K Light Flat impressions


Senior Member
I recently acquired this flat ride (used). I know that flats in general are a bit anachronistic and not for everyone's needs, but I really enjoy having this around.

For the record, I'm relatively inexperienced as a drummer, and not gigging (on drums), though I've been playing music for three decades. I also have a small room in which to practice, and I'm not playing any heavy rock. Mostly my efforts are focused on lots of rudiments (on a pad) and playing varied components of the kit assembled in different configurations to avoid dependency on any single set-up, and to help me explore each component (and limb) more fully. I jam along with various blues, country, rock, and jazzy groove-rock stuff. (Think JJ Cale). Once a month or so I play with others at jams and parties, etc. So, on to the pie:

Out of the few flats I was actually able to try in person, this one had a particular "sweetness" off the stick that appealed to me, and I like the balance of sounds that it provides. The wood is not lost ever, no matter where you strike the cymbal. This is a relatively QUIET cymbal, so that would present limitations for alot of drummers, yet opens some doors for certain applications.

Something I really like is the quality of SWIRL in the wash when riding her steady. It reminds me of that classic MXR phase-shifter effect guitarists explored in the rock idiom thirty years ago. Its very musical, and never eclipses the stick attack.

Another really cool aspect of the cymbal's response are the variations in tone achievable based on where one strikes the cymbal. Close to the center, the wash is squelched somewhat, the wood sound steps up, and a peculiar "bell choir" chime emerges in the mix. Think of notch-filtering out the high highs, and high mids, and showcasing the lower highs.

Moving out from the center, the wash response begins to develop, and the frequency spectrum broadens supported by the stick sound, and supporting the "choir bell" sound mentioned before. In the middle third of the pie, the "sweetness" of the stick attack really begins to speak.

Further out toward the edge, the lower tones become more assertive, and there's a "chinese gong" character in the sustain. The woodiness from the stick moves toward the "thud", less sharp and singing if you will. This effect remains very musical.

Crashes are soft, though full on the bottom, and of very short duration.

My hats are 13" Ks, and I usually use a 16" Dream Bliss crash. I also use a 20" K ride for most applications, and have a couple of other pies mixed in and out from time to time.