Barnes and Mullins

Barnes and Mullins

Review – Sabian 22″ HHX Tempest Multi-Application Ride Cymbal

Here’s the latest review from our sister-site Drummer’s Review featuring a 22″ HHX Tempest Multi-Application Ride from Sabian, featuring…

  • B20 Bronze Alloy Construction,
  • Oblong Shaped Heavy Hammering,
  • Tight Lathing throughout,
  • Medium weight / thickness.

UK Online Price: £500.00 (approximately)

Sabian says...”The 22” HHX Tempest is a multi-application cymbal with an incredible dynamic range. It has a unique look, feel and sound, with its medium thin weight and aggressive HHX hammering creating an instrument with a beautifully controlled swell when played either with stick, or mallets, making it ideal for both drum set and orchestral applications.  The HHX Tempest offers tremendous light ride capabilities, delivering a warm dark undertone to the wash.”

For more details about the Sabian 22″ Tempest, head to: www.sabian.com


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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Also, check out our other sister-sites (share with your bandmates!) covering Bass Guitar and Acoustic Guitar…

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