Left side chinas?

[kinkymook]

Here's a pic of my Eames kit from 2006 with a 15" AAX on the left.
(God, I hope this works...do not want to be the object of ridicule!)


(Steve edit: fixed!)

[nomsgmusic]

Since Steve opened up the discussion to the (more interesting) "why" as well as the "what..." Let's see what I can contribute.

I set up a china on my left for both rock-funk-fusion as well as for jazz, but for very different reasons. When I used to put a china on my right for rock (etc,) I found that I used the sound waaay too much (!!!) I also found that many musicians aren't really a fan of the sound of chinas (at least the one's I was working with at the time.) Therefore, when I set one up on the left it was less convenient to play, and therefore I used the sound far more judiciously. Since then, I have really figured out that (for me) the china, like a splash, is a wonderful "surprise sound" (or occasionally, a "fifth gear" type of sound, when riding.) But if it is used too much, the "surprise factor" is lost (and sometimes so is the gig.)

Sidetrack: A few years ago I also began to ride the left hand china with my left hand on a gig (Simon-Cobham style) for that "fifth gear" use; And have (on gigs) developed an acceptable (yet limited to only: straight eighths, off beat +'s, quarters, or 1e+) sense of ambidexterity (LH independence) for riding with my left hand on my left mounted china. It's a nice option to have, it just sort of happened on the gig, and I have since "gone with it," and tried to develop it "a bit" with my occasional matched grip. That open handed "thing" has some benefits, I use it now occasionally for the added textures-sounds that your free hand can offer while riding with the left on the HH. I also try to use this approach as sort of a "surprise sound." I love how Simon orchestrates "drum parts" using this approach. I also developed a way to build this idea with Chaffee's Fat Back exercises.

In Jazz, sometimes I set up a china VERY close to me and high on my left, but for very different reasons. I use it primarily with brushes (during bass solos,) for mallet swells, or VERY (!!!!!!!!) occasionally with a stick (the very end taper part of the stick) for riding on the bend during a funkier mambo or latin-ish composition. Although, often times at the end of a jazz gig someone approaches me (from the band or the audience) and asks me why I didn't play "that cymbal..." Yes, it is OK to set up a sound and NEVER use it during a performance!

Now back to the "what" part of the question. For rock (etc.) "If" I set up a china, I usually set up an 18" that is either an old Sound Creation, a Dimensions Thin China, or a thin 2002. For jazz its either an old 22" Sound Creation or a 22" Traditional (all Paiste's by the way.) Although I have (a few times) set up the 22's on a rock gig, to get the type of effects that Steve referenced (nice "definitions" by the way Steve!)

I really dig the old Sound Creation China's, they sort of seem to choke themselves (in a good way) when played hard, and speak really nicely when played lightly, the Traditionals are pretty close to that description as well. All of my china's are VERY thin!!!! They are less offensive that way.

Good Question,
Mark

[Jim Richman]

Bring your right side china along when looking for the left one. I would get one that is higher in pitch, and perhaps a little shorter in decay. As far as Wuhan, a 12 or 14 would rock it. you just need to go thru a pile to find a good one that isn't a clangy mess. You need some papery spread.

[Matus]

I use an 18" on my right and a 14" on my left. It's closer to the splash section, so I can do some stuff between those.
But, thinking about it, maybe I only do it for looks

[sturla]

I also really love the way Vinnie uses his china. And I haven't heard to many use it in that kinda fashion. Incredibly tasty!

Besides the Neil Peart way of using them and his Wuhan china sound, myself I've always looked at them as a dirtier and nastier ride in the way I tend to use them.
Therefore I've acquired quite a lot of chinas (think I have six 22" chinas lying around) and they are almost always a 22" in my case. I don't find the smaller ones (18" and around that) that suitable to riding because it wobbles to much or I don't seem to get the stick attack and "clangy" sound I'd prefer.
But I tend to use them in a much more of a Cobham/Phillips kinda way.
I do LOVE having them on my left since I play open-handed quite often and love to lead with my left hand on a vertical positioned china. It feels so very comfortable.

The irony - I can't seem to remember when I actually brought along a left side 22" china on a gig.

[Richie Jarvis]

Interesting question and some great answers....

I have seen Vinnie play only a few times and had the chance to chat to him about his set up and the kind of car he drives but back on the topic at hand. I have used a 20" Oriental china on my left for a few years now and it has become a stable mate in my set up. The biggest reason I like is that being on my left I rarely hit it or I should say glance it, I have tried other models but I always come back to the same one all the time. We all at some stage emulate another players set up and I think it's a good way of not only developing your own sound but helping to define your own set up.

Vinnie got me on to it but when I picked up the 20" and put it on my left I almost freaked out at the size but I love it as I can glance at it occasionally, not a full smash but a glance. I have posted a link of a track I used it in below to give you an idea of how I use it in some applications, this imbedding thing is new to me so be kind and please excuse the playing......

http://youtu.be/n7uvU4u-RY8?t=10s

As well, some pics I have collected over the years at gigs and clinics, it has changed positions, height and angle but I love it on my left as it allows me use it on a minimal basis as it's one of those cymbals that I don't like to over use as such.

[Clint Hopkins]

I used to have a 16" Rancan china that would take your head off. I would often play it with the snare a'la 'The Outfield' "Your Love".

I love Vinnie's low pitched china. I guess I had never really paid attention to how low he prefers that china until as recent as Oz Noy's 'Evidence' recording. I thought the pitch was altered:



Another fine example. Love the 'breathy' quality:



Jojo with the left side china:

[Joe Nocella]

"BTW, it's not pictured here!"

Here's...not a picture of the china?

Total post fail! ...hangs head in shame....

(i really just wanted to show the Yamaha MCANs)

[Steve Holmes]

man the BD sound on the Oz record is pretty bad.

[cristaples]

I use a 20" Oriental Classic or standard trash on the left and love to just glance it, rarely hitting it hard, sometimes using it for offbeat eigths(LH) in a pattern(still left handing the snare) I learnt a lot from the way Vinnie doesn't just smack it, sometimes I go to a 19K or even a 14K, I have a 14 or 16 or 18 classic on the right above my 18 "to 20" or whatever crash so the left side china is definitely my wild card cymbal.....A lot of gigs I can't fit it in lately so it doesn't get out much.....but then my 27" Wuhan is getting lonely too....damn these small pub stages.