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much variety among the pre-sets. Most of the “stock” sounds were giggable, and the responsiveness and range of articulations across the surface was refreshing, as was the bell response – once you learn to stop using the e-cymbal bash technique. Similarly, the amplified “stock sounds” of the crash were far richer and deeper than the headphone output implied and it certainly produced convincing swells. Unlike e-cymbals, where a change of module is required to switch from sticks to brushes, mallets or rods, the effect is immediate with the AEs. Of course, that presents a bit of a challenge if you’re using an e-kit since the drum pads won’t respond to different stick options in the same way. Comparisons with the tweakability of e-cymbals are inevitable, and here the AEs will disappoint since there’s no scope to edit the default sounds on the controller. Perhaps we’re spoiled by e-cymbals, but if you want a chain effect with AEs, for example, you have to physcially add a chain. Of course, the USB slot indicates that sound tweaks are almost certain to be offered for download in the future, but these will only be variations on the current patches. While the sounds may be limited, the responsiveness of the hats, the realism of the chick, the almost infinite degrees of openness or closed positions, the fantastic rebound and the articulations across the surface all feel and sound natural. Stocks were in short supply, so I wasn’t able to test the splashes, chinas or effects cymbals, but no doubt their performance will be something like that of the crash.
The verdict The Gen16 AE range is certainly something very different in the percussion space – something which smacks of innovation and carries a brand name synonymous with quality. But while you may not be able to go wrong with Zildjian in the acoustic market, this range is not for everyone. With street prices that digitalDRUMMER, AUGUST 2011
rival existing e-cymbals, the Zildjian Gen16 AE range is not a budget alternative but a serious investment, especially for those who already have a bunch of cymbal triggers. As a hybrid acoustic/electronic product, the AEs aren’t suitable for all uses either. Admittedly, quieter than their acoustic forebears, they are significantly louder than their rubbercovered peers and even their sound-dampened metal counterparts. They’re more suited to stage work, where the sonic signature is less of an issue and they can strut their stuff. They’re ideal for smaller venues and certainly look the part, especially when the violet lights are switched on (they can be switched off if you don’t want to show off), with great stage presence. While they may lack the range of sounds available to regular e-cymbals - either via a module or through VST samples - the AEs have some sound-shaping capability and can provide a varied palette if required. The quality of the output, however, is totally dependent on the final amplification – far more so than e-drums, where the shaping is done in the module and the amp just makes it louder. The strengths mainly centre on the playability of the cymbals. Those used to a fairly limited open/closed range on e-hi-hats or a paltry three zones on the ride will revel in the infinite variations of the AE hats and the fantastic articulations of the ride and crash, not to mention a bell that doesn’t require Arnold Schwarzenegger’s wrist action for triggering. The biggest challenge for Gen16 is overcoming the misconceptions about samples – and the current information offerings which liken the sounds to existing Zildjian models are not helpful. If you remove the expectation of being able to dial up exact replicas of acoustic cymbals, you’ll no doubt enjoy the AE range – and audiences should do likewise if the sounds are properly amplified. You’ll certainly enjoy the feel and playability – and those stunning futuristic looks! 11