22” Vintage Zildjian w/ Rivets

Description

Up for sale is a Beautiful 22 inch Vintage Zildjian Ride with Rivets. This Cymbal has a MAGESTIC, BEAUTIFUL sound.
Strike it very gently to activate the rivets, and hear a sultry sizzle.
Lay into it and hear the wash rise underneath a complex and beautiful ping
Open it up fully with an explosive crash that is right out of a recording from Buddy Rich and his Band or Mitch Mitchell playing alongside Jimi Hendrix.(They both played Avedis Zildjians).
This has a 60’s tall stamp measuring 1 1/4 in. across and 1 1/2 in. Tall.
This places it as having been made in the late 60’s
There is a key hole, and numerous small “ flea bites”
For all the fans of Hand Hammering:
- Although by this time Zildjian had Employed the Quincy Drop Hammer method for mass production of its Cymbals, this Cymbal speaks with the centuries of musical tradition and ingenuity built up within it.
An interesting note about Zildjian manufacturing:
“ Vintage A’s were completely hand hammered until around 1955. That means both sides and the bells too. Then in 1955 they started using something called “ The Quincy Drop Hammer” which was the first Pneumatic hammering machine developed for Zildjian. From that point on their cymbals were machine hammered on the back side, but with several rows of hand hammering on the top for added Character. They stopped using any hand hammering by about the early 1960’s. All hammering by that time was being done by machine and was on The top side only.”
A post from “Vintagedrumforum dot com”
Other sources say they ceased hand hammering in 64’ due to Beatle mania and the enormous increase in Demand for Cymbals associated with it.
I can tell you from personal experience that although this Cymbal may not be hand Hammered, it has a unique character which cannot be found in offerings from today’s Cymbal manufacturers. There’s something about Zildjian’s previous production method(s).
Maybe it’s the Material(s).
Zildjian up until only very recently has been the premier Cymbal manufacturer in the World. The History of Cymbals, Is the History of Zildjian. Below I have included some Excerpts for your appreciation.
Excerpt from “ Turkish Cymbal “
At
Turkishculture dot org
“ A turning point in the art of Cymbal making occurred 377 years ago in 1623 with the discovery of improved techniques by Turkish Armenian Artisan Avedis. Avedis was an Alchemist of Istanbul who discovered and developed a special processing technique for an alloy of copper, tin and silver with which he was able to make superior Cymbals of extraordinary clarity and resonance. Sultans and Viziers were impressed with the smooth Bell-Like tones and powerful resonance of his Bronze Cymbals, and all marveled at his precise craftsmanship. His Name quickly spread across the land and eventually he was given the name “Zildjian” (Cymbal Smith) by the Guildsmen of the time.
The Alloy obtained from the traditional mixture that he prepared one day when he was alone In the foundry came out differently from other times. More resistant to the blows of the hammer, more easily shaped without breaking. That was the day the Formula was discovered for Cymbals which, rather than a deep gong, produce a High pitched “whishing” sound, lighter and purer than church bells. From that day onward, the technique became a trade secret, passed down from father to son and revealed to no one outside the family. The quality of the sound produced by this special alloy spread far and wide, eventually reaching the Sultan. At his behest it began to be used as a “weapon of sound” by the “Mehteran” or Ottoman Military Band, which produced sounds like the clashing of swords and shields in war. Avedis Usta’s tiny foundry began producing cymbals for the worlds largest army. The Mehteran, which, far more than a military company employed only in wartime, played no cymbals other than those of Avedis Usta whose fame quickly spread throughout the empire. And given the need the empire’s religious communities and musical entertainers also had for bells, the fire never died out and the pounding of the hammers never ceased day & night at Avedis Usta’s foundry.”
Excerpt from “ Avedis Zildjian III “
At
Mikedolbear dot com
“ Avedis carried on through the tough years of the Great Depression while others gave up and went to the wall.
Instinctively he realized it was important to know all the drummers who were firstly his customers, but in the fullness of time became his good friends. It wasn’t long until Avedis began to know all those Groovers and Shakers - Just about every Professional Drummer of the day. He became very friendly with Chick Webb, Ray Bauduc, Jo Jones, Davey Tough, and many more. These guys acted as his “ Sounding Boards” as far as R&D was concerned. However it was the “Chicago Flash” the Great Gene Krupa with whom he had the closest working relationship. Gene would visit the plant, pick out his Cymbals and then we’re told, he and the family would all go out on Avedis’ Boat.
Armand told the story that Gene had many great Ideas about playing Cymbals including using them to keep time on the kit instead of “Rudimentally” Rolling Rhythmically on the snare drum. Avedis was a good listener and asked Gene leading questions about what he was looking for in a cymbal and it turned out to be everything Zildjian weren’t making. Up until this time, a cymbal didn’t look anything like the instrument as we know it. It was Gene Krupa who suggested Avedis thin down the cymbal and immediately this change became very popular and Drummers began to “ Ride “ on them, and this now ubiquitous term was actually coined by Avedis.
Avedis also helped promote the use of more special-purpose cymbals like splashes. This evidently had a big impact on the Zildjian company’s research and development. Indeed many of the Cymbals we now take very much for granted in modern drumming are now its building blocks - Splash, Ride, Crash, Pang, Ping, Bounce, Sizzle and Hi Hat, were all invented and named by Avedis Zildjian and Gene Krupa. “
Also from “ Avedis Zildjian III “
“ During WWII Zildjian made Cymbals for the marching bands of the U.S. Army, Navy, and Marine Corps. They also got orders from the British Admiralty. These orders became a very important part of the company’s Business. This was of course because the Copper and Tin they needed to produce their Cymbals were also needed to support the war effort. Without those orders for the military there was a distinct possibility the war production board would have closed the plant. “
“ It’s important to know that in the early days Cymbal sizes were completely different - that is before Avedis started consulting with his pals. Prior to this, Cymbals were small and Drummers were advised to first get themselves a thin 12” Diameter one, then a 10 or 11” version, but “paper thin”. “
“ In 1948 once the war was well and truly over “ swing “ music became really popular. And since they had access to metal again, Cymbals became much larger. Avedis offered 20 different Cymbals in diameters from 7” to 26”. “
- The full articles are worth a read and can be found at their respective sites with a quick G O O G L E search. There is some great information on the History of K’s, and the beginnings of Istanbul, Bosphorous & Turkish Cymbals on the Turkish Cultural site. There is some great information on Jo Jones’ contribution to the Modern Hi-Hat.
Strike this Instrument and have all the Glory and Mystique of Centuries of Cymbal making History and experience speak directly into your ear.
- Why Buy a Modern Replica of the Real thing ? This is an Instrument from late in the Golden Era of Cymbals. It has a Quality of tone that is unmatched by Similar instruments of recent manufacture. This is a grail Cymbal. Sound file Video to come soon.
Please message me if you would like to see additional pictures or if you have any questions. Feel free to make an offer.