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Because Sound Matters

WHAT’S YOUR SOUND?


You’ll find it with SABIAN.It’s an ever-evolving world where ideas are designed into sounds, and sounds are

crafted into metal. It’s where great drummers and percussionists come together, where they find their cymbals and their sounds. And it’s where they find each other.

It’s their world. And because SABIAN exists for all of us, it’s your world too.

WE PLAY SABIAN

Vintage

Creative

Modern

Bronze Beginnings

Sounds at their most innovative.

Sounds at their most traditional.

Daring and unique sound design.

Your introduction to great cymbals.

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www.sabian.com

LeAd PhotogrAPher – Andrew McNaughtan other PhotogrAPherS – hasan Bratic, todd Fraser, Jason hammacher, Marc Xavier Leblanc, Ken Mikalauskas, Neil Zlozower Product PhotogrAPherS – david corkum, Andrew herygers, Marty Melanson

BECAUSE SOUND MATTERS.

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WE PLAY MODERN DARK.

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WE PLAY MODERN DARK.

Modern Dark

We play funk, rock and jazz. And we love hhX. It’s got this hot, simmering darkness and

a biting touch of dirt and agitation. And it has ‘tone Projection’ to project that darkness

through the music. It’s ideal. And it only happens with hhX.

Hear more at sabian.com


Zoro Independent • derIco WAtSoN Victor Wooten Band • JohN roBertS Janet Jackson • tueSdAY Whild Peach/outkast

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Projection. It’s about pushing or throwing something from here to there. You can shout and scream to project your voice. Or you can do it like magicians do, with magic. Magic is what you get with HHX. Its ‘Tone Projection’ design not only shapes the hot, dark and simmering, dirt-edge tone of this award-winning series, it projects it through and beyond the music. So expressing yourself is as easy as playing. HHX does the rest.

While your sound won’t get lost with HHX, what about you in New York City? With the sun casting long, dark shadows from street to street, and sirens ripping through the din of the day, it’s easy to feel lost. But when you arrive at SIR studios and meet up with a group of players who are going to reveal the world of HHX in their terms, it all becomes perfectly clear.

“HHX is the perfect blend: it’s dark enough and bright enough for whatever you play onstage or in the studio,” says Nir Z, who not only filled Phil Collins’ chair when Genesis initially folded, but delivered the goods on John Mayer’s early hits, and also drums with Chris Cornell. “Yes, I love those crisp, dark tones,” adds Rodney Howard, of Avril Lavigne and Gavin DeGraw. “HHX is like the difference between playing a 24" kick instead of a 20". There’s a real low end, gutsy sound.” Gutsy? “Yes, and I would also describe it as dynamic,” says Tomas Haake, who moved to HHX from HH because ‘Tone Projection’ is what he needs to project his darkness through the tonally dense sound of Meshuggah. “Cymbal sounds can disappear when I’m playing outdoor stages to sixty thousand people. But with HHX the cymbals sound great. They’re always there.”

One man with a deep experience of SABIAN sounds is Mike Portnoy. His monstrous set-ups with Dream Theater are – to quote the man himself – ‘vast’. But HHX was a real ear opener. “HHX added a whole new level of diversity. It combines the best elements of AA, AAX, and HH into one. I dig that dark side of HHX. It’s something other cymbals don’t have.”

And it sounds that good at all volumes. “When we play subtle things,” says Rodney, “there’s this smoldering, cool rumble with HHX. You can give the attitude of a huge rock show, but it’s at this really low volume.” And that’s the point with HHX. Like the brighter sounding AAX, HHX delivers at all volumes. But it’s the

dark, simmering sound, agitated bite, and ‘Tone Projection’ design that really makes these cymbals special. While other cymbals can generate darkness, HHX stirs up more simmering heat, more musical dirt, more of what drummers want to hear, and projects it. That projection is a huge difference. “That’s right,” says Billy Kilson, whose playing with Dave Holland, Chris Botti, and his own BK Groove has made him a name to watch. “That sound will transcend even at a low volume. I can control it… that crescendo of energy is absolute, it’s like no other.”

Playing jazzy funk with Victor Wooton, Derico Watson’s groove isn’t too removed from Billy’s. “I’m looking for a dark explosion, and HHX works great in everything I do, at whatever volume. Everybody loves them, man… just loves them.” Plus, Derico’s only broken one cymbal in three years. “I don’t have to kill it to get the sound.” His friend, John Roberts, has similar feelings about HHX. “I love the darkness. I play straight-ahead mixed with funk, jazz, and hip-hop, so I don’t always want a clean sound. I need more character, and HHX definitely gives that to the music.”

Whild Peach and Outkast’s drummer, Tuesday, is also all about tone. “HHX is so harmonically accurate. I use it to give me space in the groove; it’s a musical instrument unto itself, you know?” Another HHX player with a deep groove and affection for tone is Zoro. “The dark stuff is very full. When you hit a crash it has a full roundness; it’s not high-end ‘brittle’. It has deep depth, a full breath of tone to it.” That tone, that depth, is the result of those jumbo-sized hammer marks across the cymbal surface, the ‘Tone Projection’ dimpling. Dom Famularo solos on his SABIANs around the world, and his perspective sums everything up. “The magic about HHX,” he says, “is the darkness that allows me to go places I wasn’t able to go before. These cymbals inspire me to play great because they always sound great… anywhere!”

“Cymbals are a drummer’s character,” comments Billy. “I feel humbled and honored to be part of this family.” Dom agrees. “It’s like they say in Italy, ‘tutto la famiglia’, the entire family. It doesn’t matter where I travel, I meet drummers that play SABIAN, and we are family. Now that’s what I call projection!”

PROJECTION

Modern Dark

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WE PLAY MODERN DARK.NIr Z John Mayer/chris cornell • toMAS hAAKe Meshuggah • MIKe PortNoY dream theater • rodNeY hoWArd Avril Lavigne

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We’re all about the future, and that future travels in one direction only. The bright shimmer and innovative Dynamic Focus design of AAX is our key to absolute power and control… it’s the key to the future. Hear more at sabian.com


WE PLAY MODERN BRIGHT.roY MAYorgA Stone Sour • XAVIer MurIeL Buckcherry • rAY LuZIer Korn • dANIeL AdAIr Nickelback • KeNNY LIVINgStoN Sugarcult

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Modern Bright

roY MAYorgA Stone Sour • XAVIer MurIeL Buckcherry • rAY LuZIer Korn • dANIeL AdAIr Nickelback • KeNNY LIVINgStoN Sugarcult

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It’s all sand and sun out here in the desert. Dry and bright, it’s a world of its own. But today it’s also the world of Korn drummer Ray Luzier, Nickelback’s Daniel Adair, Roy Mayorga from Stone Sour, Buckcherry’s Xavier Muriel, and Sugarcult’s Kenny Livingston. After getting into the van as strangers, within a few minutes there’s pushing and shoving, smiling and laughing. A couple hours later and these guys are friends for life. One by one they step out of the van after a 2 hour drive, bottles of water in hand. “Whoa, it’s bright,” shouts Ray. On go the shades. “I play AAX,” he declares. “They cut when you want them to cut. I love ‘em, and I get a lot of compliments from studio producers and other players. I especially like the AAX X-Plosion Crash. AAX is amazing.”

Daniel agrees. “I played AA, but the arrival of AAX changed everything.” He’s right. AAX made history as the first ‘modern’ cymbal concept in B20 bronze, the first cymbal series designed to meet the modern needs of drummers. That need was for bright sounding cymbals that respond accurately at every volume, from low to loud. AAX, with its ‘Dynamic Focus’, was the answer. And that’s what makes AAX appealing to Xavier. “AAX reassures me that

every time I hit these cymbals, the audience is going to hear them. They’re incredible.” Kenny steps closer. “They’re cutting, they’re distinctive, and they don’t get lost. It’s that Modern Bright sound… I love it because it works.” So does Roy, whose red spiky hair glistens under the blazing sun. “AAX cut beyond belief. They cut through one hundred and eleven decibels of guitar, so they’re definitely my preference.”

Xavier gets behind the drums and bashes out a groove. Roy leaps into the air. Then Ray grabs the sticks. “These cymbals are wicked,” he screams. “SABIAN is always

evolving, always coming up with new ideas. It helps me grow as a musician.” Roy agrees. “Just the amount of ideas that come out of SABIAN… all the styles of cymbals. And the

effects beat any effects cymbals out there.”

Though they have their own specific reasons for playing SABIAN, these drummers share more than a love of music. “It’s like a family vibe here, it’s cool,” nods Kenny. Pushing back his shades, Daniel adds, “It’s even more special. We seem to be

even closer and it’s a tight-knit group. It’s good.” Xavier agrees. “I think every drummer

aspires to be in a family with such incredible players as SABIAN has. SABIAN looks out for its

artists.” For Roy there’s more. “It’s the array of colors SABIAN offers… there’s a lot of choice.” Ray also feels the love. “I’ve been with SABIAN since 1993. They’re amazing.”

With the sun setting and the cool air descending, it’s time to pack up the gear, pile into the van, and head out on the highway. It’s time to leave the desert behind and get back to the world they know. Five very different drummers with at least one thing in common – SABIAN. That’s their answer. That’s their sound.

Pure, shimmering. Bright like the sun.Here’s what happens when five of today’s hottest drummers talk AAX.

Modern Bright

“I love how SABIAN is always evolving and coming up with new ideas.”

“It’s like a family vibe here, it’s cool.”

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Modern Cut

GEORGE KOLLIAS Nile • NEIL SANDERSON Three Days Grace • JOHNNY KELLY Type O Negative • RICH BEDDOE Finger

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WE BREAK SOUND BARRIERS.



We’re a guitarist’s worst nightmare. With the high-decibel design and super-bright, ferocious, cutting sounds of APX, we rip through rock-heavy

grooves and blistering power chords. With APX, nothing gets in our way.

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When your guitarist blows your face off with 100 watts of sonic roar, there’s only one place to go: APX. Created for all you drummers dreaming for cymbals that rip through rock-heavy grooves and head-shredding metal with power to spare, APX is what you told us you want. And it’s what you get with these professional cymbals. You spoke, we listened, and we made APX happen. As for your guitarist: show no mercy!

Cutting Through.Just when you thought you couldn’t get any louder, along comes APX.

Modern Cut

“It’s really aggressive but it’s got a nice glassy top-end… it’s aggressive but not too raunchy, which is nice.”

“They’re loud and abrasive, they cut through, they’re just what I need.”

JohNNY KeLLY type o Negative

NeIL SANderSoN three days grace

“I like really bright cymbals. Crisp and loud!”

rIch Beddoe Finger eleven

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With Xs20 you can move up to playing bright, musical sounds without the pro price. Extremely versatile, this series – which also includes Rock models – combines

advanced techniques and hands-on craftsmanship, making Xs20 the ideal choice when you discover that sound matters.


MOVE TO THE NEXT STAGE.

Modern Value

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WE PLAY VINTAGE DARK.

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We play different styles and music, but we all agree that the vintage dark tone of hh is something very unique

and special. Being hand hammered, each cymbal has its own unique personality and sound. We like that.


Vintage Dark

WE PLAY VINTAGE DARK.JAMIe BordeN • JoeY heredIA • SteVe FerroNe • ShAWN droVer • tYLer SteWArt • cheSter thoMPSoN

tom Petty & the heartbreakers

SessionsPhoenix/clinician Megadeth Barenaked Ladies genesis

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Lurking in the shadows of its glorious past, deepest downtown Los Angeles feels a million miles away from the rock glam of Sunset Strip. But here in the backstreet clubs and studios is a world drummers are all too familiar with. Just ask Steve Ferrone, Chester Thompson,

Joey Heredia, Megadeth’s Shawn Drover, Jamie Borden of Phoenix, and the Barenaked Ladies’ Tyler Stewart.

“I know this part of town… I played here last week,” says Heredia. The jazzy, funky, latin groove master also knows his cymbals. “I’ve been playing SABIAN for twenty-five years, and it’s the best move I could have made, because your cymbal sound is your signature… it’s everything. I play HH because that vintage dark sound is where I come from; my first ride was an HH. That one cymbal changed my life.”

Because HH cymbals are hand hammered, each has its very own dark, complex sound. But that’s only part of the story. And if you think dark-tone cymbals are just for jazz, think again.

Last night, Chester Thompson was onstage with Genesis. “When I’m playing the big gigs, I play really, really hard, but I don’t want metallic, I don’t want brash. With HH that vintage dark sound is always there and always warm.”

“I’m a hard hitter too,” says Shawn, “The music I’m playing is extremely heavy, there’s lots of sheer volume. That dark, heavy tonality of HH is really essential for Megadeth.”

“And Tom Petty and the Heartbreakers,” quips Steve.

“It’s the best cymbal on the planet,” says Jamie. “As my needs grow, SABIAN seems to be one step ahead of me. I started playing SABIAN twenty years ago and I’ve never had the need to go outside the SABIAN circle for anything.”

But what got these guys into playing SABIAN?

The roar of his bike may have announced his arrival, but Steve Ferrone listens quietly before speaking. “I play any style… and I play SABIAN because I like the sound and they have a playing life that lasts longer than anything else.”

“I saw Chester twenty-five years ago in Montréal with Genesis,” says Shawn. “That’s how I first got exposed to SABIAN.”

Chester’s experience was more personal. “I switched in ’87. (The late, great) Larrie Londin was saying, ‘Man, these guys can actually make a cymbal from any idea you’ve got!’ I had never heard of anything like that… it amazed me.”

Tyler is also amazed. “When I went to the factory I saw Mark Love take an abstract concept like, ‘I need less sustain’, or ‘I need more shimmer’, and have his guy hammer the cymbal to reflect that. That is superior craftsmanship.”

What else convinced Tyler to play SABIAN? “It was a poster of Harvey Mason holding a cymbal and it said, ‘Harvey Switched’, and one of Phil Collins saying, ‘Phil Switched’. Today I play HH because it’s hand hammered… made by hand. There’s somebody with a hammer making this thing sound good.”

“When I think of SABIAN,” says Joey, “I think of melodies… the cymbals give me all this color. A great drummer friend of mine said, ‘Joey, you don’t have a drum set anymore, it’s a piano and it’s because of those cymbals.’ ”

Tyler agrees. “SABIAN, to me, feels like home. I love the cymbals - they sound great and the people who make them are great, but I am also thoroughly impressed by their environmental record. When I visited the factory, I learned they recycle almost 99%!”

“I’ve been an endorsee for twenty-five years,” says Steve. “It’s a great company, with great people.”

“Everybody I’ve met that’s affiliated with the company has become a friend,” adds Jamie. “It’s like there’s a bond that existed before we even knew it did.”

Tyler, who is never short of humor, adds on a more serious note. “Joey, I’ve heard

your playing and you’re incredible. But just to be here with Chester Thompson and Steve Ferrone… Like, Chester played with Weather Report and Zappa, man! That’s heavy duty… absolutely incredible.”

Shawn feels the same. “To be part of this is real special. I mean, to be able to talk with these guys… that’s big stuff.”

Jamie is equally blown away. “I set Chester’s drums up for him at a clinic twenty years ago, and here

I am today. It’s a humbling experience, but everyone is treating me like I’m one of them and I’m at their level.”

“Drummers”, agrees Chester, “have this community, and SABIAN is keeping with that. It’s the whole family vibe… it’s about relationship. For me, it’s more about that than anything. I’m right where I like being. It’s a good thing.”

Into the darkness.When it comes to cymbals, there are bright sounds. And there are dark sounds. Those drummers who get into the darkness discover a new world of tone.

Vintage Dark

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“With HH that vintage dark sound is always

there and always warm.” cheSter thoMPSoN

“That dark tonality of HH is really

essential for Megadeth.”ShAWN droVer

“It’s the best cymbal on the planet.”

JAMIe BordeN

“I play HH because it’s hand hammered…

made by hand.” tYLer SteWArt

“It’s got a sound that I love.”

SteVe FerroNe

“HH cymbals give me all this color.”

JoeY heredIA

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WE PLAY VINTAGE BRIGHT.

JIMMY DEGRASSO • FLO MOUNIER • CHAD SMITH • GENE HOGLAN • KARL PERAZZO • MIKE WENGREN Independent cryptopsy red hot chili Peppers Strapping Young Lad Santana disturbed

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Vintage Bright

WE PLAY VINTAGE BRIGHT.We play big and loud. We’re talking really big, and really loud. We mean

explosive energy with the power to be heard. We play AA.Hear more at sabian.com

JIMMY DEGRASSO • FLO MOUNIER • CHAD SMITH • GENE HOGLAN • KARL PERAZZO • MIKE WENGREN Independent cryptopsy red hot chili Peppers Strapping Young Lad Santana disturbed


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He drives a ’65 Mustang and rides a stripped down Harley. He listens to Deep Purple, The Who, and Hendrix. And he grooves on funk. Chad Smith moved from Detroit to California and struck it big. “Are you ready?” he shouts above the roar of his Harley. “Let’s gooooo….” And he’s gone, out the driveway of his new home, cruising down the Malibu coast highway towards Zuma Beach to meet up with Santana’s Karl Perazzo, Strapping Young

Lad’s Gene Hoglan, Cryptopsy’s extreme metal phenom Flo Mounier, Disturbed’s Mike Wengren and Jimmy DeGrasso, whose credits range from Ozzy to Alice Cooper and more. They don’t realize it yet, but under the blistering surfside sun they’re going to discover their shared love for the Vintage Bright sounds of AA cymbals. “I’ve pretty much always played SABIAN,” starts Flo. “I have up to 24 cymbals on my set-up, but SABIAN has such a diverse selection, so I can pick and choose to get the ideal sound. The music I play is noisy, busy and bottom heavy, so I use AA hi-hats and splashes; their bright sound is perfect for cutting through the wall of noise that is Cryptopsy.”

Chad approaches AA from another angle. “The Chili Peppers are loud, and I play really hard, but I don’t have to expend as much

energy to get as much out of the cymbal. And they’re not going to break. There are explosive sounds coming out of those AA’s. Cymbals are one of the most important things in your set-up. You’ve got to have ones that sound great, are musical, and are durable. AA’s are all of that, plus they’re explosive. My favorite is the Rock Ride.”

Mike’s into the rock stuff as well. “I’m a big fan of the Rock Crash. With loud guitar players you’ve got to overpower them with whatever you can.” Chad nods as Mike continues. “I’m into 18", 19", and 20" sizes; they’re really bright and they’re really loud… they can really kill that guitar player. That Vintage Bright sound of AA powers through… guitarists can’t compete.” Chad approves. “Yeah, right! The big cymbals! Because we play in bands that are loud, we need big cymbals to cut through.”

Jimmy’s take on AA is similar. “I’m primarily using AA. I like that vintage sound, especially with the Brilliant Finish models. That high end cuts through those thick guitar frequencies. It’s very organic, but there’s a great amount of cut.” Karl loves that quick attack of the El Sabor. “It speaks for us… you know what I mean?” As if Gene Hoglan’s legacy with Strapping Young Lad wasn’t enough, his innovative drumming delivers a lethal kick with DethKlok. Chad wants to hear more from his new friend. “There was something about the bright

tone of SABIAN that made me switch,” says Gene. “The AA crashes are amazing. They have great tone, great feel… I can lay a beating on them and they last like you wouldn’t believe. You can crack through another brand’s cymbals so easily, but SABIANs have durability with that sweet sound. It’s a package made in heaven.”

So it’s a cut above the rest? “Absolutely!” But it’s more than just sound that sees these players here today. “It feels right. It feels comfortable,” says Flo.

Karl plays SABIAN because he wanted a long-term relationship with a brand. “I went to SABIAN on a handshake. It’s been

a long time and I’m very happy. We all speak the same language. It might be a different music, but it’s the same

language.” Chad’s been with SABIAN even longer. “Yeah, since 1984. They’re always trying new and interesting things, and that’s what I love about the people at SABIAN. They’re always listening to all players, not just guys like me.”

As the day closes, a group of girls with their surfboards walk by, cheering loudly. The cherry red Mustang revs, and it’s time to take off.

We speak the same language. Big, bold and bright.the sun, the sand, and the sea… it’s sink or swim as the waves roll in. the shades go on, and some of today’s meanest hitters discuss the cymbals they love most.

“The AA crashes are amazing. They have great tone, great feel.”

“There are explosive sounds coming out of

those AA’s.”

“SABIAN brings us all together.”

Vintage Bright

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Creative

WE PLAY UNIQUE SOUNDS.PowerfulUnique

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WE PLAY UNIQUE SOUNDS.We always knew there were new cymbal sounds to discover, and we all knew there was only one place that

could design those sounds: the SABIAN Vault.


WILL cALhouN Living colour/Sessions • JoJo MAYer Nerve • dAVId gArIBALdI tower of Power • JeFF ‘tAIN’ WAttS Branford Marsalis Quartet/tain & the ebonix


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Vault is a different concept in cymbal design. It’s all about ideas. No, Vault

isn’t a specific sound; it’s not a series of cymbals that look and sound alike. Vault is a collection of uniquely

different cymbals and sounds inspired by today’s players and the music they

play. It’s for those seeking something special, more personal.

That’s what Jojo Mayer discovered. “The idea for my Fierce Ride had been lingering in my head for twenty years. It’s a highly individual, complex cymbal that does exactly what I want it to do.” It took the Vault Team to decipher and design Jojo’s idea into the Fierce Ride he was dreaming about.

But why is it named Vault? The space where SABIAN master artisans design sounds and cymbals is called ‘The Vault’. It is here that such award-winning innovations as AAX and HHX are designed. The multi-holed O-Zone Crash, the X-Treme and the X-Plosion Crashes and the Artisan Ride all were designed in ‘The Vault’. It’s where our Vault Team collaborates with Jack DeJohnette, Neil Peart, Chad Smith, David Garibaldi and Mike Portnoy to create their signature sounds. This focus on designing new sounds to ensure players have the options they need is why Vault exists. As for the name, the SABIAN Vault represents the center of cymbal design innovation.

The Vault collection was launched with the Artisan Ride and the Vault V-Crash, but has expanded to include all SABIAN signature models, as well as new concepts that fall outside our other series. The sounds range from vintage to modern and beyond.

So where will Vault go? Where will it take you? For answers, listen to the shimmering

darkness of an Artisan Ride. Or experience the ‘sound of silver’ as

the bright power of a V-Crash slices through your music. Play a set of Max Stax; shuffle on a Liquid Ride; add some Saturation Crashes to your

set-up; or groove on a pair of Fierce Hats. With Vault you’ll discover a world

of sounds you won’t find anywhere else. That’s what Vault is all about.

A personal statement from legendary Rush drummer Neil Peart, Paragon is a

bold concept created in collaboration with the SABIAN Vault Team. More than just the rock cymbal you might

think it is, Paragon delivers high-powered, explosive responses, yet has

the sensitivity to dip into lower dynamics. It’s a selection of cymbals that players,

including Bob Bryar of My Chemical Romance and Stone Sour’s Roy Mayorga, include in their set-ups for sheer power. But pop, funk and even jazz drummers like the Paragon combination of vintage bright tone and modern performance efficiency.

“Neil had a sound in mind,” says our Vault Team leader, Mark Love. “He needed full-on power for those big gigs with Rush. And he wanted those same cymbals to dip way down into the lower dynamic range without loss of response.”

Neil flew from Los Angeles to Montréal, then motor biked from his home near there to SABIAN. “It took him eleven hours,” continues Mark, “much of it in the autumn cold, wind and rain. When he arrived, he wanted to see was how the cymbalmaking process worked…

what did what and what the effect was. Once he had a sense of that, we got into designing the cymbals.” Though that sounds easy, it was anything but. “To create the Paragon sound,” continues Mark, “we mixed AAX, HH and AA design elements. Once we figured out the main cymbals for the set-up, we also came up with a

wide-flange 19” chinese that blew everyone away. Since then we’ve also added the Diamondback Chinese, a 20” with a combination of sizzle rivets and tambourine jingles giving it a complex percussive sound.”

Neil debuted his Paragons on Rush’s retro disc, Feedback, on which he played Cream and Yardbirds tunes. Next up was Snakes and Arrows, which saw him back in Rush mode, complete with the Diamondback. “The power of Paragon makes it ideal for rock,” notes Mark. “But just like the music of Rush, these cymbals are capable of taking you someplace you’ve never been. Paragon is a great adventure.”

It’s all about innovative ideas.

discover a collection of uniquely different cymbals and sounds inspired by today’s players and the music they play.

Creative

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BOB BRYAR

NEIL PEART

Vault is all about discovering and

designing new sounds. It’s all about creativity

and innovation. This concept of shaping the future of cymbals and sounds is a first. So are

the results.

Creative

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We’re ready to make a name for ourselves. We’re ready to go. Pack the van, hit the road, eat bad food, play for everyone and sometimes, no one. We’re ready!

Bronze Beginnings


WE GO FOR IT.WHAT’S YOUR SOUND?

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Hear more at sabian.comThe ideal first step into bronze cymbals gives you the right to play with some serious attitude.

WE GO FOR IT.

Power up your band with the bright, cutting sounds of these Brilliant Finish cymbals with a brilliant price.

BrightBrilliant Value

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WE PLAY SABIAN

BILLY KILSON BK Groove/Chris Botti CHRIS McHUGH Keith Urban/SessionsTONY LAUREANO Dimmu Borgir JIMM

Y SUL

LIVAN

Aven

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DOM

FAM

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inici

an/S

essio

ns

CAMILLE GAINER Sessions

LARR

Y LEL

LI Se

ssio

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NEIL PEART Rush

ANDY

HUR

LEY F

all O

ut B

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JOJO MAYER Nerve

BOB

BRYA

R M

y Che

mica

l Rom

ance

BOBBY SANABRIA Quarteto AchéTUESDAY Whild Peach/Outkast

NIR

Z Joh

n May

er/C

hris

Corn

ell

DAVID GARIBALDI Tower of Power

JEFF ‘TAIN’ WATTS Branford Marsalis Quartet/ Tain & The Ebonix

JOHN ROBERTS Janet Jackson

TODD SUCHERMAN Styx

JIM RILEY Rascal Flatts

CHESTER THOMPSON Genesis

MARK O’CONNELL Taking Back Sunday

CORA COLEMAN-DUNHAM Prince

CHRIS GAYLOR All-American Rejects

CHRIS PENNIE Coheed and Cambria SHANNON LARKIN Godsmack

ROY M

AYOR

GA St

one

Sour

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TERREON GULLY Stefon Harris & Blackout

KEITH ZEBROSKI Miranda Lambert/Sessions

ROBBY AMEEN Sessions BO

BBY S

ANAB

RIA

Quar

teto

Aché

TOMAS HAAKE Meshuggah

MIKE PORTNOY Dream Theater

JIMMY COBB Jazz Great

BERNARD PURDIE Session Great

DAVE

WEC

KL D

ave W

eckl

Band

JASON RULLO Symphony X

GEORGE KOLLIAS Nile

DANIEL ERLANDSSON Arch Enemy

RICH BEDDOE Finger Eleven STEFANIE EULINBERG Kid Rock

JIMMY SULLIVAN Avenged Sevenfold M

ARK O

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JIMM

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TERRY BOZZIO Solo Artist RICH BEDDOE Finger Eleven

NEIL SANDERSON Three Days Grace

TOMAS HAAKE M

eshuggah

GENE HOGLAN Strapping Young Lad

EVELYN GLENNIE, DBE Solo Percussionist

XAVIER MURIEL Buckcherry

BRIAN FRASIER-MOORE Christina Aguilera

KEITH HARRIS Black Eyed Peas

ANDOLS HERRICK Chimaira

MARCUS BAYLOR Yellowjackets

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