Gabrian's

The Traditional Series sound is suited for pretty much every style of music imaginable. The classic concept of these fully lathed cymbals has proven its value through the years. From the earliest jazz drummers and bebop pioneers, to heavy metal and the latest stylistic evolutions, the Traditional Series encompasses the sounds you’re looking for.

Dark. Responsive. Controllable. Musical.

China Pang - Low pitched trashy crash sound

Available in 10", 12", 14", 16", 17", 18", 19", 20"

gram weight :
16" - 950-1000 gr.
17" - 1150-1250 gr.
18" - 1200-1250 gr.
19" - 1400-1450 gr.
20" - 1600-1700 gr.

The Traditional Series sound is suited for pretty much every style of music imaginable. The classic concept of these fully lathed cymbals has proven its value through the years. From the earliest jazz drummers and bebop pioneers, to heavy metal and the latest stylistic evolutions, the Traditional Series encompasses the sounds you’re looking for.

Dark. Responsive. Controllable. Musical. ABOUT ISTANBUL MEHMET - Mehmet Tamdeger learned his art from Mikhail Zilcan, the grandson of Kerope Zilcan, after whom the Zilcan K series is named. In the 1950s, he worked in the K. Zilcan factory in Istanbul. At the age of nine Mehmet Tamdeğer started to work for Mikhail Zilcan. Mikhail Zilcan and Kirkor Küçükyan taught him every aspect of this ancient Turkish art, based on a history that stems back to the early 17th century.

The Istanbul brand name was adopted by a cymbal works established by two cymbalsmiths, Mehmet Tamdeger and Agop Tomurcuk. At that time, they had over three decades of cymbal making experience. Mehmet and Agop named their company after the city that has been home to the epitome of high quality cymbals for many, many years: Istanbul. These cymbals were first exported to the U.S. in 1984, first under the name "Zildjiler", and soon afterwards as "Istanbul". Both craftsmen signed each cymbal and many of these cymbals are now collectors' items.

After Agop Tomurcuk' s unexpected death in July 1996, Mehmet decided to continue the production of cymbals under his own name, İstanbul Mehmet. A lot has changed since then, but his belief in the richness and the character of a handmade cymbal will always remain. Machines don't have ears. That's why we continue to make our cymbals according to the ancient tradition - with an open eye towards the music that's being made now, and in the future.

Istanbul Mehmet Cymbals WorldWide Limited Warranty Policy

All Istanbul Mehmet Cymbals are guaranteed against defects in materials and workmanship for a period of two years from the date of purchase. (Please keep a copy of your original purchase receipt with your cymbal.) If, after inspection by Istanbul Mehmet personnel, it is determined that the cymbal failed due to defects in materials and/or workmanship, a replacement cymbal of the same size and series will be provided free of charge.

Cymbal Playing & Care Notes:

Play the right cymbal.

Every cymbal has its strengths and weaknesses. Hitting a smaller or thinner cymbal too hard, trying to get a bigger sound, won't work. It's best to use a cymbal more suited for your application / style. Don't abuse the cymbal. If you need a louder sound, try a bigger or thicker cymbal.

Prepare the stand properly.

Every stand has to be equipped with certain things. Here is a list of what a stand should have:
* A nylon tube over the center rod so the metal isn't exposed.
* A metal support washer is needed to prevent the cymbal from sliding down. It is best to have a felt added to the metal tip of the nylon tube to protect the cymbal.

Do not over tighten it.

When you assemble the cymbal, do not tighten it down too much. The cymbal needs to be free to vibrate. Vibrations generate the sound. So make sure the cymbal is loose or you won't get the sound you want.

Do not put cymbals at too much of an angle.

Cymbals need to be fairly flat to work properly. They should be angled - slightly - toward you. If the cymbal is angled too steep, it can't move freely enough, thereby choking off the sound.

Don't play the edge.

Avoid hitting your cymbals directly on the edge. The best way to play cymbals is by hitting slightly above the edge. Crash cymbals, especially, should be hit with a glancing blow, a little off center.

Play the cymbal with glancing blows.

Play the cymbal with glancing blows, angled to the side and slightly away from the vertical, about a quarter of the way between the edge and the center. Allow the drum stick to bounce off naturally, rather than forcing the stick down at the cymbal head-on. This allows the cymbal to vibrate freely with little stress on the edge and/or at the center hole, reducing the chance of a crack.

Handle with care.

Handle cymbals by the edges, using only your fingertips. This prevents your sweaty mitts getting all over the shiny surfaces.

Avoid hard floors, use a bag.

Never stand a cymbal up on its edge on a hard floor, and make sure you have a good cymbal bag for transporting and storing.

Don't sweat it.

Watch out! Sweat marks and hot 'n 'humid gigs can lead to cymbal corrosion - an unsavoury-looking greenish staining.

No abrasive cleaners.

Never try to clean a cymbal with an abrasive metal cleaner or abrasive (brillo-style) pad - however tempting it may be.

Use washing up / dishwashing liquid.

Instead, clean your cymbals with washing up / dishwashing liquid and warm water, using a soft non-abrasive cloth.

Follow the grooves.

Scrub around the cymbal in the direction of the lathed grooves, and dry them thoroughly with a towel.

Polish.

Polish your cymbals with the manufacturer recommended polish.

…unless you like it dirrty!

Cleaning cymbals is not a priority for everybody - some feel cleaning affects sound and prefer them dirty.