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K Constantinople Flat Rides
(Click for a close-up)

The Zildjian Company announced the addition of two Flat Ride cymbals to the premium K Constantinople line. Available in 20 and 22-inch sizes, these new Rides bring a darker Flat Ride sound to the line of cymbals.

The K Constantinople Flat Ride is clearly identifiable by its extreme stick articulation according to the company. Specifically designed with a thinner weight, these new Rides deliver an open yet clear Flat Ride sound. Brad Baker, vice president and chief marketing officer said, "When you dig into them, you immediately hear the stick sound, see the edge wobble and feel why these are a natural addition to the K Constantinople line. With all the different dynamics that you can get out of these new Rides, you can really bring your personality out. You can really hear what you feel."

Zildjian developed prototype K Constantinople Flat Rides specifically for consumer feedback at the 2004 PASIC show in Louisville, KY and on the 2005 Steve Gadd Clinic Tour. Several Zildjian Artists also tested the final design of the Rides on their regular gigs before the official release.

About the K Constantinople line

The "K" sound had its origin in the city of Constantinople, late in the 19th century, when Kerope Zildjian put his name on the family's cymbals during his tenure as keeper of the Zildjian flame. During the 50's and 60's the great drummers of the Bebop era found the warmer, darker tones of the Turkish made K Zildjian cymbals ideal for their exciting new music. The "K" sound became legendary having been captured on the many classic recordings of the time featuring such greats as Max Roach, Art Blakey, Philly Joe Jones, Tony Williams and Elvin Jones.

Zildjian first revived this classic sound in 1998 under the direction of Armand Zildjian himself. Since then Zildjian's Sound Lab has continued to research and reproduce the techniques that helped craft Kerope's cymbals.

K Constantinoples are hand-lathed by skilled artisans using old-style cutting tools. Pits and other surface impurities, that modern finishing processes remove, are retained, preserving the original tonal quality.

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