Light Weight Hi-hat Stand

SKU: HL.3710357

UPC: 697643111707. 14.0x14.0x0.106 inches.

Series Description: Paiste Sound Technology stands for first-class manufactured cymbals and high quality sound design at an affordable price. PST7 adds an affordable line for drummers who like a traditional sound, look and feel. PST7's base is CuSn8 bronze which stems from the legendary 2002 series. The cymbals are lathed by our Swiss hand craftsmen to achieve their distinctive traditional look and finish. The result of Paiste's precise Swiss manufacturing is a warm and clear overall sound and by offering three weight classes, light/thin, medium and heavy, PST7 covers a wide range of different music styles. Alloy: CuSn8 Bronze, also known as “2002 Bronze” Size: 14-inches Weight: light top/medium heavy bottom Volume: low to medium loud Stick Sound: fine, somewhat washy Intensity: lively Sustain: medium Chick Sound: soft, controlled Sound character: Fairly bright, mellow, warm. Medium wide range, clean mix. Soft, responsive feel. Fresh, warm open sound. Soft, clear chick sound. Sensitive, controllable hi-hat for acoustic music styles.

SKU: HL.3710354

UPC: 697643111677. 14.0x14.0x1.25 inches.

Series Description: Paiste Sound Technology stands for first-class manufactured cymbals and high quality sound design at an affordable price. PST7 adds an affordable line for drummers who like a traditional sound, look and feel. PST7's base is CuSn8 bronze which stems from the legendary 2002 series. The cymbals are lathed by our Swiss hand craftsmen to achieve their distinctive traditional look and finish. The result of Paiste's precise Swiss manufacturing is a warm and clear overall sound and by offering three weight classes, light/thin, medium and heavy, PST7 covers a wide range of different music styles. Alloy: CuSn8 Bronze, also known as “2002 Bronze” Size: 14-inches Weight: medium top/heavy bottom Volume: low to loud Stick Sound: tight, defined Intensity: lively Sustain: medium Chick Sound: warm, precise Sound character: Bright, warm, clear. Wide range, clean mix. Balanced feel. Warm, full open sound. Defined, clear chick sound. Dynamic hi-hat, well suited for many different situations.

SKU: HL.3710104

UPC: 697643304819. 14.0x14.0x0.355 inches.

Series Description: Paiste Sound Technology stands for first-class manufactured cymbals and high quality sound design at an affordable price. PST5 is the entry to Paiste's world of bronze cymbals and since its introduction in 2005, it continues to be a best seller. Considering recent musical trends, the PST5 was newly designed by our Swiss Sound Development Team. Visually the PST5 were consciously altered only in detail but their fundamental sonic value changed considerably. The cymbals are lighter resulting in a deeper, warmer sound while preserving its bright basic character. They have increased flexibility resulting in a more appealing feel. Overall the new PST5 is significantly more musical. PST 5 Sound Edge Hats: Size: 14″ Weight: medium top/heavy bottom Volume: low to loud Stick Sound: bright, dry Intensity: lively Sustain: medium Chick Sound: pronounced, sharp Sound Character: Bright, cutting, strong. Medium wide range, clean mix. Even, giving feel. Bright, strong open sound. Defined, cutting chick sound. Versatile hi-hat, particularly suited for articulate playing.

SKU: HL.232108

ISBN 9781783052738. UPC: 888680677329. 4.5x7.5x0.899 inches.

Complete lyrics and chords to 195 Beatles songs, including: Across the Universe • All My Loving • All You Need Is Love • And I Love Her • Back in the U.S.S.R. • The Ballad of John and Yoko • Birthday • Blackbird • A Day in the Life • Day Tripper • Dear Prudence • Drive My Car • Eight Days a Week • Eleanor Rigby • Good Day Sunshine • Got to Get You into My Life • A Hard Day's Night • Help! • Helter Skelter • Here Comes the Sun • Hey Jude • I Saw Her Standing There • I Want to Hold Your Hand • In My Life • Let It Be • The Long and Winding Road • Lucy in the Sky with Diamonds • Penny Lane • Revolution • Something • Ticket to Ride • Twist and Shout • When I'm Sixty-Four • While My Guitar Gently Weeps • Yellow Submarine • Yesterday • and more. 4-1/2 inches x 7-1/2 inches.

SKU: PE.EP73479

ISBN 9790577019888. 297 x 210mm inches. English.

At First Light was commissioned by Eric Bruskin, a resident of Philadelphia, USA, in memory of his mother. Eric had a longstanding enthusiasm for my work, and I was touched to be the person he approached for a task which is both a privilege and a daunting responsibility. In a sense, no music can ever measure up to the weight of love or the hope of consolation vested in it under such circumstances - but in memory I carry the deaths of both my own parents, and I was able to draw upon that. Eric's fondness for my Cello Sonata (itself written in memoriam) led him to ask that I include a solo 'cello part in the new work - but his attachment also to my polyphonic sacred choral writing meant that he wanted a centrepiece which would be both a showcase of that approach and the celebration of a life well lived. Therefore, the seven movements of At First Light arrange themselves as a series of slow meditations surrounding an exuberant 9-minute motet in which the lamenting cello falls temporarily silent.

Eric's Jewish faith meant that approaching an agnostic humanist brought up within the Anglican tradition was hardly free of problems! Gradually, though, I was able to win his approval for a collated mosaic of texts. This embraces some liturgical Latin (necessary for the motet) as the shared preserve of broad western culture in general, but balances it with a secular approach to loss, celebration, remembrance and the many shades of our mourning those whom we see no longer. Eric was adamant that he did not want the title Requiem; but what has emerged is still a form of semi-secular Requiem in all but name, taking its title instead from a phrase in the poem by Thomas Blackburn set as the third movement. This seemed to suggest succinctly how the loss of one very close to us is an awakening into an unfamiliar world where everything is changed. Following the exuberant central movement, the texts by the Lebanese-born Kahlil Gibran and the US, Kentuckian poet Wendell Berry first address the departed loved one directly, then place us within an imaginary funeral cortege, where the perennial and universal in human experience become personal without subscribing explicitly to any particular faith (or lack of it). The final text of all is a translation of a Hebraic prayer, requested and provided by Eric Bruskin, which serves to mirror its Latin counterpart heard at the outset.

Throughout, the lamenting cello represents a commentary on the experience articulated in the text. It evokes and, in a sense, tries to embrace and sanctify the individual existential journeys of the bereft, as they in turn seek to make their own sense of what the short-lived Second World War poet Alun Lewis called 'the unbearable beauty of the dead' (movement 5).

In a modern world hostage to ever greater menace, displacement, bloodshed and anguish, I hope fervently that this music not only brings a measure of solace to the person who commissioned it, but also makes its own small contribution to bailing out the sinking ship of humanity.