What's Your Cymbal Identity?
Cymbals come in all sorts of sizes, finishes, and thicknesses, each producing a unique sound depending on the balance of those three elements. Drummers use all kinds of terms to describe the sound characteristics of cymbals, terms such as bright, dark, dry, washy, fast, complex, and trashy. Certain styles of cymbals better lend themselves to particular kinds of music and often function as a sort of fingerprint of a drummer’s individual sound. With so many varieties to explore, what should you be looking for when purchasing cymbals to fit your desired sound?
Pair of cymbals dating back to somewhere between 1,000 and 600 BCE
Materials and Origins
While the very cheapest entry-level cymbals are often made of brass (copper and zinc), the overwhelming majority of cymbals are made from bronze, which is an alloy comprised of copper and tin. The specific ratios vary depending on the specific line of cymbals being manufactured, but the tin content typically ranges between 8% and 20%, with the rest being primarily copper along with trace amounts of certain metals (such as silver, zinc, or nickel). Bronze is the ideal material for cymbals since it’s easy enough to mass manufacture, has malleable properties so it can flex without snapping, and creates a pleasant shimmery sound when struck.
Cymbals and gongs date back thousands of years to ancient societies as old as 3,000 B.C. (and potentially beyond). Originating in Mesopotamian cultures, the use and production of cymbals gradually spread across the African and Asian continents over the span of millennia. Often functioning as a pair that were clashed together (ancestors to orchestral crash cymbals), cymbals were commonly used in religious ceremonies and on battlefields as an intimidation tactic.
For the most part, the earliest cymbals only loosely resemble what modern drummers use today. They were much thicker and considerably deeper, resulting in “taller” cymbals. During the 1900s, cymbals began rapidly evolving in conjunction with the newly-formed drum set and the emergence of jazz music. Cymbals became much thinner and manufacturers began exploring different sizes and profiles to achieve a broader range of sounds. Nowadays, drummers are confronted with dozens of options to help dial in their sound. Let’s get into some of the specific traits found in today’s cymbal market.
Diameter
One of the main differentiating factors between different kinds of cymbals is their diameter. Ride cymbals are the largest, followed by crash cymbals, then hihats, and finally splash cymbals. Each style of cymbal also comes in a range of sizes. Ride cymbals are commonly between 20” and 24” in diameter, crash cymbals are most often anywhere from 14” to 20”, hihats are usually 13” to 15”, and splash cymbals are typically 6” to 12” around. Those aren’t firm size ranges (a ride cymbal can be larger than 24”, for example), but most cymbals of those varieties will be within that spread. Generally, the larger the cymbal, the longer the sustain. But there are other factors that play into how long a cymbal resonates, such as its thickness and finish.
Various sizes of Paiste cymbals
Thickness
While some cymbal manufacturers have began producing shockingly thin cymbals (which has been especially trendy over the last 10 years or so), some styles of music require thicker cymbals to better project sound. Jazz drummers and people that often play lower-volume music or perform in small spaces tend to prefer thinner cymbals to have better control over dynamics. While they are easier to control in terms of volume, they don’t project as much in more intense settings, like in a live rock show, and their thinness comes at the expense of durability. Paper thin cymbals are much more prone to cracking when played too hard, which drummers can easily do by accident in an effort to get them to be heard in louder settings.
Aside from volume, thicker cymbals generally have a more clear stick definition, or articulation. Again, there are other factors at play, but a thicker ride cymbal will generally be more articulate than a really thin cymbal of the same diameter, where the sustain sometimes “washes out” the actual sound of the stick striking the cymbal.
Finish
Many cymbals are lathed toward the end of their production process, which creates a nice shiny finish, a brighter, crispier sound, and a longer sustain. Others never see a lathe and are instead met with thousands of hammer strikes, giving them a much more complex sound. Some cymbals get a combination of lathing and hammering. More lathing and less hammering generally create brighter sounding cymbals with more projection, while less lathing and more hammering create darker, dryer sounding cymbals with less projection.
An example of cymbals with a brilliant finish and a very bright sound are Zildjian A Customs. More specifically, A Custom crash cymbals are on the thinner side so they still have a bright, clear sound that cuts through an audio mix, but with a quick decay. The A Custom ping ride is a relatively thick ride cymbal with very clear stick definition making it an ideal choice for rock, metal, and pop drumming. But its projection could be too much in small venues or quieter, subtler styles of playing.
On the other end of the spectrum, Meinl’s Extra Dry line of cymbals are incredibly thin, dark, and dry (in case you couldn’t tell by the name), and look like they were recovered from an ancient shipwreck. These cymbals receive no lathing, but lots and lots of hammering. Each hammer strike creates a small dimple in the cymbal. Since sound travels in waves, these thousands of dimples work to scatter and diffuse the sound as it travels through the cymbal, creating a more complex and trashy sound (which is desirable!) with a short sustain. They work wonderfully for the purposes of recording and performing in intimate spaces. However, they tend to get drowned out in higher-volume settings and large spaces.
What’s Your Identity?
Entry to mid-level cymbals, like Zildjian’s ZBT and Planet Z lines, Sabian’s B8 line, Meinl’s HCS line, and Paiste’s PST line, all have a very similar sound profile. Each brand’s more unique and stylized sounds are reserved for their more expensive lines and models. Finding your own unique sound can come at a relatively steep financial cost, but drummers will often upgrade their cymbals one at a time over a period of years to offset costs. Below are a few specific cymbal lines that exhibit particular sound profiles.
Bright and Fast: Thin cymbals with heavy lathing and some hammering. Zildjian A Customs, Sabian AAX, certain models of Meinl’s Byzance Traditional line, Paiste Signature Precision.
Bright and Broad: Thicker cymbals with heavy lathing and minimal hammering. Sabian Paragon, Meinl Classics Custom Brilliant, Paiste 2002, thicker Zildjian A models.
Dark and Fast: Thin cymbals with lots of hammering and minimal (if any) lathing. Meinl Byzance Extra Dry, Zildjian K Custom Dry, Sabian HHX, Paiste Signature Dark Energy.
Dark and Washy: Thin cymbals with a solid degree of lathing and hammering. Zildjian K Constantinople, Paiste Signature Traditonals, Meinl Byzance Jazz, Sabian Artisan.
Beyond those more specific sound profiles, manufacturers have also sought ways to combine otherwise opposing qualities. For example, Meinl’s Dual series of cymbals feature a completely raw center with no lathing, but with a lathed outer edge possessing a brilliant finish. These cymbals have a similar projection to brighter cymbals with the faster attack and decay as much drier cymbals. Zildjian’s equivalent are their K Custom Hybrid cymbals, whereas Sabian’s Omni cymbals serve a similar purpose.
Ultimately, your cymbal identity will require you to try out a lot of different gear and will gradually materialize as you become a better drummer and develop more discerning tastes. Trust your ears and go with what you think sounds good!