Jim Keltner On Cymbals!

Jim Keltner – The Signature Session Master

When it comes to the art of drumming in it’s truest form, few drummers have accomplished what Jim Keltner has. It’s really quite astonishing. It’s not only the amount of amazing records he’s played on or even the legendary artists he’s collaborated with…and believe me, there are many. It’s the fact that Jim has paved the way for most of the drummers you hear today to be themselves…to be individuals. Jim Keltner is arguably one of the most original drummers in recording history. When you

listen to him on any of his great tracks – John Lennon, George Harrison, Eric Clapton, Roy Orbison, Bob Dylan (I told you), it’s not just what he played, but how he played it. How he crafts

his parts, how he plays the song, what sounds he chooses

…all these things make him a true innovator.

Paiste has worked with this incredible artist for the past

27 years and although words cannot completely express

what an honor that is, we remain humbly thankful.

We recently spoke with Jim about his experience playing

the Signature sound family, in the session

world from which he reigns.

RM: Jim, back when you first started

experimenting with the Signature sound family, what was

your first impression?

Jim Keltner: Back then, the Sound Creation series were what I

was used to…that darker, complex sound and the Signatures

were the complete opposite of that. They were so much brighter

than what I was using. That was interesting to me because I

play to the sound I’m hearing and I’ll play differently, depending

on the sound I’m hearing from my drums and cymbals. The

Signatures brightened up my sound big time. I did a bunch

of records with them, however when the Traditionals were

introduced, they freaked me out. They were so completely

different than anything Paiste had ever made and they put me

into my Jazz head. I remember that it was the first time in a

long time, that I thought more about ride cymbals. Most of my

work focuses on crashes & hi-hats, so when the Traditionals

came out, I found myself going more to the ride. What I also

loved was that even though they still possessed that Paiste

consistency, there were subtle differences between each

one, which can be very important when recording. What I love

about the rides is that they all have a great crash, with what

I describe as a good, cough-like sound. I love that and they

also work very well with rivets. Then, when the Dark Energys

came out, they were once again different…they took your ear

to another place. I would find myself going back and forth

between the Traditional and Dark Energy rides. I especially

love the Dark Energy hi-hats and I was using a combination

of 16” Dark Energy and Traditional crashes as my primary

hats, for a while. More recently, I’m using 15” Twenty Series

Hi-Hats, which were made a bit thinner for me.

RM: When you began using the Traditionals, is there a

session from that time, which you can comment on…maybe

some impressions when you first heard playbacks?

JK: I wish I could, but there’s been so many that I used them

on. I’m sure I have it written down somewhere, but what I do

remember is how I protected my first 16” Traditionals Thin

Crash. I was so worried that I would crack it and it was the

most beautiful crash I’d ever heard. I’m sure you remember I

wanted you to get me a couple more, exactly the same! Those

cymbals are on a lot of records I did around that time.

RM: Jim, you’re well known for thinking outside the

box…for offering a completely different approach to a

recording…most times, completely different from what

might be expected or thought of as typical. How does this

apply to your sound?

JK: I went through a dark faze, wanting darker sounding

cymbals, when pretty much everyone else was using brighter

cymbals and now, it’s kind of gone full circle where most

drummers are looking for dark sounds and I’m the opposite.

It’s sort of a semi-conscious thing on my part, I guess. To

my ears, what may seem normal or accepted is almost like a

signal to try something else, but then I know a lot of drummers

who are like that.

RM: I’m sure a big part of what you decide to put up,

depends on the song and what the music dictates. Talk

a bit about that.

JK: That’s exactly what I go by. And, it can be what I want for

the song. Because of my track record, I’m trusted now for my

input and I feel fortunate to have that leeway. The producers I

work with know me and have given me this freedom, which of

course enables me to try things and to experiment…not only

just with music choices but also sound choices. I’ve always

gotten great feedback about my cymbals.

RM: What would you say is the most important thing, after

all these years with Paiste, which has helped you with

your work in the studio?

JK: What has made this relationship so special to me is the

collaboration between us. Whenever I’ve had an idea or a

desire for a sound, Paiste has ALWAYS been there. Their

sound development procedure, how they interact with the

artist and how these collaborations ultimately produce such

great instruments is what’s so exciting to me. They made so

many things for me over the years and I know that some of

our brainstorming sessions have produced some cymbals for

the market. I’m proud of this and have loved this part of being

a Paiste artist. I’m truly honored to have this interaction with

them. Robert and Erik Paiste, Fredy Studer and Toomas early

on - and everyone at Paiste really loves what they do, and it

shows. I can’t wait to see what they’ll come up with next!