Review – Amedia Dervish Cymbals

February 2, 2024

Here’s the latest review from our sister-site Drummer’s Review looking at a selection of Amedia Dervish cymbals featuring…

Box Set containing 20″ Ride, 18″ & 16″ Crashes & 14″ Hi Hats,
24″ Crash/Ride Thin,
12″ Splash,
6″ Bell,
6″ Ping Bell,
Hand-made in Turkey,
Raw finish with heavy hammering.

UK RRP – Amedia Dervish Cymbals:

Box Set (20″ 18″ 16″ 14″hats): £805.00

24″ Crash/Ride Thin: £324.00

12″ Splash: from £75.00 (custom order)

6″ Bell: from £75.00 (custom order)

6″ Ping Bell: from £75.00 (custom order)

Amedia says...”Trance inducing, hypnotic sounds are available with the Dervish series. Feel your spirit become one with the divine as you play these cymbals. Un-lathed heavily hammered, Dervish cymbals are strong, dry and earthy like a summer night in Anatolia..”

For more details about the Amedia Dervish Series, head to: http://www.amediacymbals.com.tr/

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
Hi Hat: Oktava MK-012-01 Cardio
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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