Barnes and Mullins

Barnes and Mullins

Review – Sabian 22″ HH Todd Sucherman Sessions Ride Cymbal

Here’s the latest review from our sister-site Drummer’s Review featuring a 22″ HH Todd Sucherman Sessions Ride from Sabian, featuring…

  • B20 Bronze Alloy construction,
  • Heavy hand hammering before being heavily hand lathed and hand hammered again,
  • Raw bell featuring Todd’s signature on the underside,
  • differing thickness on the bow.

UK Online Price: £590.00 (approximately)

Sabian says...”Handcrafted in the SABIAN factory, this very special ride cymbal has been designed to be Todd’s Ride of choice for Studio recording, the Sessions Ride is heavily hand hammered and then hand lathed to create multiple thicknesses over its surface – and then hand hammered for a second time. The result is bold articulation, a pleasant splash on the slap, a complex spread and a massive crash. The pitch of the bell is designed to be higher than the tonic note of the cymbal, which gives the Sessions Ride its special quality as both a studio weapon and a monster on the stage.”

For more details about the Sabian 22″ HH Todd Sucherman Sessions Ride, head to:

Recording Details:

Filmed at Paul Caboche Studios (Cornwall UK). 

Microphone List:

Kick Rear: Audix D6
Kick Front: Electrovoice RE27ND
Snare Top: Electrovoice PL80
Snare Bottom: Electrovoice PL80
Ride: Oktava MK-012-01 Cardio
Over Head wide: AKG C414B (pair)
Centre Over Heads: AEA R88 MK2 Stereo Ribbon Mic
Front Centre Room : AEA R88 MK2 Stereo Ribbon Mic
Wide Room Mic’s: sE2200T Tube Mic’s (pair)

Recording Process:

Microphone Pre amps: 16x Rupert Neve Designs 5052

Pre amp outs to Avid HD analog to digital converters connected to Avid HDX card

Recorded into Pro Tools Ultimate latest version running HDX cards mounted in an Apple Mac Pro 2019 16core.

A Note From Paul…

“The microphones were set up with the overheads and room mic’s measured to the centre of the snare drum to keep the phase of any stereo pair in phase. The AEA R88 MK2 mic’s being stereo mic’s had no issue with phase but the front centre room mic and centre overhead where aligned with each other to keep the same stereo image. The phase reverse switch on the front kick mic was used to correct the phase between the two bass drum mic’s. The phase reverse switch was engaged on the bottom snare mic to correct the phase between the two snare mic’s. Hi pass filters only used on the hi hat mic, Ride mic and overheads. Every effort was made so that the NO EQ sound example audio on the video was as true a representation of what the drums sounded like in the live room. The live room of the studio has been treated to also provide a neutral sound close to the drums with the room mic’s then giving a true representation of what the drums sound like in the room. Using 16 identical Mic Pre amps also helps with electrical phase so there is no difference between tone and phase of the Mic Pre amps. The brief for recoding the drums was to give as true a representation as possible of what the drums actually sound like and to then give examples of what can be done to the sound of the drums.”

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