Which is true for pretty much any cymbal line, and not just the old K's. Only a few cymbals taken from a large sample will comport with ones own personal taste, provided that that one has a very particular idea of exactly what he's looking for in a cymbal. This requires a certain degree of "ear sophistication" as well as a lot of patience to find. But those old K's were prized mostly among jazz drummers who have always been notoriously finicky about their cymbals, seeing as how they were considered to be the most important integral part in defining their own personal sound.

Even if it’s lathe , if it sound good they buy it

“Build it and they will come “

there’s only so many K’s that have the sound , of today drummers need’s

so be it , if you shave a little off and not just k’s never touch the holy grail of pies mostly old stamp A’s , not my cup of tea but others buy into it

Gary

I would never mess with any old K in any way. I know that many of them sound like crap, because their QC was not what it should have been, but given the collector hysteria about them, I reiterate, one should never alter an old K. Zildjian. It's almost like refinishing a '54 Fender Stratocaster. It's sacrilegious. You'd devalue that guitar by at least 50%.

I have played old K's and don't understand the attraction, especially today, when you can score very nice dark or trashy sounding cymbals from almost every cymbal company. They're all trying to reproduce that sound. I have a nice Bosphorous Stanton Moore ride that's very K-like that cost a fraction of the price of a 22" K. ride. Stylistically, old K's really don't fit the gigs I play, but I've taken that Bos ride out recently, and liked the way it sounded. The only problem is the tiny bell. I tend to use the bell a lot, and it didn't cut at all.

---" The place is so crowded no one goes there anymore" --Yogi Berra.

I've done it a few times. Made a few hundred bucks.

To do it while at least maintaining resale value, you have to take the weight off the bottom, match the original lathing style, and then re-tension the cymbal. The stamp must remain untouched.

Usually takes awhile to sell if you're looking to turn a profit. Most dudes don't want K's that have been messed with.

Matt

I heard some before and after

some old heavy A’s turn in to magic

Just saying

And I've also heard before and after....and they suck.

I couldn't bring myself to re-lathe an old K, even if it sounded terrible. In my opinion, old K's are of historical significance and there are only a finite number of them.

I also don't understand your response.

you "don't understand the attraction" yet you note "very nice dark and trashy" available from" almost every cymbal company"

So. The attraction is real. Yet dislike it in Ks but it's ok ("hell, it's everywhere kids!") in modern Turkish. Ok. I get the prejudice AGAINST OLD Ks. high price 50 years later, limited available 50 years later. no modern "models" 50 years later...50 years old ..period yet..

....the handmade cymbals from Turkey today, that came after K Zildjian -- some of them have their own flaws soundwise too--- I can recall owning near two dozen cymbals from the brand Istanbul at one time. 20 years later, I have kept precisely Zero . So shouldn't be so fast and absolute to close down old K "just because" they "make cymbals again in Turkey" . I smell a little tinge of unpleasantness there

This I call bull**** too:. Their sound quality control --consistency within each era of same weight and diameter- was outstanding. Almost robotic duplication

Their Sound consistency at the very least - equal or better- to any handmade cymbal from Turkey today.

You can gather 5- 2800g-2900g New Stamp 22 old K together, put them in one room (you do this by owning many and comparing to detailed pictures and sound files of ones of same Weight, Diameter and Era, - you will not be able to tell them apart.

You take comparable weight, Era and diameter of old K and compare ----and they Behave, Sound, and Even Look - identical ----like they were made by the same team. Which I have theory when the team changed or was fired and or. a new foreman was brought in the stamp changed and so did the build of the cymbal change slightly (that'd make about six era coinciding with insignia change) then remain consistence thru that era..

Within an era they -the cymbals- were almost duplicating- given weight and diameter- themselves. Pretty amazing for hand control..(like it was the same team for those 4-6 how many years- then a change)

So if quality control has anything to do with sound and build consistency they hit that mark. The main thing that sounds like crap- except for some very thick small diameter mostly very early ones- to me ---is the stereotyping the tired old predictable stereotyping. But that's ok. : )

So your initial statement struck me - as a contradiction- very Yogi Berra-like the "_old K is dead ____ long live old K_"

That's a good one and I think (I know)I'll use it. Thanks Bob !

"ah those oldks you had to go thru 500 of them to find 1 some were so ugly you couldn't even play it and today you got areseholes asking a fortune for an oldK on top of that they make turkish cymbals today same gosh 'dam way with sticks and stone furnaces"

Say it with me kids! 1.. 2.. 3..

"_the old K is Dead_______Long live the Old K____"

I like it has a nice ring to it