Aheadsnare Black on Brass/Chrome on Brass
Written by: Dave Holmes / Performing Musician

Ahead caused quite a stir in the drumming community when they unleashed their radically different aluminium sticks on us a few years ago, and now, this USA-based company are raising eyebrows again, this time with some seriously good snare drums.

Building on the incredible success of the 14 x 6-inch snare, Ahead have recently added three spanking new models to their range. This now includes a 13 x 6-inch chrome snare and, in a departure from their usual metal models, two wooden snares - the Steam Bent Maple and an African rosewood snare, the Wenge Vert.

UK distributors, BR Distribution, have sent me a nice selection of snares, including the original 14 x 6-inch drum (the one that put Ahead well and truly on the snare drum map), together with its slightly shallower 14 x 4-inch brother and one of the brand-new models, in the form of the rather cute 13 x 6-inch snare. All of the drums here feature brass shells and are virtually bursting at the seams with a wealth of high-quality components, of the sort normally found on hugely more expensive custom-made drums.

Each of the shells is formed from sheet brass (as opposed to cast or spun) and, once formed, a single vertical welded seam helps maintain the non-beaded brass shell's perfect cylindrical shape. To either end, a shaped flange is formed to create an accurate and perfect 45-degree bearing edge. The 13-inch drum is superbly finished in a deep regular chrome plating, while these 14-inch drums feature stunningly beautiful smoky black chrome over the brass shell — these are the real deal for tired and sore eyes, and look just plain gorgeous. The inside shows off the various nuts, bolts, locking washers and so on for each of the external components, which include the Ahead badge, lugs and snare throw-off.

Just about the only parts of these drums that are actually 'standard issue' are the heads — these are Ahead-badged Remos with a white coated batter and a clear resonant or snare head, which are tensioned-up by 10 lugs per side on the 14-inch models, and eight lugs per side on the 13-inch. The sets of lugs are bolted around the shell circumference, and isolated from the shell surface by rubber gaskets. The tubular lugs on the two black chrome models feature a nice gentle taper that widens at the point where they join the lug, whereas Gladstone-style lugs (after Billy Gladstone, a percussionist, drum builder, teacher and inventor from the early 1900s) are employed on the 13 x 6-inch model. These give this drum a slightly more retro feel, but they look a little plain in comparison with the lugs on the Black On Brass models.

One of the most interesting aspects of the whole head-tensioning process lies in the unique TightScrew tension bolts. This is probably the most subtle feature here — so subtle, in fact, that unless you knew they were fitted at each and every tension point, it is likely they would go completely unnoticed at first or even second glance. These do look very much like ordinary tuning bolts and have the standard square tops, but get in much closer and you will notice that these have a tiny 1mm strip milled out of each, running parallel to the length of the bolt. Slotted into this aperture is a strip of green coloured nylon which acts a sort of 'break' upon the interior of the threaded portion of the lug. My only concern about this would be that the nylon could eventually wear after only a few head changes but, according to the TightScrew website, "The rods will likely feel looser when removed regularly, but long time users still report good holding power."

Getting Snappy
On the resonant or snare side, we find a 24-strand Fat Cat Snappy Snare strainer, which is actually made up of two sections. The outer comprises six wires to either side of a 12-strand inner section, with the outer parts soldered at both ends, as in a conventional strainer. However, the inner section is only soldered at one end, but allowed to 'float' at the other. The middle wires are adjustable at the floating end, with its dome-headed adjustment screw acting as a separate mini-tensioner. The philosophy behind this system is that the snare will be able react to varying dynamics, and Fat Cat say there is no need for two separate strainers to achieve the same effect. Unfortunately, the centre wire adjuster sits quite a few millimetres proud of the lower hoop on all the models here. This could cause some damage if placing the drum down on a flat surface — a small piece of additional hoop riveted in position here, or even a simple rubber stop, would avoid any possible damage to the snare head and the snare strainer itself.

Ahead offer a choice of two snare lever mechanisms - an R-Class Dunnett and a Trick GS007, which adds a further £51 to the price tag. Just in case you are not too familiar with either of these devices, read on and let me explain. The Trick GS007 (as featured on the 14 x 4-inch snare) is operated by a large, cotton bud-like lever that rotates a hardened-steel cam around a precision-cut helical gear. This sends the mechanism gliding up and down, lifting and lowering the snare. The gearing sits on a pair of thin rails and, just to make sure everything remains velvety, each component part sits in a bed of synthetic lubricant.

The other two models here (the 14 x 6-inch and 13 x 6-inch snares) feature Dunnett R-Class throw-offs, made by Canadian custom drum builder Ronn Dunnett. At first glance, the mechanism, together with its chunky lever, appears to operate much more conventionally than the Trick. The whole assembly is equally well engineered and has a precise and smooth lever operation from the die-cast and chromed device. However, the lever is mounted on a pivot, which allows it to fully rotate 180 degrees - turn the lever around 90 degrees and it becomes a side-pull throw off, rotate it a further 90 degrees and the lever pulls away from you - so this snare lever can cater for both left- and right-handed players.

Tasty S-Hoop
Over the years, counter hoops have come in all shapes and sizes, and have been made from a variety of materials, including brass, steel and wood. By far the most popular type is the triple-flange model, with the die-cast coming a close second. Many of the triple-flange hoops have the uppermost lip or third flange facing outwards, but on some models, like Slingerland's Radio King Snare, the hoop of the day (sorry, couldn't resist it!) was called the Rim-Shot and featured an inverted flange, facing inwards towards the centre of the drum. Ahead have employed an S-Hoop counter hoop, but have taken this name quite literally, elongating the top flange to protrude just over a centimetre - way, way over the bearing edge itself. The S-Hoop owes its name to the S-shaped profile, with the top of the 'S' represented by this rather overgrown protrusion, which tapers slightly and dips down towards the centre of the drum.

There are several distinct advantages here over the more conventional hoop. Firstly, the broad flange will be less likely to dink your sticks (a process which can munch the shoulder into something a beaver would be proud of). Also, if you are especially into the Bonham, Joe Morrello or Tommy Aldridge 'hands on' approach (ie. bare-naked hands), that rim will be much more sympathetic to those precious digits and may even help avoid a broken finger or two. The sound from cross-sticking is said to be greatly enhanced, and I can't wait to try this attribute out. But, arguably, the most significant aspect this offers is simply a far more rigid hoop, without the need to be constructed from bulky, thick and weighty material. The lack of flexing should help improve the overall tuning process and indeed tuning stability too.

Performance
Thanks to the rigidity of the superb S-Hoop rims and the other quality components, I am able to hear the smallest variation in tension and therefore pitch between each lug point. All too often I find that when tuning on a model with a standard triple-flange hoop (and even die-cast too), applying tension to one lug affects the pitch at the opposing lug point. This just doesn't happen with these S-Hoops - pressure is applied directly and exactly where it is needed. Tuning was so quick that it literally took me around 15 minutes to get each of the drums tuned, into the snare basket and ready to play. After just a couple of medium whacks, aimed squarely at the centre of the 14 x 6-inch, I was amazed - no, stunned, at just how much volume it pumped out. Of course, it's not just about making the ears bleed, but this drum is more than capable of severing through any music barrage that gets in its way, without being brash or aggressive.

After the first few hits, my first thought on this model was "ouch, the volume," and the second had me applying not one, but two pieces of Moongel, thinking this had far too much resonance. I quickly realised I was possibly close to madness at this stage (brass-shell shock most likely), and saw the errors of my ways, deciding this would be much like 'governing' a Ferrari! There is simply no holding this snare back - it needs to be set free, let loose and allowed to completely stun the audience and those in close proximity.

Once I had spent some time making a few fine adjustments to the Fat Cat snare, performing the usual (and often dubious) buzz roll suddenly became a much more controlled operation, as the strainer responded with absolute sympathy to the dynamics in stick velocity and speed. From the centre, over to the bearing edge and back to the centre again, the 14 inches of drum became one big sweet spot!

It's much the same story with the 13-inch model, where I was equally surprised and pleased with how this drum responded to every little tweak of the drum key. As expected, this wasn't quite as punchy or gutsy as the 14 x 6-inch, but it cut like a red-hot knife through soft butter. This would easily make main snare status in a funk/fusion band, or as a great second snare for some quick cutting fills in almost any musical genre. Cross-sticking becomes quite a fascinating experience - such a woody 'thwock' sound coming from the shoulder, and turn the stick around to the butt end and you've got a cross-sticking volume to challenge a rim shot on a 'normal' drum. Speaking of which, I tried just a few rim shots out, especially on the 13-inch snare, and it's like putting your head inside a rifle. Fast attack (blisteringly fast, in fact) and it takes the ears a few bars before any of the upper frequencies begin to reappear - seriously, earplugs are a must!

I was pleasantly surprised at the incredibly snappy response from the 14 x 4-inch model. This has similar dimensions to a piccolo snare I once owned a few years ago, but that old drum had a pitch reminiscent of one those very annoying and gutless mopeds that just about make it up the tiny hill near my house. Fortunately the dimensions were the only similarity this model possessed, as its depth belies its warmth and pure, unashamed punch. This gives a great snare response no matter how hard or softly I played - razor sharp, lightning quick, and very versatile.

Conclusion
At this price point, the standard of workmanship, design and engineering is (with one small exception) absolutely amazing - drums that are built to last and sound great too. What a combination! One fine example of the quality engineering would, of course, be the Trick GS007 snare throw-off, which is a beautiful combination of machinery and engineering wizardry. If we consider describing the usual standard throw-off as slap across the face, then the Trick is more like a comforting stroke across the cheek - yes, it really is that quiet and smooth! These, quite simply, are an amazing trio of snare drums - I love them all!

I know you will be pleased to learn that the only characteristic of those bespoke and custom models missing from this handsome threesome is the wallet-wrenching price tag. Ahead offer an interesting and, from my point of view, a fair pricing policy, where the size of the drum doesn't affect the overall cost - fabulous. So, if you want to know the true meaning of the phrase "more bang for your buck", go out and get one these beauties and you'll know in an instant.

Istanbul Agop Signature Cymbals
Written by: Adam Jones / Rhythm Magazine

Home to the company's most personalised cymbals, Istanbul Agop's Signature Series includes a set of models used by their first ever endorsee Mel Lewis. An influx of name endorsees to Istanbul Agop in recent years has seen new cymbals joining the Signature Series at quite a rate. The range now includes cymbals made for Cindy Blackman, Matt Chamberlain and Idris Muhammad.

The Epoch hi-hats and crashes on review are follow up models to last year's Epoch ride. Commissioned by fusion legend Lenny White, the 22" ride got a big thumbs up from Rhythm' own gear legend Geoff Nicholls and has since become a commercial success. Also on test is Joey Waronker's 24" ride, which is the first signature cymbal from the high-end freelance sticksman.

Build
There are five new Epoch models in total – one pair of 14" hi-hats and four crashes in 17", 18", 19" and 20" diameters. Individually cast from Istanbul Agop's B20 bronze, the Epoch cymbals have been heavily hammered, in particular the crashes. While the hi-hats don't wear quite the same abundance of pock marks as the crashes, they have still spent due time with a determined cymbalsmith. Thick bands of deep lathing cover the cymbals on both sides (except for the bells), with slivers of raw bronze visible between the grooves. Some kind of buffing process has been applied to the cymbals as they catch the light, but beneath the brightness, patches of discoloured and pitted bronze are scattered across the width of each model. They also possess the familiar Istanbul Agop trait of being covered in a fine patina of grime which rubs off on your fingers.

Like the original Epoch ride, the hi-hats have a small bell; in contrast, the crashes feature well-proportioned bells (although in keeping with the overall flat profiles of the crashes, they don’t rise much vertically). Alongside the Epochs, Joey Waronker's 24" ride is decidedly clean cut. Tidily hammered and lathed, no handwashing is required after touching it. The huge expanse of bronze is broken up by Istanbul Agop's logo and a reproduction of Joey’s signature.

Hands On
For such a big cymbal the Waronker ride is surprisingly nimble. The stick sound is clear and focussed and is accompanied by an ever-present but unobtrusive wash. In keeping with its diameter, there is a wide, expansive feel to the cymbal but at the same time it is easy to control. The bell isn't designed to operate in clang territory (unless shouldered, in which case it lights up); rather it gives an authoritative but appropriately musical response.

If the Waronker cymbal is a great all-round ride, then the Epoch models are probably more of an aficionado's choice; a selection of home-brewed ales next to a premium lager. All of the Epochs are distinguished by their medium to medium-heavy weights. This bulk, combined with the amount of hammering and lathing present produces stunningly complex cymbals that also deliver a potent kick.

The hi-hats are bright and cutting yet at the same time warm and full-bodied. Received wisdom might suggest that such characteristics would cancel one another out, but these hats defy such conventions. Instead they produce a delicious blend of deep, earthy tones beneath the sizzling attack. Stepping gives a fat 'chick' while laying into them with a relaxed pedal foot leaves them fizzing with enthusiasm.

Where the hi-hats are assertive, the crashes are downright forceful. Each crash opens with a blast of high frequencies which slice through, giving impressive projection. The opening brightness nips back quickly but lingers on within a deeper – and still penetrating even while subsiding – decay. With each step up in diameter the crashes get both louder and darker, and the 19" and 20" models make convincing crash/rides. In my experience, some cymbals – particularly loud ones – can be wearing when hit frequently over the course of a gig, but I found nothing of the sort with these. Their warmth and musicality made them a pleasure to play over and over.

Verdict
Istanbul Agop is clearly on a roll at the moment and in danger of becoming the most creative cymbal company in the business. While being very different, these Signature models are outstanding examples of cymbal making. The Waronker ride is a beautifully poised and versatile cymbal suitable for all kinds of genres. The Epoch hats and crashes, meanwhile, are some of the most exciting cymbals I've ever heard. They are loud and powerful but equally dark and complex. As ever with Istanbul Agop, the prices are the final icing on the cake – for cymbals of this quality to be so reasonably priced is almost beyond explanation.

Istanbul OM Series Cymbals
Written by: Ian Croft / Drummer Magazine

Istanbul Agop and Cindy Blackman collude to replicate the sound of an age gone by

Very old Turkish K' Zildjian cymbals that were produced in Istanbul, even Constantinople – the name by which the city was formerly known back in the day – have an allure that is hard to match, especially amongst the die-hard jazzers, many of whom spend hours discussing the attributes of the legendary cymbals before ferverently scouring web sites, vying for models that only rarely come up for sale.

Some companies have tried to reproduce the trashy, low-fi jazziness sound that is synonymous with the old K's, but few have succeeded in finding that magic formulae that results in a set of cymbals that can be said to equate with that much sought after Turkish tone – until now that is!

Musicianship Meets Craftsmanship
Should you decide that you want to develop a new line of cymbals that are capable of recreating that old and much revered K' sound, then teaming up with Cindy Blackman is going to put you in a strong position to begin with. And, with that in mind the cymbal smiths at Istanbul Agop have scored heavily by enlisting a player that truly understands and acknowledges just how the cymbals should sound and respond to sticking.

View The Hue
The OM series cymbals comprise a set of 15" hi-hats, 16", 18" and 20" crashes and a 22" ride, making for a set that carries the tradition of a bygone era into today's highly technological world. The initial look of the OM cymbals is that of dark foreboding with each cymbal looking as though it was hewn from a block of metal that has remained buried in some ancient archaeological site, awaiting discovery. Each cymbal is covered in dark, smoky looking smudges, a far cry from the brilliant, shiny finishes that adorn most cymbals these days with erratic lathing patterns that hint at late nights worked in some under lit basement as oil lamps flicker as the wind passes through cracks in mud built walls. Of course it is not really like that at all at the Istanbul Agop factory, but the look that the craftsman have generated is indeed very close to that of the old K's, adding considerably to the mystique of the Om series. Hand hammered strokes pockmark both sides of the cymbals body and lowprofile bells add to the aura that the cymbals produce. The Om cymbals are generally quite thin, carry low profile tapers and bells and all bear the signatures of Arman and Sarkis Tomurcuk – the two brothers that own the Agop factory within the underside of the cymbal's cup, similar to how Kerope Zilcan used to sign the old K's.

Sh*t yeah, Sh*t Yeah
Elvin Jones coined that phrase when describing the triplet feel ride cymbal pattern and as you begin to play these cymbals, the spirit of both Elvin Jones and Tony Williams is very much evident as the dark, low notes produce a deeply resonating 'Tah' sound, a million miles from the regular 'ping' ride sound that has become more prominent these days.

The 15" hi-hats are paper-thin and it took me a few seconds to discern which was the top cymbal of the two as they are so thin in weight. However, once I'd establish top and bottom the hats emit a low sloshy sticking that is audible without being in your face, kind of there, but not there, and are light on the foot as the pairing are effortless to pedal. When played as time, the 'chick' of the pair coming together sits sweetly beneath the ride cymbal's notes and mushy is the word that springs to mind, with the hats still able to carry some cut. Funk 'barks' reminded me very much of David Garibaldi's hi-hat sound on the first Tower of Power record and these hats will find many friends amongst the jazz/funk community as well as the out-and-out jazz players. Dark and mysterious they certainly are.

The 16" and 18" crashes are quick to respond with a fast and of course low decay, almost trashy but sprinkled with some mid-to-high end sparkle that adds musicality. There is a rich explosion of sound, especially with the 16" cymbal that at times reminded me of a cymbal that you'd hear at the circus when Joey the clown falls over the bucket.

The 18" is lower and darker still and we're almost into midnight here readers! Again the trash-like quality is to the fore, as is the short sustain though the cymbal retains that rich explosion that the 16" model exudes.

The 20" crash is quite deft as it makes for very able ride cymbal too, with a bell sound that won't cause offence but will allow you a little extra headroom should you need to get the attention of the saxophonist as he begins his third solo of the tune! Ride patterns are darkly tinged with a wash and shimmer that avoids pinpoint exactness, making it a very expressive and useful cymbal with lashings of the aforementioned 'Tahness' sounding like an asthmatic trying to catch their breath after a quick run up several flights of stairs. Crash this baby lightly across the cymbal's taper with the shank of the stick and it immediately opens up to produce a guttural roar that evokes images of Art Blakey in full flight, powering the band as if his life depends upon it as the lightning response allows you to musically dig out a variety of sounds from within the cymbal's body.

The 22" ride cymbal has a smaller and lower profile bell than the 20" cymbal and again contains an abundance of jazziness, though this time the ride pattern is slightly more defined than that from the 20" cymbal even though it is slightly lower in pitch. Play across the bow and a variety of sound sources become available at the end of your stick, all of which respond instantly to your touch.

Conclusion
The Istanbul Agop OM series cymbals are a must check out for any jazz playing drummer as these simply are the closest that I've heard to the old traditional Turkish K' cymbals. Even the outward appearance is an exact likeness of how the K's looked and to have them respond in the manner that they do so that they sonically match is just the icing on the cake! Of the set I enjoyed the hi-hats immensely, as did all the drummers that got to sample their sloshi-ness at the local jam and I've never heard so many players go for funk hi-hat barks in one night as the sound became almost addictive. And, addictive is probably the best word to use when describing the OM series cymbals, as they are such a delight to play upon. The crashes respond wonderfully particularly with the 20" crash greatly evoking the spirit of Jones, Williams and Blakey. The ride is a little more exact, but still as dark as the proverbial night and the whole series ooze mysterious musicality that will excite as well as inspire. Sh*t Yeh Baby!

Istanbul Agop Xist Cymbals
Written by: Adam Jones / Rhythm Magazine

By combining modern production methods with more time-honoured techniques, Istanbul Agop is able to make its new Xist range substantially cheaper than its usual cymbals. Unveiled at NAMM', the pricing, look and even naming of the cymbals is obviously intended to appeal to younger and/or non-jazz drummers.

Build
Istanbul Agop cymbals are famously beaten into life by hammer-wielding cymbalsmiths. Regular Istanbul cymbals receive around 4500 hammer blows during this process.

Xist cymbals differ in this respect through what Istanbul refers to as pre-form casting. The company is unwilling to elaborate on exactly what this entails, other than stating that Xist cymbals require around 3000 less hammer blows to create. From the information supplied, it can only be deduced that the alloy – tin-rich B20 – is poured into cymbal-shaped moulds, with the resulting blanks requiring a mere 1500 blows to finish.

Currently the Xist range consists of five crashes, two rides and a single pair of hi-hats. Each model of cymbal is available in either a traditional lathed or buffed brilliant finish.

Hands On
The selection of Xists up for review are made up of a pair of 14" hi-hats, 16", 18" and 19" crashes and a 20" ride. All of the cymbals bore the lathed finish. The hi-hats, 16" crash and 20" ride are offered as a set, which also includes a free 18" crash and gig bag. Small hammer marks are visible below the fine lathing bands that cover the cymbals.

First impressions were that none of the Xists would have any problems projecting. The hi-hats were warm and full-toned but had a clear edge to them. Played quietly, they sounded rich and musical; taken up a few levels of velocity their top end came to the fore, slicing deftly through in playing situations. The pair of even-diameter crashes blended together perfectly, opening brightly, swelling boldly and decaying harmoniously.

Sitting alone was the 19" crash, which occupied a far darker corner of the crash universe and was deceptively quick for its size. Rounding things off was the 20" ride, which behaved impeccably and delivered a sweet-sounding ping over a playful wash. Sticking the bell brought forth a clean, metallic response, which was hard and suitably authoritative without being harsh.

Verdict
Whatever Istanbul Agop is doing to save time and money during the manufacturing process, the end product still performs convincingly.

WorldMax Vintage Classic
Written by: Dave Holmes / Performing Musician

Some say that nostalgia just isn't what it used to be, but these classically styled WorldMax snare drums aim to prove otherwise.

Throughout history, the seemingly humble snare drum has sent frenzied armies into battle, marched the condemned to the gallows and, perhaps a little more recently, and for a slightly healthier rationale, provided us with a backbeat to lift us off of our rear ends and make us dance. More than any other drum, the snare can potentially have an incredible and dramatic effect on the overall feel of a piece of music - it is arguably the most important drum in a drummer's arsenal. This month I have four of them to play with - all metal models and all manufactured by Taiwan-based WorldMax International. WorldMax produce a large range of snares, stands, pedals and drum thrones, along with a considerable assortment of components and replica drum parts for a wide range of makes and models.

Lo and Behold
Although I have seen a few examples of WorldMax snares at various music shows, I have to confess that until I began researching for this review, I knew very little about WorldMax as a company or indeed the scale and variety of their products. After a flurry of emails to and from Taiwan, I discovered that they were established in 1991 by an ex-Pearl employee, David Lo, and his wife Susan. David had nearly 20 years' experience as a supervisor in the Pearl drum factory, but felt that he could put his manufacturing skills to better use and so formed his own manufacturing business. Sadly David passed away in 2000, leaving Susan in charge of the whole operation, which is based in Taichung, Taiwan. Over here in the UK, WorldMax products are distributed by BR Distribution, who supply a huge range of spares and individual components as well as the full range of WorldMax snares.

As I take each of these drums out of its packaging, I am treated to some mouth-watering metallic delights with a whole variety of eye-popping finishes to grab my attention. Although these examples from the WorldMax Vintage series feature varying degrees of retro styling, some have more obvious nostalgic snare drum attributes while others have slightly more subtle detailing, which could be easily missed at just a passing glance. There is a good mix of vintage-style and 'modern' components, from the tube lugs (featured on all the models) to the hoops and the snare strainers, and these all add to the overall old-time flavour. Each of the die-cast hoops is made from 2.3mm steel, which should allow accurate tuning results.

Just in case there was not enough evidence of the classic features on this set of snares and the abundance of every conceivable retro facet on each and every model here, the brassy badge informs you that the particular model you may be drooling over is an example from the WorldMax Vintage Classic series. There are many similar components shared between the models here, such as the German-manufactured, brass-ended, 20-strand snares, the tube-style lugs, nylon washers fitted to each tension bolt and a set of UK Remo heads - a coated white batter head and a clear for the snare side.

Heavy Metal
This 14 x 6-inch WMS 50146ST model is certainly the weightiest snare I have ever reviewed, and has to be one of the heaviest (if not the heaviest) snares I have ever seen - the solid steroidal 3mm steel shell looks like it was sliced out of some Russian oil pipeline! Chrome plated, heads bolted in position and placed very gently onto a groaning snare basket in front of me, this drum is substantial to the extreme. Adding to the mass is a plethora of metalwork components including die-cast hoops, snare mechanism and 10 tube-style lugs - little wonder this is heavy!

One of the more subtle retro-styled features (which I am sure is by design, rather than accidental), is the aged appearance of the nylon washers, which isolate the tube fastenings to the shell. These have the look of slightly perished and ageing black rubber - how cool is that? With the exception of the throw-off assembly and a strip of engraving, which includes the WM logo, around the shell's circumference, each metallic component benefits from a very high standard of shiny chromium plating.

The lever of the S-C3 throw-off is reminiscent of one of those wine stopper gismos (to help avoid the air ruining that precious fermented grape juice), with a cam-type design that raises or lowers the 20-strand snare. The mechanism, which is slightly angled to give good access to the lever, is housed in a brushed-alloy casing and looks and feels particularly well engineered. The assembly also does a fine job of hiding the single breather hole drilled directly into the shell. Fine adjustment of the snare wires is achieved via a serrated rotating wheel mounted directly below the throw-off lever and, just to add a further sprinkling of 'vintage', all the drums here feature loops of nylon string to hold the actual snare in place. These are attached at both the throw-off and the B-3 butt ends by standard, square tuning bolts.

Black on Brass
Of all the models presented here for review, the WMS BK5014SFXG model, or 'Black Dawg' as it is colloquially known in the USA, could, at first glance, be mistaken for something from the early 1900s rather than anything from the early 21st Century. This illusion is enhanced by the set of tube lugs, solid-brass, single-flange hoops, and a set of 10 CH-1C brass hoop hooks, which, with the assistance of the charcoal-black tension bolts, apply tension to the heads.

The beautiful mirror finish of the rolled-sheet brass shell does a grand job of concealing the single welded seam. It does this so well, in fact, that the only way of knowing this has actually been welded is by the tiniest strip visible when viewed internally, and even this is only slightly more noticeable upon the inner portion of the centre beading. There is also no evidence of any form of seam upon the bearing edge (formed by the upper and lower edges of the shell itself) either.

A question I often ask myself is why drum-head manufacturers don't produce a choice of colours for their aluminium hoops - it would be good to get away from the 'any colour you like as long as it's bare alloy'! This is probably the only blot on an otherwise beautiful old-time vista.

Aluminium Snare Drum
This 13 x 7-inch WMS AL7013DHBX model is only an inch smaller in diameter than the other snares. It is also the deepest but, thanks to the aluminium shell, it just happens to be the lightest — certainly wispy to the extreme compared to its 3mm steel counterpart. The contrast of the 3mm-thick shell with its brushed-alloy exterior and shiny black nickel plating upon the die-cast hoops and other attached metal work is surprisingly good — I wouldn't have thought this combination would be successful, but it is! Once again, a single breather is concealed by the throw-off mechanism, and the snare wires themselves are attached with the same nylon string as on the other drums.

With the drum turned upside down it is possible to peer through the clear snare head, through which you can see a slight widening of the bearing edge at the points where the strainer sits. The rest of the surface, however, is precision-cut and extremely well finished. Unlike the other drums here, this model has eight lugs (compared with 10), but this is ample for this slightly smaller diameter. The build quality is excellent and both the exterior and interior are absolutely flawless on this seamless, spun-aluminium shell. This build quality extends to the ironmongery of the tube lugs and throw-off lever, all superbly attached by a mix of Philips-head screws (complete with cup washer) and, where appropriate, nuts with washers.

Hammered Brass
As on the other models, the shell on the BKH 5014DHX is constructed from rolled sheet brass with a single welded seam. This model, however, has been subject to intensive hammering, which forms a regular pattern of 1.5mm-deep indentations running around the shell's circumference. The symmetrical pattern is machine hammered and, as such, will have dramatically increased the overall surface area of the shell. The reddish-brown hue of the brass shell gives a real feeling of a drum that has been exposed to years of smoke-filled blues and jazz bars. As a consequence of this unique finish, however, the WorldMax badge (which I quite like the design of) is only glued onto the shell and could easily fall off.

Perfomance
With an assortment of four potentially very different sounding drums here, the trouble is choosing which one to pick up first! Well, it has to be the largest and shiniest that wins, so into the charge of the snare basket goes the weighty 3mm steel model. The batter head needs some tweaking here and there - a task that is made extremely easy by the smooth, threaded tension bolts and accompanying nylon washer. It is so easy to hear even the tiniest pitch variation at each lug point. This is a very powerful drum, which does sound exactly as I imagined: metallic but with more than just a hint of ballistic missile being fired at close range. After the initial shockwaves this drum rings on and takes a second or two to die down - this snare has balls aplenty.

I didn't have go near the black on brass model with a tuning key; I just produced a few light taps with my fingers and this demonstrated that the drum was tuned fairly evenly already, though perhaps a little slacker than I would prefer. I mistakenly thought this model would have some metallic sharpness to it but instead, after only one or two whacks, it caused an appreciative nod and grin - this is really encouraging for a drum fresh out of the box. With the tension taken up only a turn, however, this drum dishes out an awesome beefy thwack, and as I produce a variety of sticking actions including rim shots and cross-sticking, I am constantly questioning the metallic nature of this drum - this has a beautifully rich, woody sound!

Up on the stand goes the aluminium model. The first thing I noticed is how dry this snare is in comparison to the others (especially the 3mm steel). This is tightly focussed and, with the flexible tuning range, very versatile too. The hammered brass model seems to possess similar qualities of warmth and responsiveness but will hopefully be a little kinder to the sticks than the 'chopper' rims of its black on brass cousin! The tuning is incredibly easy, flexible and very positive, with a range that equally matches the impressive alloy model.

Conculsion
If I have any minor criticism to make, it would be the fixing of the badges onto the shells — when the hammered brass model arrived the badge was actually detached. This is a great pity as bolted-on badges would have been the icing on the cake of these otherwise excellent snare drums. Also, the rims on these models have particularly narrow peaks (especially on the black on brass), which could easily do nasty things to a pair of sticks, but I am perfectly willing to forgo stick longevity for such a brilliant sound.

Treeworks Chimes
Written by: Charlie Price / Rhythm Magazine

The TreeWorks chimes company from Nashville, Tennessee is dedicated to creating every conceivable set-up you could possibly imagine. The design and build quality of its chimes is unprecedented and, whether you want that Rush intro or more contemporary applications, you'll wonder after hearing them how anything else could compare.

Build
The MultiTree has a unique three-voice option with a solid Tennessee hardwood mantle, strong braided nylon ties and the choice of triangle, finger chime and full chime set. If you need a strong chime sound as well as the other auxiliary sound options, this may be all you need. The beauty of the MultiTree is the versatility of sound choices and the quality of tones each instrument produces.

The eerie EchoTree has a series of ever-shortening five bar sets that gradually descend in pitch, producing a shrill, almost 'breaking glass' effect. Quite unnerving!

TreeWorks offers the choice of double rows of chimes in the ZenTree. This gives you twice the fun with rich sound bars and an almost unlimited cascade if called upon. The staggered lengths of the bars mean that they are more 'tuned'. There is no atonality, no quarter-tones, just a beautiful chord… but one wonders if it only sounds right if it's in the right key with the music.

Moving on to the 10 and 23 bar Classic chimes, the 10 bar is highly controllable and would fit comfortably in larger set-ups and studio applications. Saying that, if you need a broader spread then the larger 23 row chime would be the way to go!

The hand-tied braided nylon ties are super strong, so there will be no worries about losing any chimes in the heat of battle. The aluminium/ titanium bars are heated for many hours to accentuate the bright tone, and when you first hear any of these sets you will be bowled over by their clarity and impressive musicality.

Hands On
Each of the five models are mountable on standard cymbal stands and don't move much when being played due to the strong wooden mantle that also features an attractive hand-rubbed oil finish.

You can get variations on the tones and differing degrees of chime effect by sweeping the body of the chimes themselves or, for a subtler effect, just the resilient nylon ties. The small triangle and finger chime sound just great when played with an included metal beater that is housed in the top of the mantle.

Verdict
This company is certainly fastidious in its design, production concepts and standards and will, we're sure, satisfy all of your chiming needs. Their slogan is, 'Listen. It matters,' and that sums it all up.