some of the legends in the past, like mitch mitchell, Ginger Baker, or John Bonham.

Although patrick’s primary gig over the last five years has been with Grammy award

nominated rock band The raconteurs, patrick is also the long standing drummer for The

Greenhornes. In 2004, Keeler played drums on Loretta Lynn’s Grammy award winning album,

“Van Lear rose” produced by raconteurs band mate Jack White. It’s been a very productive

decade for patrick.

We asked patrick on how he was introduced to Giant Beat. patrick states, “I’ve always

preferred a vintage cymbal sound and before playing paiste I used a wide range of other

brands. During the start up of The raconteurs the guitar tech, who knows the cymbal sounds

I like, suggested that I check out paiste’s Giant Beat models. I wasn’t familiar with them so I

went to a local drum shop and tested the 15” Hi-Hats, 18”, 20”and a 24” sizes; basically the

entire line. I was sold within minutes of checking them out and I bought that entire set.

“Giant Beat is a really cool cymbal; it’s just the right sound that I’ve always wanted to hear on

my kit. They’re versatile, the 24” feels great to play and it has a great wash. All of the sizes

have a large sustain and what I really like about them is they remind me of the old eLp, Jimi

Hendrix, pink Floyd, and Led Zeppelin records that I still listen too. Giant Beat is the reason

why I applied for an endorsement with paiste. It’s just about the only cymbal that I play for all

my musical settings.”

patrick Keeler’s set up consists of all Giant Beat: 15” Hi-Hat, 18”, 20”, & 24” multi-Functional

ryAn cArmAn

# rOccO De LUcA & THe

BUrDen

JeremIAH eDmOnD

# mAncHeSTer OrcHeSTrA

IrA eLLIOT

# nADA SUrF

JOHn FAy

# THe TrAGIcALLy HIp

DennIS HOLT

# nASHVILLe STUDIOS

ryAn mAc mILLAn

# mATcHBOx TWenTy

nIcK mASOn

# pInK FLOyD

mIcHAeL mILey

# rIVAL SOnS

LOU mOLInO

# yOSO

OLLy peAcOcK

# GOmeZ

JASOn SmITH

# JASOn SmITH TrIO

LUKA VAn De pOeL

# DeWOLFF

mArK WALKer

# BerKLee cOLLeGe OF mUSIc

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Jeremy Spencer # Five Finger Death punch

alPHa seriestHe smart cHoice for serioUs soUNd

New & Updated for 2010: Modern high energy cymbals manufactured using top-notch hi-tech processes, enhanced by traditional hand hammering, and hand polished to a mirror perfect finish for unsurpassed quality, first class sound and musicality.

factsSince: 2006

Alloy: cuSn8 Bronze, also known as “2002

Bronze”

Applications: All volume settings • Live

and recording • Rock, Metal, Pop, Country,

Latin, r&B and general use in a variety of

music styles

Sound: Bright, crisp, energetic, powerful,

and cutting with clarity, warmth, and tonal

definition

new 2010 brilliant finiSh

ride Full ride 20”

Groove ride 21”

rock ride 20”/22”/24”New

metal ride 20”

CraSh Thin crash 14”/16”/17”/18”

medium crash 14”/16”/18”

rock crash 16”/17”/18”/19”/20”

New metal crash 17”/18”/19”/20”

New = New Models for 2010

hi-hat medium Hats 13”/14”

rock Hats 14”/15”

Sound edge Hi-Hat 14”

New metal edge Hats 14”

SplaSh Thin Splash 8”/10”

metal Splash 10”/12”

China china 14”/16”/18”

rock china 18”

metal CraSh“Satisfying in virtually every aspect, Paiste’s Alpha Metal Crash has an

unparalleled level of durability and facilitates dexterity, clean consistency,

and precision. It is impossible for anyone to require anything more in a

crash cymbal.”

STeVen Spence # BLAcK TIDe

metal SplaSh“The Alpha Metal Splash f…ing cuts super deep through

any mix! Not only is it the archetypal splash sound, but

when I hit this thing the whole world hears it!”

mATT KUyKenDALL # ALL SHALL perISH

roCk hatS“I love my Alpha Rock Hats. They’re loud, bright, and they

take a beating. They cut right through the music to stand out;

so perfect for metal.”

DAVe WITTe # mUnIcIpAL WASTe

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toMMy PortiMo # soNata arctica

In 1995, at the young age of 14, Tommy

portimo joined the Finnish power metal

band Sonata Arctica (originally called Tricky

Beans). Their later works (most notably “The

Days of Grays”, “Unia” and a few tracks on

“reckoning night”) contain some elements

typical of progressive metal.

In 1999, the band got signed to Spinefarm

records and released their debut album

“ecliptica”. All six of the Sonata Arctica

albums and their live DVD reached gold status

in Finland. currently the band is touring the

world, supporting their latest effort: “The Days

of Grays”.

Tommy plays the Alpha series: 20” Heavy

ride, 16” rock crash, 17” rock crash, 18”

rock crash, 19” rock crash, 10” metal

Splash, 12” metal Splash, 14” rock Hats, 14”

medium Hats, 18” rock china

cHarlie PaXson # myLeNe farmer, HimUroAt the young age of thirty-two, one might think that charlie paxson’s

resume belongs to a drummer who has been deeply rooted in the

music scene for over twenty years. Throughout his ten years of

activity in the business after attending Berklee college of music,

charlie has worked with top acts such as James Blunt, rickie Lee

Jones, Anastacia, Tina Turner, enrique Iglesias, colin Hay, everlast,

Kelly clarkson, Avril Lavigne, and Tony Hawk. These are just a few

names that this Los Angeles based musician has worked for over his

stellar career.

To give you a stronger grasp of how talented and in demand charlie

is, over the last eight months two of the world’s biggest pop stars –

mylene Farmer (France) and Kyosuke Himuro (Japan) – hired charlie

for back-to-back stadium tours in each of their respected countries.

His proven versatility behind the drum kit is what makes him sought

after by so many top acts.

paired with his professional approach to working with high clientele,

charlie’s a very fun-loving and humorous personality. Blend such a

positive attitude with his natural gift of music and you’ll understand

why he is a very busy musician.

charlie plays all Alpha cymbals: 18” rock crash, 10” metal Splash,

14” rock Hats, 19” rock crash, 21” Groove ride, 20” rock crash,

18” china, 19” rock crash

oN tHe road witH cHris corNeLL By Jason sutterLast summer was a killer experience on the road with Chris Cornell in support of his new CD, “SCREam”. Our summer tour schedule consisted of hitting many major venues and festivals in Europe. We did a three week tour of france supporting the amazing Lenny Kravitz! He was fantastic and super cool. Lenny sat behind my drums at sound check and said it was like sitting behind the wheel of a Cadillac!! He sounded great of course and told me there are no cymbals for him other than PaIStE and that nothing else will do for his show!

the best part of the tour (other than our shows) was getting to hang with the fantastic franklin vanderbilt who was out drumming with Lenny! He tore it up nightly and it was a drum lesson in groove for me! It was rad to be able to get to hang on the road with a fellow Paiste drum bro!! We actually use the exact same drums and sizes as well as sticks and of course cymbals!!

Immediately after supporting Lenny, Chris began hitting the European festival circuit. We were overseas for over 2 months experiencing the great sites, food and lots of rock!! We were alternating between club headliners and massive festival shows so it was the best of both worlds!!for the festivals and bigger venues I turn to my trusty alphas that cut a bit more and are super loud but still really musical. I use two alpha 20” Rock Crashes, a 21” Groove Ride and a 19” Rock Crash and the 15” Rock Hats which rule!! I also use an 8” alpha thin Splash along with my all-time favorite ride cymbal, the 24” 2002 Ride.

One of the highlights of this tour was a trip to the famous Paiste factory while we were playing in zurich! It was absolutely amazing and everyone there was super cool. I got an up close look at all that goes into making these amazing instruments called cymbals... but not just any cymbals PaIStE!! I was blown away at the craftsmanship and dedication from all the workers and artisans. It is no wonder they are so consistent and sound as amazing as they do! I even got to hammer my own cymbal. Super cool!

We played all over Europe. a cool club in Prague one night, then a 20,000 seat festival in Sweden the next. We played an insane norway festival where meshuggah opened for us and then Korn followed us (talk about having to be on my game)! there were some pretty serious drummers we toured with so it’s always high priority to play my best night after night and represent my Paiste peeps!!!!

It was the tour of a lifetime and I look forward to where the next one will take me. One thing for sure is that I will be armed with the consistency, dependability and diversity of my Paiste cymbals. If you haven’t checked out all Paiste has to offer head to your local music store and get in the game! Hope you are all rocking out there and feel free to check out jasonsutter.com for more tour dates and info and remember we are the luckiest people in the world...WE PLay DRumS!! Keep rockin’!!!

Cheers, Sutter

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alpha SerieS artiStS

mIKe ALOnSO

# eLecTrIc SIx

BOBBy AmArO

# nUDe

STeVe ASHeIm

# DeIcIDe

mArKO ATSO

# meTSATOLL

BeLA B

# DIe ärZTe

nIcK BArKer

# InDepenDenT

JeSSe cArABALLO

# mArK AnTHOny

Ben cArTer

# eVILe

eLOy cASAGrAnDe

# AnDre mATOS

JOnny cHOpS

# WeDneSDAy 13

ScOTT cHUrILLA

# SUperSUcKerS

BILLy cOpeLAnD

# BILLy rAy cyrUS

cOTe FOnceA

# LUcyBeLL

DALe GrOVer

# THe meLVInS

BreTT HArTWeLL

# THe FrAnTIc

nIcK HUFFmAn

# FrOm A SecOnD STOry

WInDOW

AnDerS JIVArp

# DArK TrAnQUILITy

cHrISTIAn LeOnHArDT

# OOmpH! / T.O.y.

BOrIS LIFcHITS

# B-2

mIKe LUce

# DrOWnInG pOOL

ILIAS mALLIn

# KILL HAnnAH

KATHA mIA

# mOnO Inc.

IVAnn mIcHeL

# pASTILLA

emmeTT mUrpHy

# DInOSAUr Jr.

KeVIn mUrpHy

# JOSH GrAcIn

HenrIK OHLSSOn

# ScAr SymmeTry

Jerry O‘neILL

# VOO DOO GLOW SKULLS

JAnne pArVIAInen

# enSIFerUm

GUnnAr rITTer

# BLInD

emeDIn rIVerA

# InDepenDAnT

BrAD rOBerTS

# GWAr

nIKI SKISTImAS

# KrASHKArmA

cHArLIe WAymIre

# JKB

cOADy WILLIS

# THe meLVInS

DAVe WITTe

# mUnIcIpAL WASTe

DAnGO

# AmBer pAcIFIc

GrOm

# LAST exIT

pHee

# FIreFLIGHT

ymBaL seriesC


JUKKA NEVALAINEN # NIGHTWISH

Pst 5 & Pst 3 series soUNd fUsioN of QUaLity aNd VaLUe

The fusion of Swiss cymbal sound know-how with German hi-tech expertise. PST cymbals represent a breakthrough combination of quality and value, and convince with superior sound and appearance.

factspSt 5Since: 2005

Alloy: cuSn8 Bronze

Applications: All volume settings • Live playing •

entire range of music styles

Sound: Bright, clean, full, focused, cutting

and energetic with full functional and musical

characteristics

pSt 3 Since: 2005

Alloy: mS63 Brass

Applications: All volume settings • Live playing •

entire range of music styles

Sound: Bright, clean, powerful with fundamental

functional and musical characteristics

pSt 5 ride medium ride 20”

rock ride 20”/22”


medium crash 16”/17”/18”

rock crash 16”/18”/19”

crash/ride 18”

hi-hat medium Hats 13”/14”

rock Hats 14”

SplaSh Splash 8”/10”

China mini china 14”

china 16”/18”

SetS essential Set (13/18)

essential Set (14/18)

effects pack (10/18)

rock Set (14/16/20)

Universal Set (14/16/20)

pSt 3 ride ride 20”

CraSh crash 14”/16”

crash/ride 18”

hi-hat Hi-Hat 13”/14”

SplaSh Splash 10”

China china 18”

SetS essential Set (13/18)

essential Set (14/18)

effects pack (10/18)

Universal Set (14/16/20)

pST5

roCk hatS

pST3

hatS

new pSt 3 & pSt 5 Set box For 2010!

pST3

CraSh

pST3

ride

pST5

CraSh ride

pST5

roCk CraSh

ymBaL seriesC


symPHoNic18” LIGHT

medium bright, silvery, warm, with a light, airy crash. Light

attack, very responsive, with a beautiful, dark, shimmering fade.

20” meDIUm LIGHT

medium bright, full, warm, with a broad, sparkling crash. Big

attack, swelling response, with a long, flowing sustain.

18” meDIUm

Bright, full, warm, brilliant, with a robust, fiery crash. Solid attack

and response, with a medium bright, full and sparkling sustain.

siGnature FaMily seriesSince: 1994

Signature Hand cymbals are the result of years of painstaking research into classical percussion and diverse

contemporary hand cymbal performance environments.

Signature “Symphonic” models were created for classical symphonic music, using critical input from top international

symphonic percussionists.

Signature “concert/marching” models offer wider versatility for contemporary applications with a more traditional

sound.

Signature “Universal” models were developed for contemporary applications demanding energy and versatility

in ensemble, concert, marching, and Drum corps applications. Signature cymbals are entirely made by hand in

Switzerland using traditional methods that have remained unchanged in over half a century.

coNcert/marcHiNg18” meDIUm

medium bright, full, sparkling with a strong, brilliant crash. Bright attack, with a well

balanced blend of high and low overtones, and an even, fairly short sustain.

16” / 18” meDIUm HeAVy

Bright, full, brilliant, with robust, fiery crash. Silvery attack, with a full spectrum of

overtones from high to low, and a medium long sustain.

UNiVersaL16” / 18” meDIUm HeAVy

Bright, solid, full, brilliant with a strong, bright, sparkling crash. Silvery attack, with

a well balanced spectrum from low overtones to brilliant highs, and a medium long

sustain.

aLPHa16” / 18” / 20” cOncerT/mArcHInG

Full-bodied, sparkling attack, with a silvery shimmering

response, rounded off by a wide and rich sparkling bouquet.

Well balanced spectrum from high to low, with a strong,

meaty mid-range. medium long sustain. Smaller sizes work

well in outdoor marching situations, while larger sizes are

recommended for indoor concert applications.

alPHa & Pst seriesSince: 2008

Alpha “concert/marching” models were designed for universal application, ranging from indoor ensemble

and concert to outdoor marching and Drum corps. made entirely by hand in Switzerland, they deliver

warmth, brilliance and richness in sound, and professional quality for a comparatively modest investment.

pST 5 and pST 3 “Band” are designed for universal contemporary concert, band and marching

applications. They feature paiste quality and consistency with proper sound and function, yet are affordable

enough to fit any budget.

pST or “paiste Sound Technology” cymbals are crafted utilizing the transfer of extensive Swiss-based

know-how and the essence of hand manufacturing principles into our modern, hi-tech production.

Pst 514” / 16” / 18” BAnD

Silvery attack, sensitive response. Well-rounded and clean mix of overtones, resulting in

a full-bodied bouquet with warm brilliance and sparkle. Universally applicable indoors

and outdoors, with sufficient quality and function for more subtle ensemble and concert

applications.

Pst 314” / 16” BAnD

clear, defined attack. Well balanced mix of overtones. medium sustain. easy to handle

and very responsive.

“The variety of sound choices available in the Paiste Hand

Cymbal lines will satisfy even the most discerning ear. From

standard Band and Orchestral literature to contemporary

chamber, marching, and percussion ensemble pieces, Paiste’s

consistency and playability make them the finest

instruments available.”

JeFF mOOre # DIr. OF percUSSIOn,

UnIV. OF cenTrAL FLOrIDA

aNd cymBaLsH


syMPHonic goNgsSymphonic Gongs feature a harmonic and universal sound

structure. The fundamental note of the gong is balanced with

the instrument’s complex overtones. A good starting point

for a gong collection, the Symphonic contains even

proportions of various gong characteristics, which

can be brought forth using different mallets and

striking points.

Available in: 20” / 22” / 24” / 26” / 28” /

30” / 32” / 34” / 36” / 38” / 40” / 50” /

60” / 60” mikrophonie / 80”

symPHoNic goNgs – PLaNet goNgs

Planet goNgsplanet Gongs resemble Symphonic Gongs in character, but feature a

strong fundamental note tuned to represent a natural harmonic series

based on the orbital properties of the Sun, the earth, the moon and the

other planets. planet Gongs resonate harmonically with the cycles of the

solar system, communicating to us what has been known since antiquity

as the “music of the spheres”.

Available as: 38” c#2 earth / 38” B1 Sun / 36” c2# pluto / 32” c#2

mercury / 32” D2 mars / 32” D2 Saturn / 30” F2 platonic year / 28” F#2

Jupiter / 28” G2 Sidereal Day / 24” A2 Venus / 24” G#2 Uranus / 24”

G#2 neptune / 24” G#2 Sydonic year / 24” A#2 Sidereal moon / 32” D#2

chiron / 32” e2 niburu / 38” c2 Sedna

sound creation goNgseach Sound creation Gong has its own

extraordinary and particular sound character.

Their impressive, charismatic sound embodies

a wealth of exemplary emotional sensations

and feelings. Due to their varied sound colors

and voices, these instruments also offer a wide

range of harmonics and frequencies.

Available as: 26” no.3 earth / 32” no.3A earth

/ 38” no.3B earth / 60” no.3c earth / 11” no.8

chakra Head / 14” no.9 chakra chest / 16”

no.10 chakra Abdomen

soUNd creatioN goNgs – acceNt goNgs – deco goNgs

accent goNgsAccent Gongs are special gongs with an

aggressive, foaming, and lively sound character.

A multitude of sounds may be achieved with

various playing techniques.

Available in: 7” / 10” / 13” / 22”

deco goNgsessentially, the Deco is a miniature Symphonic Gong. The instrument

produces a fascinating and wonderfully exotic sound. True gongs with

complex harmonics, they make a unique and decorative addition to your

personal or musical environment.

Available in: 7” / 10” / 13”

(also as Set incl. Wall Hanger or Floor Stand)

oNgsG


Paiste oN tHe NetWe highly recommend you to visit www.paiste.

com where you can effortlessly browse through

all our products

- get detailed information about each model,

- zoom in to view the texture of each cymbal

- listen to its sound,

- compare sounds in the “Soundroom”,

- and print your own personalized paiste catalog

in the “my Own catalog” feature

paiste.com is an endless source of online

information for consumers and retailers who

are eager to learn more about the company’s

philosophy, history and artists.

the paiSte nationis our video and network community. Join the paiste nation today

on www.paiste.com!

paiSte logo gearVisit our paiste clothing OnLIne SHOp to view some of the

hottest swag available today.

www.paiste.comget all lateSt newS aboUt CymbalS, artiStS and more

L atestartists & cymbalsnews

on track UP&comiNg artists Name tHeir tHree faV tracks recorded By otHer Paiste artists

philip SChadebrodt # eiSblUmerevolverheld # Jakob Sinn - “Generation rock”

Ignite # craig Anderson - “Let it burn”

Iron maiden # nicko mcBrain - “2 minutes to midnight”

mikey martin # Shiny toy gUnS The police # Stewart copeland - “message in The bottle”

“The Hi-Hat work, groove and feel of that song is great. Every drummer, whether they know it or

not, has coped one of his grooves.”

U2 # Larry mullen Jr. - “Sunday Bloody Sunday”

pink Floyd # nick mason - “Hey you”

“His snare and cymbal sound and airiness of the tune is what makes it. The drum fills Nick places

are perfect and tasteful.”

eliaS mallin # kill hannahTool # Danny carey - “The pot”

“Danny’s just slamming on it. The blistering single stroke fills out of the bridges and going to the

China a few measures before the last chorus ends was pure genius.”

HIm # Gas Lipstick - “Sweet 666”

Slipknot # Joey Jordison - “pulse Of The maggots”

eriC SliCk # adrian belewBill Bruford (Instructional Video) - “Bruford and The Beat”

Tool # Danny carey - “Aenima”

Fantomas # Dave Lombardo - “Amenaza Al mundo”

“Amenaza Al Mundo” had a tremendous effect on me as a musician. Dave is like a searing ball of

fire straight from hell; a light speed version of John Bonham. His cymbal sounds on this album

are beautiful.”

JeFF potter # the loSt trailerSpat Green # Justin pollard - “carry On”

System Of A Down # John Dolmayan - “Dreaming”

“This tune is somewhere between a marching, punk rock beat, and total chaos. It has a simple

yet very powerful style to it.”

The police # Stewart copeland - “Walking On The moon”

“The Hi-Hat work he does on this tune is great. He’s an innovator and rock pioneer.”

danny morriS # aFter midnight proJeCt Death cab For cutie # Jason mcGerr - “plans”

“McGerr’s choice of grooves and fills are beautifully executed. There is something special about

every track and you can tell a lot of thought, feel and heart were put into making a great album!”

Anita Baker # ricky Lawson - “Sweet Love”

A perfect circle # Josh Freese - “The Outsider”

“The crashes pierce me to the core and I love those hi-hats.”

Svend lerChe # the daylightSToto # Jeff porcaro - “Hold The Line”

“This song pretty much hooked me into my passion for music and wanting to play drums.”

Led Zeppelin # John Bonham - “rock n’ roll”

Blonde redhead # Simone pace - “23”

“The entire record is a really nice piece of music. Simone Pace has a great sound and very

innovative grooves throughout the entire record.”

JUri SChewe # panikThe police # Steward copeland - “roxanne”

Led Zeppelin # John Bonham - “Whole lotta love”

Steve Jordan # John mayer - “Gravity”

MiKe aMBrose # set yoUr goaLsOriginally formed in 2004, Set your Goals is an American

punk rock band from the San Francisco Bay area.

Hailed by magazines such as Alternative press & Amp

magazines, the band has quickly risen to become the

next big band in the punk rock scene.

If you have not had the chance to listen to Set your Goal’s

music or witness the band’s performance, you need to do

yourself a favor and check them out. more importantly,

you need to familiarize yourself with mike Ambrose and

his drum set playing. mike’s is one of punk rock’s new

breed of drummers who are defining this unique style

of music today. His blazing speed, endless power and

precise chops placement on the drum kit is not an easy

feat to pull off night after night.

The band’s explosive energy throughout an entire show

seeps out to the thousands of kids, resulting in fanatical

fans reciting the band’s lyrics, tornado-like mosh pits,

and sporadic stage dives on to the brave viewers in

the front row below. Attend a Set your Goals show and

you’ll experience excitement and chaos at the show from

beginning to end.

mike’s set up only consists of a few cymbals but he uses

them to their fullest potential. His primary set up consists

of mostly Alpha rock models: 14” rock Hats, 19”/20”

rock crashes, 18” Alpha china, and a 21” Groove ride.


CYMBAL APPLICATION GUIDE 2010 Our cymbal application guide is a classification system that serves as a guideline in selecting a particular Paiste cymbal for any specific style of music that drum-mers or percussionists play. Whether you play Hard Rock or Big Band, our guide will help you select the ideal Paiste cymbal for you. This system serves as a guide to advise you on selecting cymbals based on your preference of music and it should not be considered a hard rule for your cymbal selection process.

SIGNATURE «TRADITIONALS»

RIDE Light Ride 20"/22" Light Flat Ride 20" Medium Heavy Ride 20"

CRASH Thin Crash 16"/17"/18"

HI-HAT Medium Light Hi-Hat 14"

CHINA Medium Light Swish 20"/22"

SIGNATURE «DARK ENERGY»

RIDE Light Dark Ride MK I 21" Dark Energy Ride MK I 20"/21"/22" Dark Energy Ride MK II 20"/21"/22" Dark Dry Ride MK I 21"

CRASH Dark Energy Crash MK I 16"/17"/18"/19"

HI-HAT Light Dark Hats MK I 14" Dark Energy Hats MK I 13"/14"

SPLASH Dark Energy Splash MK I 8"/10"

SIGNATURE

RIDE Dry Crisp Ride 20" Full Ride 20" Dry Ride 20" Bright Ride 20" Dry Heavy Ride 20"/21" Dark Metal Ride 20"/22" Blue Bell Ride 22"

CRASH Crystal Thin 16"/18"/20" Mellow Crash 16"/18" Fast Crash 14"/15"/16"/17"/18" Full Crash 14"/16"/17"/18"/19"/20" Power Crash 16"/17"/18"/19"/20"

HI-HAT Crystal Hats 14"Medium Hi-Hat 14" Dark Crisp Hi-Hat 13"/14" Heavy Hi-Hat 14" Sound Edge Hi-Hat 13"/14"

SPLASH Splash 6"/8"/10"/12"

CHINA Thin China 16"/18" Heavy China 18"

SPECIAL SOUNDS Flanger Bell 12" Mega Cup Chime 13"Cool Bell 8"

SIGNATURE «REFLECTOR»

RIDE Refl. Bell Ride 20"/22"

CRASH Refl. Full Crash 16"/18" Refl. Heavy Full Crash 16"/17"/18"/19"/20"/22"

HI-HAT Refl. Heavy Full Hi-Hat 14"

SPLASH Refl. Splash 8"/10"

CHINA Refl. Thin China 18"

TWENTY

RIDELight Ride 20"/22"Ride 20"/21"/22"

CRASHThin Crash 16"/17"/18"Crash 16"/17"/18"/19"/20"

HI-HATLight Hats 14"Hi-Hat 12"/13"/14"/15"Medium Light Hats 16"

SPLASH Splash 8"/10"/12"

CHINAThin China 14"/16"/18"Mini China 8"/10"/12"China 16"/18"/20"

2002

RIDERide 20"/22"/24"Heavy Ride 20"/22"Power Ride 20"/22"Wild Ride 20"/22"Wild Crush Ride 18"/19"/20"

CRASHThin Crash 16"/17"/18"/19"Crash 14"/15"/16"/17"/18"/19"/ 20"/22"/24"Medium 16"/18"/20"Power Crash 16"/17"/18"/19"/20"Wild Crash 17"/18"/19"/20"

HI-HATMedium Hi-Hat 14"/15"Heavy Hi-Hat 14"Wild Hats 14"/15"Sound Edge Hi-Hat 13"/14"/15"

SPLASHSplash 8"/10"/11"/12" Wild Splash 10"

CHINAChina Type 16"/18"/20"/22"Novo China Type 18"/20"Wild China 15"/17"/19"/21"

SPECIAL SOUNDSAccent Cymbal 4"/6"/8"Cup Chime 5"/5.5"/6"/6.5"/ 7"/7.5"/8"Bell Chime 6"

GIANT BEAT

MULTIGiant Beat 18"/20"/24"

HI-HATHi-Hat 14"/15"

RUDE

RIDERide/Crash 20"Power Ride 20"Mega Power Ride 24"

CRASHThin Crash 16"/17"/18"/19"/20"Crash/Ride 16"/17"/18"/19"Wild Crash 17"/18"/19"/20"

HI-HATHi-Hat 14"Wild Hats 14"Sound Edge Hi-Hat 14"

SPLASH Splash 10"

CHINAChina 18"/20"Novo China 18"/20"

ALPHA

RIDEFull Ride 20"Groove Ride 21"Rock Ride 20"/22"/24"Metal Ride 20"

CRASHThin Crash 14"/16"/17"/18"Medium Crash 14"/16"/18"Rock Crash 16"/17"/18"/19"/20" Metal Crash 17"/18"/19"/20"

HI-HATMedium Hats 13"/14"Rock Hats 14"/15"Sound Edge Hi-Hat 14"Metal Edge Hats 14"

SPLASHThin Splash 8"/10"Metal Splash 10"/12"

CHINAChina 14"/16"/18"Rock China 18"

PST 5

RIDE Medium Ride 20"Rock Ride 20"/22"

CRASHThin Crash 14"/16"/18"Medium Crash 16"/17"/18"Rock Crash 16"/18"/19"Crash/Ride 18"

HI-HATMedium Hats 13"/14"Rock Hats 14"

SPLASHSplash 8"/10"

CHINAMini China 14"China 16"/18"

SETSEssential Set (13/18)Essential Set (14/18)Effects Pack (10/18)Rock Set (14/16/20)Universal Set (14/16/20)

PST 3

RIDERide 20"

CRASHCrash 14"/16"Crash/Ride 18"

HI-HATHi-Hat 13"/14"

SPLASHSplash 10"

CHINAChina 18"

SETSEssential Set (13/18)Essential Set (14/18)Effects Pack (10/18)Universal Set (14/16/20)

ACOUSTIC LOW VOLUME

Volume Level: soft to medium lowInstrumentation: traditional acoustic instrumentsRhythmic Articulation: subtle, sparse, limited to general accentsMusic Styles: Folk, Traditional Blues, Early Jazz, Ethnic & Native Cultural Styles

TRADITIONAL MEDIUM VOLUME

Volume Level: soft to mediumInstrumentation: mostly acoustic instruments, prominent wind & brass instrumentationRhythmic Articulation: refined articulation, advanced syncopated rhythmsMusic Styles: Big Band, Swing, Bebop, Blues, traditional Latin styles

MODERN AMPLIFIED MEDIUM VOLUME

Volume Level: soft to medium loudInstrumentation: coexisting acoustic and electric instruments, prominent wind & brass instrumentation, expanded vocalsRhythmic Articulation: expressive articulation, entire range from simple to complex rhythmsMusic Styles: Early Rock&Roll, Fusion, Jazz-Rock, Soul, R&B, Traditional Country, modern Latin, reggae, Pop

MODERN AMPLIFIED HIGHER VOLUME

Volume Level: medium to loudInstrumentation: mostly electric instruments, wind & brass instruments, prominent vocalsRhythmic Articulation: expressive articulation, entire range from simple to complex rhythmsMusic Styles: Rock, Funk, Modern Country, Alternative, Latin-oriented Rock Styles, Pop-Rock, Wave, Gothic

MODERN AMPLIFIED ExTREME VOLUME

Volume Level: loud to very loudInstrumentation: dominated by electric guitars, prominent vocals, includes keyboards & synthesizersRhythmic Articulation: powerful, energetic rhythms and accentsMusic Styles: Hard Rock, Metal, Punk, Grunge, Heavy Rock, Metalcore, Crossover, Prog-Rock

MODERN AMPLIFIED ELECTRONIC

Volume Level: medium to very loudInstrumentation: dominated by synthesizers and sampling, electronic percussionRhythmic Articulation: repetitive rhythms, complex, layered figuresMusic Styles: Drum&Bass, Techno, Trance, House, dance

iSS

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#0

01

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Join tHe

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Franklin vanderbilt # lenny kravitz

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