There are several methods to fix a cymbal that is cracked. All these methods are useful, they depend on how wide the crack is and where it is located on the cymbal.

1- Force Epoxy into the crack. Strike the cymbal hard several times to vibrate glue deeper into the crack. Apply more Epoxy and strike several times again. Wipe away excess. Bake the cymbal in a 200 degree oven for about an hour. This hardens the Epoxy to a glassy consistency. Let the cymbal cool naturally. Let stand for at least 24 hrs before playing.

2- Drill a small hole at each end of the crack to prevent further spread, and then widen the crack. If the crack starts from the edge, drill the other end and then make a wide, V-shaped notch starting from the hole.

3- If the crack is on the outer edge and it’s not too deep (towards the center), you can cut the cymbal smaller in the diameter.

All these methods will change the sound characteristics of the cymbal. You may get totally new, exciting, nice sounding special effects out of it.

There are several methods to fix a cymbal that is cracked. All these methods are useful, they depend on how wide the crack is and where it is located on the cymbal.

1- Force Epoxy into the crack. Strike the cymbal hard several times to vibrate glue deeper into the crack. Apply more Epoxy and strike several times again. Wipe away excess. Bake the cymbal in a 200 degree oven for about an hour. This hardens the Epoxy to a glassy consistency. Let the cymbal cool naturally. Let stand for at least 24 hrs before playing.

2- Drill a small hole at each end of the crack to prevent further spread, and then widen the crack. If the crack starts from the edge, drill the other end and then make a wide, V-shaped notch starting from the hole.

3- If the crack is on the outer edge and it’s not too deep (towards the center), you can cut the cymbal smaller in the diameter.

All these methods will change the sound characteristics of the cymbal. You may get totally new, exciting, nice sounding special effects out of it.

The splash cymbal is typically placed on the right-hand side of a drum set (for a right-handed drummer). Splash cymbals may be mounted just above the tom for quick playing access.

There are several methods to mount a splash cymbal that is determined by the comfort of playing, and hardware.

Standard mounting: splash cymbals are mounted just like the other cymbals in a drum set on a strait cymbal stand or boom stand. Mounting splash cymbals directly on a tom drum is not recommended.

L arm: they are attached on normal cymbal stand with an extension arm that are L shaped. Splash cymbals can be mounted the bell side up or down.

Multi clamp: they provide a mounting system with clamps and joints to place a splash cymbal in several locations within a drum set.

Piggybacking: splash cymbal is mounted upside down on top of an already stand mounted cymbal that requires less mounting space, allows a more compact drum kit and to move between the top and bottom cymbals in a single motion. Additional felt between the bells of the two cymbals is recommended.

Stackers: they are used for multiple cymbals, best used for splashes and small crashes. Big cymbal is placed on the bottom of the cymbal stand and the stacker that will mount the second cymbal screws on where wing nut would normally placed. Stackers can be used on straight or boom cymbal stands.

It can be very tiresome and frustrating when choosing cymbals. In the process to make a decision, going through the range and number of cymbals can be overwhelming.

The starting point of this process is more based on personal ideas how someone feels about sound, musical perspective and style. More identifying these ideas will form a narrow frame to make a possible selection. Also matching sonically to the existing drum set should be another consideration for new cymbals.

Available literature, other people’s advice and guidance can certainly help, but the final decision is a self explored action where a drummer plays the cymbal and assures its function matches to his/her expectations.

There are two ways of mounting and playing china cymbals: bell and flange up or bell and flange down.

Mounting a china bell and flange up makes the cymbal to sit in near horizantal on the stand that gives a better sustain and ride sound, also gives access to the bell.

Bell and flange down mounted chinas are broken quite often because they are crashed on their ridges and not on the edges. This way chinas are crashed with a sweeping motion, holding the stick loosely.

If you love to experiment, mix and match your cymbals, you might end up with many cymbals. Cymbals, especially handmade ones, each present a different sound than the others.

Some cymbals drastically are different and while others might be very subtle. If you like variety, you might find it inspiring to hang a different cymbal and try to sound test which sounds better for any particular piece of music. Multiple sets of cymbals can be used in different musical settings, such as a rock set, a jazz set, etc. There are also no rules about using jazz cymbals in a rock setting, and vice-versa.

It is also up to the drummers feel, time, groove, phrasing, tone what matters here. A drummer’s touch is very important in producing the sound as it’s unlimitedly delivered to the listener that essentially minimizes the importance of the cymbal itself as it contributes to the ultimate sound.

When cymbals are concerned and the number of cymbals you might use, the sky is the limit.

Here is the big question: When do you hit small and bigger crashes?

I hit the bigger crashes when I am really into the groove or when the song is building, or when I just want that big crash sound, I use the smaller ones for more fast accents. 16″ and up are more sensitive to touch, you can ride on them, they are easier to control, they have more sounds in them and they have a longer decay. Small crashes tend to be a bit one-sided and their sound is easily overrun in a loud situation. A 14″ crash might be too big to be a splash and too small to be a crash.

I have my crashes in tone…which normally means in size. I don’t play my crashes like crashes because when I hit a single crash I have a small issue with trying to make a pattern before I go back to my beat, sometimes a draw-back but most of the time it just adds to how cool it sounds.

Ride

A ride cymbal is the center of a cymbal set, usually used to sustain the beat and for grooves. The rest of cymbals in a set should be chosen to match the ride. A good ride cymbal is also statement. Popular sizes of ride cymbals are 20”, 21” and 22”. Ride cymbals that produce a brighter sound and lasts for a long time usually are played on the middle area or bell. Heavier and thicker rides produce more definite sounds. The bell sound on a thicker ride with bright and crisp notes will be great in all genres. Some rides come without a bell at all that are called flat rides. For a crashing ride sound a medium thin will the best.  Thin and flat ride cymbals are commonly used for low acoustic situations like jazz.

HiHat

A core element in the drum set, Hihats are sonically matched two cymbals: heavier bottom and lighter top. They are mounted opposite on a special stand with a foot petal to raise and lower the top cymbal fastened to a spring loaded rod. Hihats are generally are used to ride with and they feature a short chick sound when closed. They can be played with open or closed position and often a combination of the two. Hihats generally do not cut through the music and are used as the primary time keeper. Mostly used hihats are medium pitched 14” with a more solid, richer sound and more cutting 13” with slightly more able to rise above the band on an open hit.

Crash

Crash cymbals are used to punctuate and designed to accent the rhythm.  Crash cymbals are usually very responsive and they stand out in music by hitting across their edges. A popular technique is to choke a crash cymbal after strike creating a burst of sound which is quickly stopped resonating by holding its edge. Dark crashes feature less sustain. Medium and thin crashes feature bright sounds that are used in low volume situations. They are commonly in 16” and 18” sizes. Heavier and larger crashes are louder with a lot of sustain and actually more like hybrids between rides and crash cymbals, that are also called crash rides.

Effect

Effect cymbals are to enhance the music in wide range of sizes and shapes. They are used for interesting accents of short duration and cutting sounds. Splashes are small fast crashes that create a short decay, sharp burst of sound; are to give more color and variation. Bells are used to imitate the sound of a ride cymbal centre bell and used for special effects. They range from 6″to12”.

China

Typical china cymbals with their edges are turned up look like an inverted crash cymbal. They are low pitched and raw sounding sometimes with a trashy definition. China cymbals are often used like a splash cymbal for spread, complex and exotic accents. 18” 20”, 21” and 22” are mostly used. Thicker, heavier pang china is played like a ride; smaller mini china is used for accents and special effects.

About cymbals break-in subject, there always seems to be some drummers that say ‘yes, cymbals do change over time’, and the others saying ‘it’s only your ears’.

German Drummer Jochen Rückert once said, he breaks-in cymbals playing cymbal rolls with mallets for hours again and again.

Likewise some believe, when a cymbal is tempered, soft and hard molecules are formed and need to settle down from all the hammering, and this stabilization results in a lower fundamental pitch and more wash. The main cause of changes in a cymbal’s sound over time is relaxation and redistribution of molecular tension imparted in the manufacturing process. The molecular structure of bronze in a cymbal changes continually over it’s life, more quickly immediately after manufacture, and then slowing down gradually over time.

In my experience, cymbals take on a less ‘metallic’ sound as they are played and the metal ages, creating a more pleasing, musical sound. The patina also plays a role suppressing some of those unwanted high or mid hairy frequencies.

Generally there are minimum three cymbals in a drum set: Ride, crash and hihat. The locations for the cymbals in a set up are a personal choice, but we can refer to some common practices.

Ride cymbal has two possible places: on the right above the second rack tom, or lower down next to the second rack and above the floor tom. Mostly crash cymbal is placed in between hihat and rides high above the drums. Hihat cymbal is located generally on the left above the snare drum by 4” to 8” high from the rim.

Some drummers’ cymbals shine so much that it always looks like they’re brand new. If you have some concern about fingerprints that look pretty bad on a cymbal and it’s like losing battle trying to keep those in “like new” condition, here are some suggestions:

If you want to keep fingerprints down to a minimum, use gloves when setting up your drums and never do actually touch them. Pick up your cymbals by the edges and try not to touch the surface area.

Keep your cymbals covered and store them in cymbal bags or cases. If you have to have your cymbals on stage for long periods of time, use cymbal sleeves or take them down when not in show.

Use special cymbal cleaners to clean fingerprints and always apply the recommended directions.

Just handle them with care, but pay no mind to fingerprints or anything like that and never clean a cymbal. They’re tools, not jewels.

Just press sweaty hands all over the surface of the cymbal to try and get even patina of fingerprinting so that it stands out less. After some time your cymbals will be so patina’d that fingerprints don’t show up.

There are cymbals that are hybrid for crash and ride called crash ride cymbals. But some regular ride cymbals are also crashable. While these rides are mainly used for ride patterns, crashing them would also bring up other sonic experiences.

Generally a heavier dry ride cymbal with thin edges and a smaller bell; a ride cymbal with more of its weight toward the center, with thinner edges will crash better. The size of the bell has a significant effect, as does the profile; generally the flatter ride cymbal the less crashable.

There are cymbals that are hybrid for crash and ride called crash ride cymbals. But some regular ride cymbals are also crashable. While these rides are mainly used for ride patterns, crashing them would also bring up other sonic experiences.

Generally a heavier dry ride cymbal with thin edges and a smaller bell; a ride cymbal with more of its weight toward the center, with thinner edges will crash better. The size of the bell has a significant effect, as does the profile; generally the flatter ride cymbal the less crashable.

There are cymbals that are hybrid for crash and ride called crash ride cymbals. But some regular ride cymbals are also crashable. While these rides are mainly used for ride patterns, crashing them would also bring up other sonic experiences.

Generally a heavier dry ride cymbal with thin edges and a smaller bell; a ride cymbal with more of its weight toward the center, with thinner edges will crash better. The size of the bell has a significant effect, as does the profile; generally the flatter ride cymbal is the less it is crashable.

There are cymbals that are hybrid for crash and ride called crash ride cymbals. But some regular ride cymbals are also crashable. While these rides are mainly used for ride patterns, crashing them would also bring up other sonic experiences.

Generally a heavier dry ride cymbal with thin edges and a smaller bell; a ride cymbal with more of its weight toward the center, with thinner edges will crash better. The size of the bell has a significant effect, as does the profile; generally the flatter ride cymbal is the less it is crashable.

When you situate yourself comfortably behind the kit, place right foot on the bass pedal to guage. Place your left foot on the hi-hat pedal and, when, comfortable, push down on the pedal to where your foot feels good and then tighten the clutch. I suppose it would be anywhere from 1/4″ to 1/2″.

Hi-hat spacing also depends how tight the clutch on your hi-hat cymbal is adjusted. By that, I mean, let the top hat cymbal wobble loosely or keep it fairly tight.  Another good idea is to have the bottom hat slightly tilted so its touching when half way closed.

The bottom line is, as you progress you’ll figure out what works for you and what doesn’t. There is not one fits all scenario here. It really is a matter of personal preference. What works for you may not work another. Play around, not only with your cymbals but your whole drum set, until you get what works for you.

Airlock happens with hi-hat cymbals when they don’t come together and make a clean, loud “chick” sound, but instead more of a muted, “airy” sound. This usually happens when both cymbals are paralell to each other, that’s why every hi-hat stand allows you to tilt the bottom cymbal, to eliminate this.

Some hi-hat cymbal sets have air holes in the bottom cymbal like quickbeats, its lets air escape rather than airlock, so that they don’t have to be tilted.

Some drummers use the benefits of the airlock concept, they can use it to somewhat adjust the volume of the chick. If it’s too loud, you can bring the bottom cymbal closer to flat, and if it’s too quiet, you can make it louder.

In almost every genre sizzle cymbals are used but they find more intense use in jazz. Sizzle cymbals are generally ride cymbals that rivets, chains or other rattles have been added to modify the sound with a sustaining silvery ring. Beside rides china cymbals, less commonly bottom hi-hats, crash and effect cymbals are also used for sizzle.

The effects created by rattles are louder, penetrating sizzling cymbal wash sounds. There is a natural balance how many rivets can be used on a cymbal. Too many or too heavy rattles can cause a negative unnatural effect by losing sustain and dynamic range of the cymbal. Usually evenly spaced minimum three rivets follow a close arc cluster parallel to the cymbal edge.

The rule of thumb is if a cymbal doesn’t sound good without rivets it won’t with rivets either. A thin crash cymbal is not a bad way to go … even a medium. A thinner cymbal would make a better sizzler…more wobble. But very thin wobbly cymbals can also lose stick attack presence with rivets. Sometimes it’s nice to get the focused burst of white noise without the sustain on a thinner sizzle pie, but the rivets can definitely suppress or choke a cymbal.

If you are using it as an effects cymbal instead of a ride, even a heavier cymbal without much visible wobble will still excite the rivets, because what you are getting is a lot of sustain (depending on your rivet choice; i.e., faster decay with split copper rivets vs. regular steel or brass rivets).

The benefit of rivets really depends on more the other sonic attributes of the cymbal than upon any generalized formula. It is more a matter of trial and error, if you prefer doing it yourself.

Ride, crash or hats should be sonically matching in a whole variety of different combinations together and applications in different musical settings. All should share the same general good qualities with each having it’s own unique voice to add to any musical mix depending on the situation and sounds.

All the cymbals in a set up should not necessarily have similar timbres, pitches, colors, etc. Most professional drummers prefer a wider variety cymbal sounds within a set. The cymbals still have to compliment each other but a skilled drummer can still get a cohesive sound out of the set. In the right hands, a set of cymbals with a wider variety of sounds yields many more sounds, timbres and colors.

Sheet cymbals are made of 92% copper and 8% tin B8 alloy; they are more softer, flexible and a little less likely to break when it is abused therefore durable. That’s one of the reasons why beginner cymbals are made from B8. Casting bronze 80% copper and 20% tin B20 alloy cymbals on the other hand, tends to be much more brittle.

But the main difference is their sound; you will get more tonal sound qualities on B20. B8 cymbals have very little done to them, especially by hand because they are pretty much ready to go once they are stamped into shape with a die on an automated machine that gives really poor not so defined sound. Casting bronze B20 cymbals are more labor intensive than simply stamping a sheet, they require big labor working the blank (hammering and lathing) to make the blank into a playable cymbal that supplies a wide spectrum of cymbal sounds.

Brilliant cymbals are machine buffed then hand polished to a smooth, bright and shiny high-gloss look. The buffing process of cymbals that are lathed with tonal rings in their surface smooth the peaks of the grooves.

The buffing removes a very thin layer of metal on cymbal and smooth the high edges of the grooves, rounding them off and thereby reducing the depth of each groove. Because sound vibrations move through the grooves, from the low valleys to the high peaks where they generate the low and high sounds that comprise the tone, buffing and smoothing the groove peaks creates a smoother, glassier, even warmer response and removes some of the high-end odd-harmonic overtones. Brilliant cymbals are in general more focused and the stick definition therefore will be more focused.

Brilliant cymbals are machine buffed then hand polished to a smooth, bright and shiny high-gloss look. The buffing process of cymbals that are lathed with tonal rings in their surface smooth the peaks of the grooves.

The buffing removes a very thin layer of metal on cymbal and smooth the high edges of the grooves, rounding them off and thereby reducing the depth of each groove. Because sound vibrations move through the grooves, from the low valleys to the high peaks where they generate the low and high sounds that comprise the tone, buffing and smoothing the groove peaks creates a smoother, glassier, even warmer response and removes some of the high-end odd-harmonic overtones. Brilliant cymbals are in general more focused and the stick definition therefore will be more focused.

Sheet cymbals are made of 92% copper and 8% tin B8 alloy; they are more softer, flexible and a little less likely to break when it is abused therefore durable. That’s one of the reasons why beginner cymbals are made from B8. Casting bronze 80% copper and 20% tin B20 alloy cymbals on the other hand, tends to be much more brittle.

But the main difference is their sound; you will get more tonal sound qualities on B20. B8 cymbals have very little done to them, especially by hand because they are pretty much ready to go once they are stamped into shape with a die on an automated machine that gives really poor not so defined sound. Casting bronze B20 cymbals are more labor intensive than simply stamping a sheet, they require big labor working the blank (hammering and lathing) to make the blank into a playable cymbal that supplies a wide spectrum of cymbal sounds.

Sheet cymbals are made of 92% copper and 8% tin B8 alloy; they are more softer, flexible and a little less likely to break when it is abused therefore durable. That’s one of the reasons why beginner cymbals are made from B8. Casting bronze 80% copper and 20% tin B20 alloy cymbals on the other hand, tends to be much more brittle.

But the main difference is their sound; you will get more tonal sound qualities on B20. B8 cymbals have very little done to them, especially by hand because they are pretty much ready to go once they are stamped into shape with a die on an automated machine that gives really poor not so defined sound. Casting bronze B20 cymbals are more labor intensive than simply stamping a sheet, they require big labor working the blank (hammering and lathing) to make the blank into a playable cymbal that supplies a wide spectrum of cymbal sounds.

Cymbals good for metal can be discussed with a lot of variables, but there are some things you’ll need to be mindful of. In metal music you have to compete with loud distorted guitars, therefore you need big cymbals. Bigger cymbals equal more volume. Even a 15” crash cymbal or smaller ones don’t cut through the mix and end up sounding like a big splash cymbals.

Many metal drummers prefer bright sounding cymbals that can sit on top of everything sonically. But bright sounding cymbals can feature harsh sounds that can work for you or against you, depends on the situation.

Thickness of the cymbal plays a role as well as thin cymbals can crack easily, because the just don’t take the punishment of the hard hitting involved with metal drumming. Thin cymbals also don’t project very well, especially through all the other loud instruments in metal music. Real thick cymbals (commonly designated as “rock” weight) tend to sound hollow and gongy. Many metal drummers use medium thin cymbals that project well.

Cymbals good for metal can be discussed with a lot of variables, but there are some things you’ll need to be mindful of. In metal music you have to compete with loud distorted guitars, therefore you need big cymbals. Bigger cymbals equal more volume. Even a 15” crash cymbal or smaller ones don’t cut through the mix and end up sounding like a big splash cymbals.

Many metal drummers prefer bright sounding cymbals that can sit on top of everything sonically. But bright sounding cymbals can feature harsh sounds that can work for you or against you, depends on the situation.

Thickness of the cymbal plays a role as well as thin cymbals can crack easily, because the just don’t take the punishment of the hard hitting involved with metal drumming. Thin cymbals also don’t project very well, especially through all the other loud instruments in metal music. Real thick cymbals (commonly designated as “rock” weight) tend to sound hollow and gongy. Many metal drummers use medium thin cymbals that project well.

A high or low sounding washy ride in an acoustic jazz context would create a big difference. Thin rides with a higher pitched stick and with a higher shimmer, but with darkness underneath would be good definition to look for.

A dark ride is more laid back and supporting the music, while a high ride is more dominant and pushes the music. Ride can be with a nice dark cushion that sits below a more audible stick sound. These rides would also feature a nice low pitch with a stick definition or a low wash and little high pitched with a nice audible tick.

There are excellent choices suitable for acoustic jazz within Xilxo Selection Jazz Master Series.

A heavy cymbal is typically louder with slow response, long sustain, more volume and bright. They are usually low pitched with a clear “ping” and tight stick definition.

Heavy cymbals require more time and energy to get them to resonate and crash. It all depends on the playing situation. If you use heavy sticks and the louder/heavier you play the heavier a ride should be, because the sustain and wash never overpowers the stick and ping. A heavy cymbal will cut well at loud volumes but might work well at low volumes also with the stick sound.

If you are playing in large venue gigs, a heavy cymbal can keep your sound from getting lost but it can often overpower the band in a small room.

When I found that even my 16″ crashes are too small and splashy sounding, I started thinking about bigger crashes.

Bigger crashes in general fill out the mix a bit better, give more fullness and project the lower to mid range tones. You need also to figure out if you need a long-sustaining crash as on bigger crashes instead of a short accent small crash.

Use a small crash at the same time unless you want necessarily to choke the bigger crashes.

Every one will have a different opinion about the number of crash cymbals needed in a drum set.  One crash is where most of us start. There is this saying: a true drummer, can make use out of one 17 inch bright crash, and play tons of things.

I play anything from soft rock to extreme death metal. And I find that about four crashes is a good amount so that I never have to hit one twice when I’m doing something like hitting my crash and my snare at the same time for an entire bar, it allows to make small patterns and get some difference out of my simplistic beats.

Back when I was starting out all I needed was a single crash. But I found that when I got my second crash a few years ago I used it a lot. I was using both cymbals almost evenly. Later I did add another two crashes. I am using now 15″ 16″ 17″ and 18″crashes, they all have a lot the tonal differences and I couldn’t even imagine how boring my drumming must have been with a single crash.

Cymbals are mounted on cymbal stands that are either straight or boom type. A movable arm on a boom stand allows a greater flexibility in positioning cymbals. Every cymbal stand feature mounting mechanisms to place cymbals and there are some basic rules for mounting them.

The first rule of the thumb is ensuring they are in good condition before setting up. All worn sleeves, bad felts and oversized washers should be replaced.

Direct metal contact with the cymbal stand should be avoided. A constant metal contact causes key shaped center hole that degrade cymbal sound drastically. Plastic or rubber sleeves on mounting rods designed to eliminate the metal contact therefore they should be always utilized.

Cymbal mounts feature wing nuts, screws, washers and felts to hold the cymbal in place. They are used on the top and underneath of cymbals.  Proper sized felts should be used to prevent the cutting marks of the washers on cymbal bells. Loosely tightening the mounting screws will ensure that cymbals will move freely, absorb the strike force and sound better. Hihat cymbal stands feature a screw underneath the bottom washer to slightly angle the bottom hihat cymbal to avoid air lock.

Cymbals should be mounted at proper height and angles to ensure better sound and natural playing. Please read our article “Playing Cymbals” for more reference.

Rides would be good to use as crashes or vise versa are generally called “Crash Rides” . They can be used as a crash or a ride cymbal.

Many professional drummers don’t use them because they’re very particular about wanting a certain ride sound that you can’t get in a crash… or the other way round.

Some regular rides produce also good crash sounds. The key is to find something inbetween, which can be challenging. Something that you like the sound of as a ride but also like how it sounds when you crash it. You may find a crash that has a ride sound you want or a ride that has a crash sound you want. The best thing to do is to play as many cymbals in person.

The fun in playing different cymbals is trying to use different cymbals in unexpected songs or styles. One may get a lot of enjoyment out of playing known songs with new cymbals.

The new set can be tried to use for inspiration. When having hard time learning something and getting frustrated try to clear the mind by changing out equipment. Not that it makes any difference because the different equipment certainly doesn’t make drumming any better but it is a decision to switch to depending on need or mood.

Flat base cymbal stands are on a hard surface, they can help bring out low tones, but on carpet, the stands wobble so much that I think a lot of the vibrations dissipate into the stand and the floor rather than through the cymbal. What makes flat base stands on hard surfaces sound good is the amount of wobble they offer, not the fact that they absorb less sound, but that they allow the cymbal to move more freely.

A lightweight flat base stand would vibrate with the cymbal as oppose to absorbing the energy. A very small point of contact between the stand and the bell seems to allow more freedom of vibration, and then it might be the mount of lateral movement lightweight stands allows that let them swing in a less inhibited manner.

Flat base cymbal stands are on a hard surface, they can help bring out low tones, but on carpet, the stands wobble so much that I think a lot of the vibrations dissipate into the stand and the floor rather than through the cymbal. What makes flat base stands on hard surfaces sound good is the amount of wobble they offer, not the fact that they absorb less sound, but that they allow the cymbal to move more freely.

A lightweight flat base stand would vibrate with the cymbal as oppose to absorbing the energy. A very small point of contact between the stand and the bell seems to allow more freedom of vibration, and then it might be the mount of lateral movement lightweight stands allows that let them swing in a less inhibited manner.

Flat base cymbal stands are on a hard surface, they can help bring out low tones, but on carpet, the stands wobble so much that I think a lot of the vibrations dissipate into the stand and the floor rather than through the cymbal. What makes flat base stands on hard surfaces sound good is the amount of wobble they offer, not the fact that they absorb less sound, but that they allow the cymbal to move more freely.

A lightweight flat base stand would vibrate with the cymbal as oppose to absorbing the energy. A very small point of contact between the stand and the bell seems to allow more freedom of vibration, and then it might be the mount of lateral movement lightweight stands allows that let them swing in a less inhibited manner.

Cymbals are not even in thickness all the way round, there are some parts thicker or more dense than others. Unevenness of cymbals that give them their complex voices and many choices of colors when you strike different parts of them.

When they are tilted, it will always roll to the heaviest side that is also called natural balancing of the cymbal. If you have favorite sweet spot on your cymbal on thin part it will stay always on the far side. When you crash a ride alot though, it will always find it’s way back to where it naturally wants to sit on the stand. Another cause for rolling to the heaviest side on the stand might be slightly off drilled center holes.

Although the solution playing on sweet spot would be flatten the cymbal angle out so that gravity wont have as much effect, many drummers play cymbals letting them move freely.

A drum rack can improve your set up by allowing you to expand in directions while adding stability. Drum rack can be customized by adding an assortment of parts such as clamps, bars, cymbal arms, legs, a snare holder stand, and so on.

There are basic drum racks built with one side and two legs. A three-sided drum rack is designed to hold more toms than a standard five piece kit. You could also include boom arms for cymbals or percussion items such as a tambourine, wind chime, cow bell, etc.

A drum rack specially made for percussionists can really enhance their ability to quickly switch between instruments during a song. Additional cymbal arms on a multi sided rack will expand playing cymbals functions and the use of a cymbal set up.

A drum rack can improve your set up by allowing you to expand in directions while adding stability. Drum rack can be customized by adding an assortment of parts such as clamps, bars, cymbal arms, legs, a snare holder stand, and so on.

There are basic drum racks built with one side and two legs. A three-sided drum rack is designed to hold more toms than a standard five piece kit. You could also include boom arms for cymbals or percussion items such as a tambourine, wind chime, cow bell, etc.

A drum rack specially made for percussionists can really enhance their ability to quickly switch between instruments during a song. Additional cymbal arms on a multi sided rack will expand playing cymbals functions and the use of a cymbal set up.

Once you’ve got past the rudiments and stick control you can start developing ride cymbal - bass drum, snare drum tom tom- drum set technique. In general it is developed with the ear. Your hearing allows you to match the other instruments. It’s so important to position yourself on stage where you can hear exactly what everyone is doing- so you can respond and blend. The better you can hear everyone, the better you will react, play and the better your instruments will sound. Then you can play and do anything you like.

As far as a jazz ride pattern is concerned, the more ways you can play it, the more control you will have. A big part of ride cymbal technique comes down to overall technique in general, i.e. how you hold and move the stick. You may work a while on making all four quarter notes come out equally, creating a quarter note pulses. The skip beat was softer and placed fairly late creating a tight swing. Then you may work on giving a slight accent to two and four, making the cymbal have a backbeat without the hi-hat. Then accent the skip beat and think about what arm motion makes the thing swing, then practice lots of polyrhythmic material underneath the cymbal. That makes the cymbal pattern strong and relaxed. Then join a blues band and play shuffles for a couple of years, because ultimately this is the origin of the swing feel (not including the more distant origin of African 6/8). It’s the totality of your rhythmic feel that creates your swing.

Once you’ve got past the rudiments and stick control you can start developing ride cymbal - bass drum, snare drum tom tom- drum set technique. In general it is developed with the ear. Your hearing allows you to match the other instruments. It’s so important to position yourself on stage where you can hear exactly what everyone is doing- so you can respond and blend. The better you can hear everyone, the better you will react, play and the better your instruments will sound. Then you can play and do anything you like.

As far as a jazz ride pattern is concerned, the more ways you can play it, the more control you will have. A big part of ride cymbal technique comes down to overall technique in general, i.e. how you hold and move the stick. You may work a while on making all four quarter notes come out equally, creating a quarter note pulses. The skip beat was softer and placed fairly late creating a tight swing. Then you may work on giving a slight accent to two and four, making the cymbal have a backbeat without the hi-hat. Then accent the skip beat and think about what arm motion makes the thing swing, then practice lots of polyrhythmic material underneath the cymbal. That makes the cymbal pattern strong and relaxed. Then join a blues band and play shuffles for a couple of years, because ultimately this is the origin of the swing feel (not including the more distant origin of African 6/8). It’s the totality of your rhythmic feel that creates your swing.

If you don’t want to just play one ride cymbal look for a second ride that you can put on your left. Usually go with one that is less dominating in sound that use the left side ride at the beginning of solos for a couple choruses, then move over to the right-side ride as the soloist you are supporting builds momentum. You can use the left side ride for lighter soloists, such as acoustic piano.

Start by figuring out what you are going to be playing and then pick your main ride. Then from there go back to what I’m most likely going to be playing and then might choose either a complimentary cymbal or something completely different. It is about balance. For example if the main ride you are using doesn’t have a great bell you might chose a left side ride that does or your left side ride might need to be a crash/ride if the main ride doesn’t crash well or might be too deep a crash to add the accent that you want. If your main ride is dark, try to choose a left side ride that is brighter to provide a nice compliment and contrast to the main ride.
Some drummers prefer smaller cymbals on the left, so that they don’t intrude too much over the rack tom or hihat. 19 or 20 inch would be the usual choice. But left side rides can be large cymbals like a 22 inch.

Many people choose to use flat rides as their secondary ride. When flat rides are used for quieter playing they can be kept on far right that can be moved over to the left side position sometimes for a quieter band.

While main ride would be in general to be pingy and cutting, also nice and loud to be used for choruses or busier sections, basically where stick definition and clarity is needed left side ride can be crashable and pretty washy with more of a woodier sound to be used for solo sections, quieter sections, crashes, and brush work.

It depends on your tastes, and on the music you’re playing. Left side ride needs to balance out the right ride. It is very important to have well matched rides. It also depends on what your main ride is - some pairs of cymbals seem to work great in combinations, while others don’t play as nicely with each other. Try to assemble them in a sonic family where each ride compliments the other.

If you don’t want to just play one ride cymbal look for a second ride that you can put on your left. Usually go with one that is less dominating in sound that use the left side ride at the beginning of solos for a couple choruses, then move over to the right-side ride as the soloist you are supporting builds momentum. You can use the left side ride for lighter soloists, such as acoustic piano.

Start by figuring out what you are going to be playing and then pick your main ride. Then from there go back to what I’m most likely going to be playing and then might choose either a complimentary cymbal or something completely different. It is about balance. For example if the main ride you are using doesn’t have a great bell you might chose a left side ride that does or your left side ride might need to be a crash/ride if the main ride doesn’t crash well or might be too deep a crash to add the accent that you want. If your main ride is dark, try to choose a left side ride that is brighter to provide a nice compliment and contrast to the main ride.
Some drummers prefer smaller cymbals on the left, so that they don’t intrude too much over the rack tom or hihat. 19 or 20 inch would be the usual choice. But left side rides can be large cymbals like a 22 inch.

Many people choose to use flat rides as their secondary ride. When flat rides are used for quieter playing they can be kept on far right that can be moved over to the left side position sometimes for a quieter band.

While main ride would be in general to be pingy and cutting, also nice and loud to be used for choruses or busier sections, basically where stick definition and clarity is needed left side ride can be crashable and pretty washy with more of a woodier sound to be used for solo sections, quieter sections, crashes, and brush work.

It depends on your tastes, and on the music you’re playing. Left side ride needs to balance out the right ride. It is very important to have well matched rides. It also depends on what your main ride is - some pairs of cymbals seem to work great in combinations, while others don’t play as nicely with each other. Try to assemble them in a sonic family where each ride compliments the other.

Cymbal Mutes are basically pads for cymbal volume reduction.

Many volume reduction pads for cymbals are attached to the wing nut of the cymbal stand and actually flop around on top of cymbal, impeding your ability to play properly. These types of mutes have a number of functional and technical problems. First, they flap around on cymbals, only partially muffling the sound. This is not helpful if your practice situation requires silence. The unpredictable nature of this movement creates technical concerns, because the flapping rubber alters the natural cymbal reflex motion and interferes with feel during practice.

The best cymbal mutes attach, adhere, and connect directly to cymbals, allowing them to flow with the rhythm of your playing. This connectivity is a huge technical advantage because it eliminates unwanted variables such as flapping, obstructed mute position, noise issues and secondary impact problems. They offer players a great feeling cymbal mute that moves and grooves with the natural movement and flow of the cymbal.

Cymbal Mutes are basically pads for cymbal volume reduction.

Many volume reduction pads for cymbals are attached to the wing nut of the cymbal stand and actually flop around on top of cymbal, impeding your ability to play properly. These types of mutes have a number of functional and technical problems. First, they flap around on cymbals, only partially muffling the sound. This is not helpful if your practice situation requires silence. The unpredictable nature of this movement creates technical concerns, because the flapping rubber alters the natural cymbal reflex motion and interferes with feel during practice.

The best cymbal mutes attach, adhere, and connect directly to cymbals, allowing them to flow with the rhythm of your playing. This connectivity is a huge technical advantage because it eliminates unwanted variables such as flapping, obstructed mute position, noise issues and secondary impact problems. They offer players a great feeling cymbal mute that moves and grooves with the natural movement and flow of the cymbal.

Hihats do not function like single cymbals while their sustain is either entirely choked, closed with foot, or hit closed with a stick, or partially choked, half-open. The sonic properties of the individual cymbals that make hihats don’t matter so much.

Hihats sound the about same within a few categories from thin-light-washy to loud-clang-overbearing and most hihats fall somewhere in between these categories. Some might be a bit brighter or darker. The hihat weights can be also a guide for the volume required:

LOUD
very heavy bottom + medium or thin top
medium-heavy bottom + medium top

SOFT
medium-heavy bottom + thin top
medium bottom + medium or thin top

Hihats do not function like single cymbals while their sustain is either entirely choked, closed with foot, or hit closed with a stick, or partially choked, half-open. The sonic properties of the individual cymbals that make hihats don’t matter so much.

Hihats sound the about same within a few categories from thin-light-washy to loud-clang-overbearing and most hihats fall somewhere in between these categories. Some might be a bit brighter or darker. The hihat weights can be also a guide for the volume required:

LOUD
very heavy bottom + medium or thin top
medium-heavy bottom + medium top

SOFT
medium-heavy bottom + thin top
medium bottom + medium or thin top

If you love to experiment, mix and match your cymbals, you might end up with many cymbals. Cymbals, especially handmade ones, each present a different sound than the others.

Some cymbals drastically are different and while others might be very subtle. If you like variety, you might find it inspiring to hang a different cymbal and try to sound test which sounds better for any particular piece of music. Multiple sets of cymbals can be used in different musical settings, such as a rock set, a jazz set, etc. There are also no rules about using jazz cymbals in a rock setting, and vice-versa.

It is also up to the drummers feel, time, groove, phrasing, tone what matters here. A drummer’s touch is very important in producing the sound as it’s unlimitedly delivered to the listener that essentially minimizes the importance of the cymbal itself as it contributes to the ultimate sound.

When cymbals are concerned and the number of cymbals you might use, the sky is the limit.

If you love to experiment, mix and match your cymbals, you might end up with many cymbals. Cymbals, especially handmade ones, each present a different sound than the others.

Some cymbals drastically are different and while others might be very subtle. If you like variety, you might find it inspiring to hang a different cymbal and try to sound test which sounds better for any particular piece of music. Multiple sets of cymbals can be used in different musical settings, such as a rock set, a jazz set, etc. There are also no rules about using jazz cymbals in a rock setting, and vice-versa.

It is also up to the drummers feel, time, groove, phrasing, tone what matters here. A drummer’s touch is very important in producing the sound as it’s unlimitedly delivered to the listener that essentially minimizes the importance of the cymbal itself as it contributes to the ultimate sound.

When cymbals are concerned and the number of cymbals you might use, there is the sky is the limit.

A heavy cymbal is typically louder with slow response, long sustain, more volume and bright. They are usually low pitched with a clear “ping” and tight stick definition.

Heavy cymbals require more time and energy to get them to resonate and crash. It all depends on the playing situation. If you use heavy sticks and the louder/heavier you play the heavier a ride should be, because the sustain and wash never overpowers the stick and ping. A heavy cymbal will cut well at loud volumes but might work well at low volumes also with the stick sound.

If you are playing in large venue gigs, a heavy cymbal can keep your sound from getting lost but it can often overpower the band in a small room.

A heavy cymbal is typically louder with slow response, long sustain, more volume and bright. They are usually low pitched with a clear “ping” and tight stick definition.

Heavy cymbals require more time and energy to get them to resonate and crash. It all depends on the playing situation. If you use heavy sticks and the louder/heavier you play the heavier a ride should be, because the sustain and wash never overpowers the stick and ping. A heavy cymbal will cut well at loud volumes but might work well at low volumes also with the stick sound.

If you are playing in large venue gigs, a heavy cymbal can keep your sound from getting lost but it can often overpower the band in a small room.

You can use more than one probably two ride cymbals in your set up depending what sound palate you are after and what’s needed for each musical situation.

Usually ride cymbals in a set up will each have a contrasting character going on for different musical applications, especially they find a very practical place when playing jazz. In choosing a second ride contrast will be the key, something that is going to produce a different sound but still fits in with your existing palate.

The splash cymbal is typically placed on the right-hand side of a drum set (for a right-handed drummer). Splash cymbals may be mounted just above the tom for quick playing access.

There are several methods to mount a splash cymbal that is determined by the comfort of playing, and hardware.

Standard mounting: splash cymbals are mounted just like the other cymbals in a drum set on a strait cymbal stand or boom stand. Mounting splash cymbals directly on a tom drum is not recommended.

L arm: they are attached on normal cymbal stand with an extension arm that are L shaped. Splash cymbals can be mounted the bell side up or down.

Multi clamp: they provide a mounting system with clamps and joints to place a splash cymbal in several locations within a drum set.

Piggybacking: splash cymbal is mounted upside down on top of an already stand mounted cymbal that requires less mounting space, allows a more compact drum kit and to move between the top and bottom cymbals in a single motion. Additional felt between the bells of the two cymbals is recommended.

Stackers: they are used for multiple cymbals, best used for splashes and small crashes. Big cymbal is placed on the bottom of the cymbal stand and the stacker that will mount the second cymbal screws on where wing nut would normally placed. Stackers can be used on straight or boom cymbal stands.

The splash cymbal is typically placed on the right-hand side of a drum set (for a right-handed drummer). Splash cymbals may be mounted just above the tom for quick playing access.

There are several methods to mount a splash cymbal that is determined by the comfort of playing, and hardware.

Standard mounting: splash cymbals are mounted just like the other cymbals in a drum set on a strait cymbal stand or boom stand. Mounting splash cymbals directly on a tom drum is not recommended.

L arm: they are attached on normal cymbal stand with an extension arm that are L shaped. Splash cymbals can be mounted the bell side up or down.

Multi clamp: they provide a mounting system with clamps and joints to place a splash cymbal in several locations within a drum set.

Piggybacking: splash cymbal is mounted upside down on top of an already stand mounted cymbal that requires less mounting space, allows a more compact drum kit and to move between the top and bottom cymbals in a single motion. Additional felt between the bells of the two cymbals is recommended.

Stackers: they are used for multiple cymbals, best used for splashes and small crashes. Big cymbal is placed on the bottom of the cymbal stand and the stacker that will mount the second cymbal screws on where wing nut would normally placed. Stackers can be used on straight or boom cymbal stands.

As far as multi-track recording technique goes, place two overhead microphones about a foot and a half or two feet above the drums. You may move them up or down to get different sounds, but try not to put them too close to your cymbals so they don’t pick up too much of the cymbals without picking up the rest of the kit well.

When editing your recording, take a raw beat that you’ve recorded and slice it apart - into separate sixteenth - note segments, for instance. If you need to speed up or slow down the song, the slices can be spaced closer together or further apart, thus preserving the sound while changing the tempo.

Once a beat has been sliced, you can perform various tricks with it. By changing the start times of certain slices, you can add a shuffle feel or advance the snare slightly for a more aggressive backbeat. As long as the snare or kick isn’t mixed in with a cymbal or some other sound, you can replace the slices with different samples, thus preserving the beat that you played while swapping in a different snare drum.

After inserting a beat, which may be only one or two bars long, into a track, you’ll be able to extend it so that it repeats for a whole verse or the entire length of the song. You do this by grabbing the right end of the loop with the mouse and dragging it. If you want to leave a hole for a break or fill, grab the scissors or eraser tool and get rid of one of the repetitions. Building up a sound recording arrangement this way can be quick, painless, and fun.

As far as multi-track recording technique goes, place two overhead microphones about a foot and a half or two feet above the drums. You may move them up or down to get different sounds, but try not to put them too close to your cymbals so they don’t pick up too much of the cymbals without picking up the rest of the kit well.

When editing your recording, take a raw beat that you’ve recorded and slice it apart — into separate sixteenth-note segments, for instance. If you need to speed up or slow down the song, the slices can be spaced closer together or further apart, thus preserving the sound while changing the tempo.

Once a beat has been sliced, you can perform various tricks with it. By changing the start times of certain slices, you can add a shuffle feel or advance the snare slightly for a more aggressive backbeat. As long as the snare or kick isn’t mixed in with a cymbal or some other sound, you can replace the slices with different samples, thus preserving the beat that you played while swapping in a different snare drum.

After inserting a beat, which may be only one or two bars long, into a track, you’ll be able to extend it so that it repeats for a whole verse or the entire length of the song. You do this by grabbing the right end of the loop with the mouse and dragging it. If you want to leave a hole for a break or fill, grab the scissors or eraser tool and get rid of one of the repetitions. Building up a sound recording arrangement this way can be quick, painless, and fun.

As far as multi-track recording technique goes, place two overhead microphones about a foot and a half or two feet above the drums. You may move them up or down to get different sounds, but try not to put them too close to your cymbals so they don’t pick up too much of the cymbals without picking up the rest of the kit well.

When editing your recording, take a raw beat that you’ve recorded and slice it apart — into separate sixteenth-note segments, for instance. If you need to speed up or slow down the song, the slices can be spaced closer together or further apart, thus preserving the sound while changing the tempo.

Once a beat has been sliced, you can perform various tricks with it. By changing the start times of certain slices, you can add a shuffle feel or advance the snare slightly for a more aggressive backbeat. As long as the snare or kick isn’t mixed in with a cymbal or some other sound, you can replace the slices with different samples, thus preserving the beat that you played while swapping in a different snare drum.

After inserting a beat, which may be only one or two bars long, into a track, you’ll be able to extend it so that it repeats for a whole verse or the entire length of the song. You do this by grabbing the right end of the loop with the mouse and dragging it. If you want to leave a hole for a break or fill, grab the scissors or eraser tool and get rid of one of the repetitions. Building up a sound recording arrangement this way can be quick, painless, and fun.

Did you ever wonder the value of your cymbals that you are own? It is a judgment to assess a cymbals value depending conditions. Cymbals lose some value when they are not brand new. There are several conditions that would define the value and help appraising cymbals:

Brand New- Being sold by manufacturers or their dealers, entirely new. This grading would mark for 100% of the original value.

Mint - It is in perfect, and will almost certainly be unused condition; there are no scratches, dents or other visible damage, and - to all intents and purposes. It has been kept in a special, stored condition, as to avoid excessive temperatures, excessive sunlight or damp, and will have been preserved in some form, by protective coverings, or a container of some sort. This grading would mark for 70-90% of the original value.

Near Mint or Very Near Mint - Perhaps it has been played once, but is still in perfect condition. This grading would mark for 60-80% of the original value.

Excellent Condition - It may have been owned or used, but everything including the packaging is still in perfect condition. However, it is not “new”. This grading would mark for 50-70% of the original value.

Very Good, Like New - It has been used or owned for a good period of time, kept in nice condition. But there may be minor issues, e.g. it’s been played more than once, albeit with no defects to it. This grading would mark for 30-60% of the original value.

Reasonable or Acceptable Condition – Heavy usage, probably some damage, such as a tear, quite severe scratches or dents. This grading would mark for 20-40% of the original value.

Used / Damaged - It is not going to be worth much to anyone, except for pure playing or reading ownership. This grading would mark for 10-30% of the original value.

Scrap or Other - It is almost worthless, and will barely be fit-for-purpose. This grading would mark for 0-20% of the original value.

Did you ever wonder the value of your cymbals that you are own? It is a judgment to assess a cymbals value depending conditions. Cymbals lose some value when they are not brand new. There are several conditions that would define the value and help appraising cymbals:

Brand New- Being sold by manufacturers or their dealers, entirely new. This grading would mark for 100% of the original value.

Mint - It is in perfect, and will almost certainly be unused condition; there are no scratches, dents or other visible damage, and - to all intents and purposes. It has been kept in a special, stored condition, as to avoid excessive temperatures, excessive sunlight or damp, and will have been preserved in some form, by protective coverings, or a container of some sort. This grading would mark for 70-90% of the original value.

Near Mint or Very Near Mint - Perhaps it has been played once, but is still in perfect condition. This grading would mark for 60-80% of the original value.

Excellent Condition - It may have been owned or used, but everything including the packaging is still in perfect condition. However, it is not “new”. This grading would mark for 50-70% of the original value.

Very Good, Like New - It has been used or owned for a good period of time, kept in nice condition. But there may be minor issues, e.g. it’s been played more than once, albeit with no defects to it. This grading would mark for 30-60% of the original value.

Reasonable or Acceptable Condition – Heavy usage, probably some damage, such as a tear, quite severe scratches or dents. This grading would mark for 20-40% of the original value.

Used / Damaged - It is not going to be worth much to anyone, except for pure playing or reading ownership. This grading would mark for 10-30% of the original value.

Scrap or Other - It is almost worthless, and will barely be fit-for-purpose. This grading would mark for 0-20% of the original value.

Did you ever wonder the value of your cymbals that you are own? It is a judgment to assess a cymbal’s value depending conditions. Cymbals lose some value when they are not brand new. There are several conditions that would define the value and help appraising cymbals:

Brand New- Being sold by manufacturers or their dealers, entirely new. This grading would mark for 100% of the original value.

Mint - It is in perfect, and will almost certainly be unused condition; there are no scratches, dents or other visible damage, and - to all intents and purposes. It has been kept in a special, stored condition, as to avoid excessive temperatures, excessive sunlight or damp, and will have been preserved in some form, by protective coverings, or a container of some sort. This grading would mark for 70-90% of the original value.

Near Mint or Very Near Mint - Perhaps it has been played once, but is still in perfect condition. This grading would mark for 60-80% of the original value.

Excellent Condition - It may have been owned or used, but everything including the packaging is still in perfect condition. However, it is not “new”. This grading would mark for 50-70% of the original value.

Very Good, Like New - It has been used or owned for a good period of time, kept in nice condition. But there may be minor issues, e.g. it’s been played more than once, albeit with no defects to it. This grading would mark for 30-60% of the original value.

Reasonable or Acceptable Condition – Heavy usage, probably some damage, such as a tear, quite severe scratches or dents. This grading would mark for 20-40% of the original value.

Used / Damaged - It is not going to be worth much to anyone, except for pure playing or reading ownership. This grading would mark for 10-30% of the original value.

Scrap or Other - It is almost worthless, and will barely be fit-for-purpose. This grading would mark for 0-20% of the original value.

Did you ever wonder the value of your cymbals that you are own? It is a judgment to assess a cymbals value depending conditions. Cymbals lose some value when they are not in brand new condition. There are several conditions that would define the value and help appraising cymbals:

Brand New- Being sold by manufacturers or their dealers, entirely new. This grading would mark for 100% of the original value.

Mint - It is in perfect, and will almost certainly be unused condition; there are no scratches, dents or other visible damage, and - to all intents and purposes. It has been kept in a special, stored condition, as to avoid excessive temperatures, excessive sunlight or damp, and will have been preserved in some form, by protective coverings, or a container of some sort. This grading would mark for 70-90% of the original value.

Near Mint or Very Near Mint - Perhaps it has been played once, but is still in perfect condition. This grading would mark for 60-80% of the original value.

Excellent Condition - It may have been owned or used, but everything including the packaging is still in perfect condition. However, it is not “new”. This grading would mark for 50-70% of the original value.

Very Good, Like New - It has been used or owned for a good period of time, kept in nice condition. But there may be minor issues, e.g. it’s been played more than once, albeit with no defects to it. This grading would mark for 30-60% of the original value.

Reasonable or Acceptable Condition – Heavy usage, probably some damage, such as a tear, quite severe scratches or dents. This grading would mark for 20-40% of the original value.

Used / Damaged - It is not going to be worth much to anyone, except for pure playing or reading ownership. This grading would mark for 10-30% of the original value.

Scrap or Other - It is almost worthless, and will barely be fit-for-purpose. This grading would mark for 0-20% of the original value.

Did you ever wonder the value of your cymbals that you are own? It is a judgment to assess a cymbals value depending conditions. Cymbals lose some value when they are not in brand new condition. There are several conditions that would define the value and help appraising cymbals:

Brand New- Being sold by manufacturers or their dealers, entirely new. This grading would mark for 100% of the original value.

Mint - It is in perfect, and will almost certainly be unused condition; there are no scratches, dents or other visible damage, and - to all intents and purposes. It has been kept in a special, stored condition, as to avoid excessive temperatures, excessive sunlight or damp, and will have been preserved in some form, by protective coverings, or a container of some sort. This grading would mark for 70-90% of the original value.

Near Mint or Very Near Mint - Perhaps it has been played once, but is still in perfect condition. This grading would mark for 60-80% of the original value.

Excellent Condition - It may have been owned or used, but everything including the packaging is still in perfect condition. However, it is not “new”. This grading would mark for 50-70% of the original value.

Very Good, Like New - It has been used or owned for a good period of time, kept in nice condition. But there may be minor issues, e.g. it’s been played more than once, albeit with no defects to it. This grading would mark for 30-60% of the original value.

Reasonable or Acceptable Condition – Heavy usage, probably some damage, such as a tear, quite severe scratches or dents. This grading would mark for 20-40% of the original value.

Used / Damaged - It is not going to be worth much to anyone, except for pure playing or reading ownership. This grading would mark for 10-30% of the original value.

Scrap or Other - It is almost worthless, and will barely be fit-for-purpose. This grading would mark for 0-20% of the original value.

Some drummers’ cymbals shine so much that it always looks like they’re brand new. If you have some concern about fingerprints that look pretty bad on a cymbal and it’s like losing battle trying to keep those in “like new” condition, here are some suggestions:

If you want to keep fingerprints down to a minimum, use gloves when setting up your drums and never do actually touch them. Pick up your cymbals by the edges and try not to touch the surface area.

Keep your cymbals covered and store them in cymbal bags or cases. If you have to have your cymbals on stage for long periods of time, use cymbal sleeves or take them down when not in show.

Use special cymbal cleaners to clean fingerprints and always apply the recommended directions.

Just handle them with care, but pay no mind to fingerprints or anything like that and never clean a cymbal. They’re tools, not jewels.

Just press sweaty hands all over the surface of the cymbal to try and get even patina of fingerprinting so that it stands out less. After some time your cymbals will be so patina’d that fingerprints don’t show up.

Some drummers’ cymbals shine so much that it always looks like they’re brand new. If you have some concern about fingerprints that look pretty bad on a cymbal and it’s like losing battle trying to keep those in “like new” condition, here are some suggestions:

If you want to keep fingerprints down to a minimum, use gloves when setting up your drums and never do actually touch them. Pick up your cymbals by the edges and try not to touch the surface area.

Keep your cymbals covered and store them in cymbal bags or cases. If you have to have your cymbals on stage for long periods of time, use cymbal sleeves or take them down when not in show.

Use special cymbal cleaners to clean fingerprints and always apply the recommended directions.

Just handle them with care, but pay no mind to fingerprints or anything like that and never clean a cymbal. They’re tools, not jewels.

Just press sweaty hands all over the surface of the cymbal to try and get even patina of fingerprinting so that it stands out less. After some time your cymbals will be so patina’d that fingerprints don’t show up.

Ping rides are always wonderful for rock as they have that clearly defined stick sound (the “ping”) that can cut through. The so called “Rock” & “Heavy” rides are pretty similar in that regard.

The only thing about these somewhat thicker cymbals is they don’t open up quite as nicely when they are crashed. If you never crash your ping ride, or you like the way your current ping ride sounds when you crash then that’s this will be the ride for you.

Otherwise you might consider moving a step down in thickness to a medium ride. These tend to crash better when you lay into them although you will also lose some of that “ping” quality as a trade off.

Have you ever wondered what type of ride would most likely gives that nice ping? Is it more thin, or flat, or medium rides that tend to do this?

A ping,” is “sticking.” Of which the opposite is “wash.” A ride with more sticking than wash is a thinner to medium ride as they tend to resonate for a shorter time then the heavier rides. Rock rides work well for ping, but you cannot crash them, because with the ping also comes thickness.

Strike obliquely to the edge of cymbals is the right way of playing. The edge of the cymbal is the most thin and delicate part. Avoid hitting direct to the cymbal or push the drum stick into cymbal. This way you will produce better sounds and also eliminate breakage.

When playing cymbals the right angle and direction is very important. Cymbals should be positioned moderately flat and angled only slightly, so that drum stick can slice across the cymbal in a sweeping motion.

Play cymbals with adequate force with a glancing blow only. Smaller or thinner cymbals are not designed to play harder. Harder playing a cymbal will not produce more sound; it will only cause to break earlier. If you are in a situation of playing hard, try to find the right cymbal and also tune your drums.

Xilxo Enigma of Fire series is unlathed and not light. But it actually had quite a bit of wash and roar going on. Very cutting stick sound; the crash is gongy, but not a bad gongy…just kinda exotic and a bit long in the decay dept. You could change ride’s sound quite a bit depending on whether you played near bell or near edge. In conclusion, it is very bright, fairly brash sounding, pretty loud, but relatively complex in its overtones. Not the most controllable ride; a little on the wild side… More of an rock and electric music Enigma of Fire ride could probably cut through about anything and would definitely be more interesting sounding in the overtone dept. Typical rock, heavy, or ping ride…

Being a jazz drummer I came across many questions about what kind of cymbals are best used for jazz. This was not just a question for beginners. Considering almost endless availabilities of cymbals today, even advanced drummers get confused for finding the right cymbal for their music.

A cymbal can be used for all genres depending how it is played. But there are some basic guidelines in relation to what type of cymbal would be the best used for specific genres.

In jazz the music is an open conversation, and thinner rides provide for more nuances that a drummer can call upon when the conversation requires. Thinner and darker cymbals will blend with acoustic jazz and when fusion or funk jazz involved heavier and brighter cymbals like Xilxo Echoes and Circa 1600 are favored for complex sounds. In general dryer sounding cymbals like Xilxo Selection Jazz Master series that have a bit of hiss are preferred.

The ride cymbal is one of the most important in jazz drumming and considered fundamental in a jazz drum set. The edge of the ride produces more wash and closer to bell equals more definition. While blending the dark rides with other instruments that provides a cushion, sticking bells can be used to cut through. In small room conditions flat rides will not overpower the rest of the band.  Hi hat and ride cymbals are best to keep time to music. Crash and splash cymbals are less used in jazz other than for cutting effects.

Xilxo Enigma of Fire series is unlathed and not light. But it actually had quite a bit of wash and roar going on. Very cutting stick sound; the crash is gongy, but not a bad gongy…just kinda exotic and a bit long in the decay dept. You could change ride’s sound quite a bit depending on whether you played near bell or near edge. In conclusion, it is very bright, fairly brash sounding, pretty loud, but relatively complex in its overtones. Not the most controllable ride; a little on the wild side… More of an rock and electric music Enigma of Fire ride could probably cut through about anything and would definitely be more interesting sounding in the overtone dept. Typical rock, heavy, or ping ride…

Xilxo Enigma of Fire series is unlathed and not light. But it actually had quite a bit of wash and roar going on. Very cutting stick sound; the crash is gongy, but not a bad gongy…just kinda exotic and a bit long in the decay dept. You could change ride’s sound quite a bit depending on whether you played near bell or near edge. In conclusion, it is very bright, fairly brash sounding, pretty loud, but relatively complex in its overtones. Not the most controllable ride; a little on the wild side… More of an rock and electric music Enigma of Fire ride could probably cut through about anything and would definitely be more interesting sounding in the overtone dept. Typical rock, heavy, or ping ride…

Xilxo Enigma of Fire series is unlathed and not light. But it actually had quite a bit of wash and roar going on. Very cutting stick sound; the crash is gongy, but not a bad gongy…just kinda exotic and a bit long in the decay dept. You could change ride’s sound quite a bit depending on whether you played near bell or near edge. In conclusion, it is very bright, fairly brash sounding, pretty loud, but relatively complex in its overtones. Not the most controllable ride; a little on the wild side… More of an rock and electric music Enigma of Fire ride could probably cut through about anything and would definitely be more interesting sounding in the overtone dept. Typical rock, heavy, or ping ride…

If you are starting jazz drumming and seeking what cymbals to play, the brand and series will be less important than weight. Starting off with a very thin ride can be hard to control and require some touch to keep from washing out. A ride cymbal on the med-light to medium side of things would be a good starting off point.

After all the evolution of how to play is the matter. Get your technique to a point where you are happy and confident with it and allow your jazz style to mature you will have a clearer idea of what cymbal sound you want.

If you are starting jazz drumming and seeking what cymbals to play, the brand and series will be less important than weight. Starting off with a very thin ride can be hard to control and require some touch to keep from washing out. A ride cymbal on the med-light to medium side of things would be a good starting off point.

After all the evolution of how to play is the matter. Get your technique to a point where you are happy and confident with it and allow your jazz style to mature you will have a clearer idea of what cymbal sound you want.

Although some drummers prefer to keep their cymbals un-cleaned and believe their sound improve by the built-up, cleaning cymbals will keep them looking and sounding better, and will extend their life.

Playing and handling cymbals with clean hands are essential. Dirty and sweaty hands will leave stain on cymbals. Cymbals are held by their edges to minimize surface touch.

After every practice or performance cymbals should be cleaned with only warm water and soap, wiped with soft cloth to prevent heavy dirt built-up. Chrome or brass cleaners should be avoided not to damage the integrity of cymbals. If used, only mild and non-abrasive special cleaners should be applied on cymbals. Mechanical buffing methods that remove metal from cymbals are not recommended.

Typically sound wise, cymbals get a more mellow sound with aging and patina build up. Mostly they lose some of the sharpness and “attack”. They may also lose some of the darkness as well (lower overtones). Cleaning will definitely change the sound and whether a good thing or not.

From the point of view of strength, copper alloys like brass and bronze work harden so that means that as they are deformed they will harden. With harness comes brittleness. In theory, each time a drummer hits the cymbal they get a very slight deformation and so over time the cymbal should get harder and more brittle. It’s not from age; it’s from the actual work hardening that takes place over a lifetime of playing.

The big thing to watch out for is major deformation to the cymbal such as dents and dings, key holing, home drilled rivet holes, etc. This will change the sound of an old cymbal way more than patina or general aging.

You may have noticed different sounds in your rides depending on how they are mounted. The difference in the sound of hats depending on the stand would be more than rides.

Three things affect the cymbals sustain and bell tone characteristics:

1) Stand design: Heavier more solid stands will affect the sound of the ride a little compared to lightweight ones, also it is a matter of how solid/hollow the metal is in a stand. The cymbal stands absorb vibration…also reflects of the cymbal sound. Cymbals sound different when they are on a straight stand than on a boom. While flat base light weight straight stands seem to maximize sustain, arms seem to kill some sustain

2) Cymbal angle: Cymbals can be mounted on a stand with different angle that makes a big difference in sound and direction of it.

3) Felts and washers: The differences in mounting a cymbal with a rubber grommet underneath as opposed to a felt can also make a difference that will also enhance the wash/responsiveness of a cymbal. It can make some cymbals sound much fuller, others too washy, depending on the characteristics of the cymbal whether it feels better or not to ears, but it always seems to open it up somewhat.

You would only clearly hear a difference on how rides are mounted on a stand, at home, alone…when you play with a band it probably matters less.

You may have noticed different sounds in your rides depending on how they are mounted. The difference in the sound of hats depending on the stand would be more than rides.

Three things affect the cymbals sustain and bell tone characteristics:

1) Stand design: Heavier more solid stands will affect the sound of the ride a little compared to lightweight ones, also it is a matter of how solid/hollow the metal is in a stand. The cymbal stands absorb vibration…also reflects of the cymbal sound. Cymbals sound different when they are on a straight stand than on a boom. While flat base light weight straight stands seem to maximize sustain, arms seem to kill some sustain

2) Cymbal angle: Cymbals can be mounted on a stand with different angle that makes a big difference in sound and direction of it.

3) Felts and washers: The differences in mounting a cymbal with a rubber grommet underneath as opposed to a felt can also make a difference that will also enhance the wash/responsiveness of a cymbal. It can make some cymbals sound much fuller, others too washy, depending on the characteristics of the cymbal whether it feels better or not to ears, but it always seems to open it up somewhat.

You would only clearly hear a difference on how rides are mounted on a stand, at home, alone…when you play with a band it probably matters less.

If you experiment with the height of the hihat; you may find it easier if you raise the height to a taller point than you’re accustomed to. Also you may try to bring your hihat as close as you can, depending on where you put your rack tom. The closer you can get your hihat to being in front of your snare, the easier you may find to play.

The height of hihat may change based on the music you are playing. If you are doing high-volume rock, hihat would be pretty high, and you may play the front (far) side of it with your right stick, so that you can play the snare as loud as you want without your hands actually crossing.

For jazz or lower volume work, you may lower the hihat, and let your hands cross occasionally. If your hihat is a crucial part of your drumming, always make sure you are comfortable with where it is placed, and give it precedence over most other components of your kit. You certainly need bass drum, snare, hihat and ride to be comfortable, because that’s what is played probably 80-90% of the time. The rest of the kit will be around those components.

Many drummers play hihats with the right hand exactly above the left hand with matched grip with the movement coming mainly from the wrist. This position is also possible at higher volume, using a fast but low whip movement. Some people play hihats with the thumb on top like how the ride is played so that the right arm is closer to the body than the left.

If you experiment with the height of the hihat; you may find it easier if you raise the height to a taller point than you’re accustomed to. Also you may try to bring your hihat as close as you can, depending on where you put your rack tom. The closer you can get your hihat to being in front of your snare, the easier you may find to play.

The height of hihat may change based on the music you are playing. If you are doing high-volume rock, hihat would be pretty high, and you may play the front (far) side of it with your right stick, so that you can play the snare as loud as you want without your hands actually crossing.

For jazz or lower volume work, you may lower the hihat, and let your hands cross occasionally. If your hihat is a crucial part of your drumming, always make sure you are comfortable with where it is placed, and give it precedence over most other components of your kit. You certainly need bass drum, snare, hihat and ride to be comfortable, because that’s what is played probably 80-90% of the time. The rest of the kit will be around those components.

Many drummers play hihats with the right hand exactly above the left hand with matched grip with the movement coming mainly from the wrist. This position is also possible at higher volume, using a fast but low whip movement. Some people play hihats with the thumb on top like how the ride is played so that the right arm is closer to the body than the left.

When you place a cymbal on a cymbal arm and walk around inside and outside, in every room and available space, tapping on it all the time, the sound will change depending where you are. The acoustic condition of a room is as important to many acoustic instruments (especially drum and cymbal sounds) as an amplifier is to an electric guitar. Generally the harder the surface in a room, the brighter and harsher the sound of a cymbal.

Many drummers use the same cymbals all the time…big room, small room, indoors, outdoors. Sometimes it sounds better under certain conditions, but they make it work no matter what. But the truth is cymbals will sound different in different acoustical conditions.

When you place a cymbal on a cymbal arm and walk around inside and outside, in every room and available space, tapping on it all the time, the sound will change depending where you are. The acoustic condition of a room is as important to many acoustic instruments (especially drum and cymbal sounds) as an amplifier is to an electric guitar. Generally the harder the surface in a room, the brighter and harsher the sound of a cymbal.

Many drummers use the same cymbals all the time…big room, small room, indoors, outdoors. Sometimes it sounds better under certain conditions, but they make it work no matter what. But the truth is cymbals will sound different in different acoustical conditions.

I have always found it interesting that the period of accentuation that we think of as a beat is very much in the range of human heart beats and walking or running foot falls. I think it’s not a coincidence. The part of our brain that determines the period of our heartbeats is, however, structurally quite distinct from the drumming parts though the one may give some clues about the other. Also, the beating heart is not a deliberately timed activity like playing a ride cymbal pattern.

What is of particular interest in the above quote is the question of the “fine scale” “small perturbations” and whether or how these might “define our style.” If we will assume that, on a large scale, the offbeat eighth does fall on some low integer subdivision, there will still be small variations. What are we to make of these?

The heart beat variations described occurred both before and after the metric position and varied by differing amounts. If this is the nature of drumming then drummers might be distinguished by the size of the average variation from the metric position they tend to perform. The aesthetic effect of such chaotic to and fro variation might be a kind of exciting instability or a texturing dither effect, like the deliberate use of grainy film or the impressionist style of painting. Painters often soften a hard line with a coarse blending stroke.

Here is another idea. Again, heart rhythms may not be the perfect model for drum playing because, among other things, a person’s exact heart rhythm is not volitional. In fact, we tend more often to speak of someone playing consistently ahead of or behind the beat. Drummers might then be distinguished by the size and direction of their non-chaotic variation and the circumstances under which they employ such variation. The aesthetic effect of this kind of variation might be to give a sense of anticipation and forward motion or a sense of heaviness/fatness depending on the direction of the variation.

I feel more compelled by this latter notion of the effects of small-scale variation, but I would not exclude the operation of the first. It could be that they both occur at the same time and/or at slightly different scales of measurement.

So what is the source of these subtle variations? To some extent, they may simply be error, or represent the natural limit of human accuracy for this kind of activity. Along with many of you, though, I believe that these are (originally at least) an effect of un-mediated emotion. For some of us, it is necessary to “put the blast shield down and turn of our targeting computers.” Others do just as well with their eyes open. Also, I have always had the sneaking feeling that these things have something to do with genetic variations in our bio-chemistry and nervous systems and the way they have been trained in non-musical activity and experience.

I have always found it interesting that the period of accentuation that we think of as a beat is very much in the range of human heart beats and walking or running foot falls. I think it’s not a coincidence. The part of our brain that determines the period of our heartbeats is, however, structurally quite distinct from the drumming parts though the one may give some clues about the other. Also, the beating heart is not a deliberately timed activity like playing a ride cymbal pattern.

What is of particular interest in the above quote is the question of the “fine scale” “small perturbations” and whether or how these might “define our style.” If we will assume that, on a large scale, the offbeat eighth does fall on some low integer subdivision, there will still be small variations. What are we to make of these?

The heart beat variations described occurred both before and after the metric position and varied by differing amounts. If this is the nature of drumming then drummers might be distinguished by the size of the average variation from the metric position they tend to perform. The aesthetic effect of such chaotic to and fro variation might be a kind of exciting instability or a texturing dither effect, like the deliberate use of grainy film or the impressionist style of painting. Painters often soften a hard line with a coarse blending stroke.

Here is another idea. Again, heart rhythms may not be the perfect model for drum playing because, among other things, a person’s exact heart rhythm is not volitional. In fact, we tend more often to speak of someone playing consistently ahead of or behind the beat. Drummers might then be distinguished by the size and direction of their non-chaotic variation and the circumstances under which they employ such variation. The aesthetic effect of this kind of variation might be to give a sense of anticipation and forward motion or a sense of heaviness/fatness depending on the direction of the variation.

I feel more compelled by this latter notion of the effects of small-scale variation, but I would not exclude the operation of the first. It could be that they both occur at the same time and/or at slightly different scales of measurement.

So what is the source of these subtle variations? To some extent, they may simply be error, or represent the natural limit of human accuracy for this kind of activity. Along with many of you, though, I believe that these are (originally at least) an effect of un-mediated emotion. For some of us, it is necessary to “put the blast shield down and turn of our targeting computers.” Others do just as well with their eyes open. Also, I have always had the sneaking feeling that these things have something to do with genetic variations in our bio-chemistry and nervous systems and the way they have been trained in non-musical activity and experience.

If you had the opportunity to hear a Xilxo Enigma of Fire ride, it was pretty heavy and had a pronounced stick sound without much in the way of low overtones. It’s definitely a cymbal best used for rock music. Think of a heavy A Zildjian ride from the seventies and you’re about there.

Xilxo makes great cymbals as they are all handmade, even like sizes in series can sound different.

If you had the opportunity to hear a Xilxo Enigma of Fire ride, it was pretty heavy and had a pronounced stick sound without much in the way of low overtones. It’s definitely a cymbal best used for rock music. Think of a heavy A Zildjian ride from the seventies and you’re about there.

Xilxo makes great cymbals as they are all handmade, even like sizes in series can sound different.

I bought recently Xilxo Selection Jazz Master 14” hats and think they’re fantastic. They would fit a low/mid volume setting with a trio or Quintet for jazz. They’re quiet and woody sounding. They won’t cut through loud music.

If you end up playing them, try them softly and get surprised how can get a full volume out.

I bought recently Xilxo Selection Jazz Master 14” hats and think they’re fantastic. They would fit a low/mid volume setting with a trio or Quintet for jazz. They’re quiet and woody sounding. They won’t cut through loud music.

If you end up playing them, try them softly and you might be surprised how you can get a full volume out.

I bought recently Xilxo Selection Jazz Master 14” hats and think they’re fantastic. They would fit a low/mid volume setting with a trio or Quintet for jazz. They’re quiet and woody sounding. They won’t cut through loud music.

If you end up playing them, try them softly and get surprised how can get a full volume out.

I bought recently Xilxo Selection Jazz Master 14” hats and think they’re fantastic. They would fit a low/mid volume setting with a trio or Quintet for jazz. They’re quiet and woody sounding. They won’t cut through loud music.

If you end up playing them, try them softly and get surprised how can get a full volume out.

I bought recently Xilxo Selection Jazz Master 14” hats and think they’re fantastic. They would fit a low/mid volume setting with a trio or Quintet for jazz. They’re quiet and woody sounding. They won’t cut through loud music.

If you end up playing them, try them softly and get surprised how can get a full volume out.

A standard or traditional way to arrange a multiple ride setup would probably a matter of choice, but there are also some general considerations.

Rides should have some overlap that also leaves enough room to get to the lower bell. Start all the rides overlapping on the right side and the crash near the hihat. Group all 3 rides together, around the spot normally occupied by the “main” ride. The smaller or most crash able ride on the left, the largest on the right side (main ride), and the third ride to the right of that, but under it would a great solution. You should have easy accessibility to all the ride’s that way.

A standard right handed setup from left to right would be:

1. Hats
2. Above and to the right, a crash (between the hats and left tom)
3. Right and kind of over the right mounted tom, a medium size ride
4. Above the floor tom and slightly below the medium size ride, a large (main) ride

A standard or traditional way to arrange a multiple ride setup would probably a matter of choice, but there are also some general considerations.

Rides should have some overlap that also leaves enough room to get to the lower bell. Start all the rides overlapping on the right side and the crash near the hihat. Group all 3 rides together, around the spot normally occupied by the “main” ride. The smaller or most crash able ride on the left, the largest on the right side (main ride), and the third ride to the right of that, but under it would a great solution. You should have easy accessibility to all the ride’s that way.

A standard right handed setup from left to right would be:

1. Hats
2. Above and to the right, a crash (between the hats and left tom)
3. Right and kind of over the right mounted tom, a medium size ride
4. Above the floor tom and slightly below the medium size ride, a large (main) ride

A high or low sounding washy ride in an acoustic jazz context would create a big difference. Thin rides with a higher pitched stick and with a higher shimmer, but with darkness underneath would be good definition to look for.

A dark ride is more laid back and supporting the music, while a high ride is more dominant and pushes the music. Ride can be with a nice dark cushion that sits below a more audible stick sound. These rides would also feature a nice low pitch with a stick definition or a low wash and little high pitched with a nice audible tick.

There are excellent choices suitable for acoustic jazz within Xilxo Selection Jazz Master Series.

A high or low sounding washy ride in an acoustic jazz context would create a big difference. Thin rides with a higher pitched stick and with a higher shimmer, but with darkness underneath would be good definition to look for.

A dark ride is more laid back and supporting the music, while a high ride is more dominant and pushes the music. Ride can be with a nice dark cushion that sits below a more audible stick sound. These rides would also feature a nice low pitch with a stick definition or a low wash and little high pitched with a nice audible tick.

There are excellent choicXilxo Selection Jazz Master Series

For anyone who is interested in cymbals, there is a lot of information. Following resources will provide more explanation in cymbal mathematics and physics:

The physics of musical instruments

By Neville Horner Fletcher, Thomas D. Rossing

20. Cymbals, Gongs, Plates, and Steel Drums
20.1 Cymbals

Science of percussion instruments

By Thomas D. Rossing

Chapter 9. Cymbals, Gongs, Plates

For anyone who is interested in cymbals, there is a lot of information. out there if you want to jump into the mathematics and physics. following resources will provide more explanation in cymbal mathematics and physics:

The physics of musical instruments

By Neville Horner Fletcher, Thomas D. Rossing

20. Cymbals, Gongs, Plates, and Steel Drums
20.1 Cymbals

Science of percussion instruments

By Thomas D. Rossing

Chapter 9. Cymbals, Gongs, Plates

For anyone who is interested in cymbals, there is a lot of information. out there if you want to jump into the mathematics and physics. following resources will provide more explanation in cymbal mathematics and physics:

The physics of musical instruments

By Neville Horner Fletcher, Thomas D. Rossing

20. Cymbals, Gongs, Plates, and Steel Drums
20.1 Cymbals

Science of percussion instruments

By Thomas D. Rossing

Chapter 9. Cymbals, Gongs, Plates

For anyone who is interested in cymbals, there is a lot of information. out there if you want to jump into the mathematics and physics. following resources will provide more explanation in cymbal mathematics and physics:

The physics of musical instruments

By Neville Horner Fletcher, Thomas D. Rossing

20. Cymbals, Gongs, Plates, and Steel Drums
20.1 Cymbals

Science of percussion instruments

By Thomas D. Rossing

Chapter 9. Cymbals, Gongs, Plates

For anyone who is interested in cymbals, following resources will provide more explanation in cymbal mathematics and physics:

The physics of musical instruments

By Neville Horner Fletcher, Thomas D. Rossing

20. Cymbals, Gongs, Plates, and Steel Drums
20.1 Cymbals

Science of percussion instruments

By Thomas D. Rossing

Chapter 9. Cymbals, Gongs, Plates

For anyone who is interested in cymbals, there is a lot of information. out there if you want to jump into the mathematics and physics. following resources will provide more explanation in cymbal mathematics and physics:

The physics of musical instruments

By Neville Horner Fletcher, Thomas D. Rossing

20. Cymbals, Gongs, Plates, and Steel Drums
20.1 Cymbals

Science of percussion instruments

By Thomas D. Rossing

Chapter 9. Cymbals, Gongs, Plates

For anyone who is interested in cymbals, there is a lot of information. out there if you want to jump into the mathematics and physics. following resources will provide more explanation in cymbal mathematics and physics:

The physics of musical instruments

By Neville Horner Fletcher, Thomas D. Rossing

20. Cymbals, Gongs, Plates, and Steel Drums
20.1 Cymbals

Science of percussion instruments

By Thomas D. Rossing

Chapter 9. Cymbals, Gongs, Plates

Bronze is stronger and harder than any other common metal alloy except steel. It does not easily break under stress, is corrosion resistant, and is easy to form into finished shapes by molding, casting, or machining.

If you tap a piece of metal lightly with a stick and listen carefully, here’s what you will hear:

Zinc: Thud
Brass: Faint dull ringing
Bronze: Clear ringing tone

For acoustic purposes, bronze is the most favorable alloy for cymbals.

Bronze is stronger and harder than any other common metal alloy except steel. It does not easily break under stress, is corrosion resistant, and is easy to form into finished shapes by molding, casting, or machining.

If you tap a piece of metal lightly with a stick and listen carefully, here’s what you will hear:

Zinc:Thud
Brass:Faint dull ringing
Bronze: Clear ringing tone

For acoustic purposes, bronze is the most favorable alloy for cymbals.

Bronze is stronger and harder than any other common metal alloy except steel. It does not easily break under stress, is corrosion resistant, and is easy to form into finished shapes by molding, casting, or machining.

If you tap a piece of metal lightly with a stick and listen carefully, here’s what you will hear:

Zinc:Thud
Brass:Faint dull ringing
Bronze: Clear ringing tone

For acoustic purposes, bronze is the most favorable alloy for cymbals.

With ride cymbals the journey is often as or more important than the destination as playing and hearing the cymbal in the audience or recorded are completely different things.

Some of the criteria of a the perfect ride cymbal would be a pitch low enough that it’s not piercing, but high enough to be heard over the other instruments in the band, a pronounced stick sound that has more “woodiness” than “ping”, light enough weight to promote easy crash ability, yet enough mass to carry and cut when needed and layers of sound, a usable bell that is clean, focused and bright enough to be used with the tip and shoulder of the stick.

Looking for that perfect ride cymbal sound might be more from inside us than from the actual cymbal. The perfect ride will be the one happen to be played at any given time.

With ride cymbals the journey is often as or more important than the destination as playing and hearing the cymbal in the audience or recorded are completely different things.

Some of the criteria of a the perfect ride cymbal would be a pitch low enough that it’s not piercing, but high enough to be heard over the other instruments in the band, a pronounced stick sound that has more “woodiness” than “ping”, light enough weight to promote easy crash ability, yet enough mass to carry and cut when needed and layers of sound, a usable bell that is clean, focused and bright enough to be used with the tip and shoulder of the stick.

Looking for that perfect ride cymbal sound might be more from inside us than from the actual cymbal. The perfect ride will be the one happen to be played at any given time.

With ride cymbals the journey is often as or more important than the destination as playing and hearing the cymbal in the audience or recorded are completely different things.

Some of the criteria of a the perfect ride cymbal would be a pitch low enough that it’s not piercing, but high enough to be heard over the other instruments in the band, a pronounced stick sound that has more “woodiness” than “ping”, light enough weight to promote easy crash ability, yet enough mass to carry and cut when needed and layers of sound, a usable bell that is clean, focused and bright enough to be used with the tip and shoulder of the stick.

Looking for that perfect ride cymbal sound might be more from inside us than from the actual cymbal. The perfect ride will be the one happen to be played at any given time.

Hihat cymbal thickness and diameter will affect overall sound. Thicker bottom cymbal and a thinner top one will give a nice open sound from the thin top, and a nice chick foot sound with the foot from the bottom.

The heavier the weight of top and bottom cymbals, higher the pitch, and quicker and cleaner the sticking, more piercing the ‘chick’ foot sound. The lighter the weight of top and bottom cymbals, the fatter the stick sound, and lower the pitch. Light weight hihats will give a great splash type sound (normally heard in jazz). As a general rule, the smaller the hats, the higher the pitch. 12’s will be very high pitched, while 15’s will be dark.

Hihat cymbal thickness and diameter will affect overall sound. Thicker bottom cymbal and a thinner top one will give a nice open sound from the thin top, and a nice chick foot sound with the foot from the bottom.

The heavier the weight of top and bottom cymbals, higher the pitch, and quicker and cleaner the sticking, more piercing the ‘chick’ foot sound. The lighter the weight of top and bottom cymbals, the fatter the stick sound, and lower the pitch. Light weight hihats will give a great splash type sound (normally heard in jazz). As a general rule, the smaller the hats, the higher the pitch. 12’s will be very high pitched, while 15’s will be dark.

The shape of the bell has much to do with that, as the sound of the bell is reflected in the cymbal. Very high sounding bell possibly sacrifice some qualities like color, pitch, trash etc. or like in the overall cymbal sound and wash.

The flatter bells make it closer to a flat ride with more stick definition. The higher bell will make the cymbal much more excitable.

Cymbals with very shallow bells will maximize the stick definition when played on the bow. A defined stick sound and powerful bell criteria that normally work at odds to each other will provide some of the definition lost by adding the big bell needed for a powerful sound.

The shape of the bell has much to do with that, as the sound of the bell is reflected in the cymbal. Very high sounding bell possibly sacrifice some qualities like color, pitch, trash etc. or like in the overall cymbal sound and wash.

The flatter bells make it closer to a flat ride with more stick definition. The higher bell will make the cymbal much more excitable.

Cymbals with very shallow bells will maximize the stick definition when played on the bow. A defined stick sound and powerful bell criteria that normally work at odds to each other will provide some of the definition lost by adding the big bell needed for a powerful sound.

Cymbals in shops that sound great after testing it but when it comes to accompanying a loud part in the Big Band, you may simply be able to hear most of them at all. It depends on the styles the Big Band is playing.

The dry ones like Xilxo Legend Turk ride might not have enough ring to carry through the band. The thin Xilxo Selection Jazz Master might wash out. The key might be the cymbal weight; you will need a bit more weight than what you’d use for a piano trio in a small club. But on the other hand for a singing bell while keeping a trashy complex ride with a Jazzy feel, you may try the Xilxo Legend Turk ride or the Xilxo Selection Jazz Master Master ride. Also for swing-oriented jazz the thinner cymbals like Xilxo Selection Jazz Master would work very well. But for Latin/Funk or modern jazz choose medium weight cymbals like Xilxo Circa 1600 or Xilxo Echoes.

When testing, make sure there are enough high frequencies in sustain to carry and the ping - with the whole big band that is the only thing that reaches the audience. To test your cymbals, either have someone sit in with your big band so you can listen to it from the audience side or if that’s not possible, ask one of the horn players furthest from the cymbal, if they’re hearing enough of the ride rhythm from your cymbal. It’s never a bad idea to get feedback from your fellow musicians on your cymbal choices. Usually in a big band they tend to feel more secure with something more defined. If they are exceptional players and their time is outstanding you can get away with something thinner and jazzier.

Cymbals in shops that sound great after testing it but when it comes to accompanying a loud part in the Big Band, you may simply be able to hear most of them at all. It depends on the styles the Big Band is playing.

The dry ones like Xilxo Legend Turk ride might not have enough ring to carry through the band. The thin Xilxo Selection Jazz Master might wash out. The key might be the cymbal weight; you will need a bit more weight than what you’d use for a piano trio in a small club. But on the other hand for a singing bell while keeping a trashy complex ride with a Jazzy feel, you may try the Xilxo Legend Turk ride or the Xilxo Selection Jazz Master Master ride. Also for swing-oriented jazz the thinner cymbals like Xilxo Selection Jazz Master would work very well. But for Latin/Funk or modern jazz choose medium weight cymbals like Xilxo Circa 1600 or Xilxo Echoes.

When testing, make sure there are enough high frequencies in sustain to carry and the ping - with the whole big band that is the only thing that reaches the audience. To test your cymbals, either have someone sit in with your big band so you can listen to it from the audience side or if that’s not possible, ask one of the horn players furthest from the cymbal, if they’re hearing enough of the ride rhythm from your cymbal. It’s never a bad idea to get feedback from your fellow musicians on your cymbal choices. Usually in a big band they tend to feel more secure with something more defined. If they are exceptional players and their time is outstanding you can get away with something thinner and jazzier.

The fun in playing different cymbals is trying to use different cymbals in unexpected songs or styles. One may get a lot of enjoyment out of playing known songs with new cymbals.

The new set can be tried to use for inspiration. When having hard time learning something and getting frustrated try to clear the mind by changing out equipment. Not that it makes any difference because the different equipment certainly doesn’t make drumming any better but it is a decision to switch to depending on need or mood.

The fun in playing different cymbals is trying to use different cymbals in unexpected songs or styles. One may get a lot of enjoyment out of playing known songs with new cymbals.

The new set can be tried to use for inspiration. When having hard time learning something and getting frustrated try to clear the mind by changing out equipment. Not that it makes any difference because the different equipment certainly doesn’t make drumming any better but it is a decision to switch to depending on need or mood.

Besides being one inch smaller in diameter with all other things being equal, the 13 inchs will be generally higher in pitch and produce a relatively quicker, more compact sound. The drawback to their quickness of response is the fact that very few 13″ hats yield the rich wash that a larger diameter set can. Generally bigger hats are fuller sounding.

13 inch hats are terrific, especially if you like to “bark” the hats frequently or you need a super fast foot response and a tight chic, but for general purposes use the 14 inch hats.

Besides being one inch smaller in diameter with all other things being equal, the 13 inchs will be generally higher in pitch and produce a relatively quicker, more compact sound. The drawback to their quickness of response is the fact that very few 13″ hats yield the rich wash that a larger diameter set can. Generally bigger hats are fuller sounding.

13 inch hats are terrific, especially if you like to “bark” the hats frequently or you need a super fast foot response and a tight chic, but for general purposes use the 14 inch hats.

The rule of thumb is if a cymbal doesn’t sound good without rivets it won’t with rivets either. A thin crash cymbal is not a bad way to go … even a medium. A thinner cymbal would make a better sizzler…more wobble. But very thin wobbly cymbals can also lose stick attack presence with rivets. Sometimes it’s nice to get the focused burst of white noise without the sustain on a thinner sizzle pie, but the rivets can definitely suppress or choke a cymbal.

If you are using it as an effects cymbal instead of a ride, even a heavier cymbal without much visible wobble will still excite the rivets, because what you are getting is a lot of sustain (depending on your rivet choice; i.e., faster decay with split copper rivets vs. regular steel or brass rivets).

The benefit of rivets really depends on more the other sonic attributes of the cymbal than upon any generalized formula. It is more a matter of trial and error, if you prefer doing it yourself.

There are two ways of mounting and playing china cymbals: bell and flange up or bell and flange down.

Mounting a china bell and flange up makes the cymbal to sit in near horizantal on the stand that gives a better sustain and ride sound, also gives access to the bell.

Bell and flange down mounted chinas are broken quite often because they are crashed on their ridges and not on the edges. This way chinas are crashed with a sweeping motion, holding the stick loosely.

Did you ever wondered what is a brilliant cymbal like Xilxo Enigma of Fire that has extremly fine, shallow lathing. The brilliant finish created by the buffing process on the the lathing grooves make them less sharp.

A brilliant cymbal sounds brighter, having more high end than a regular one. It’s sound is ’simplified’; as buffing takes the tone out favoring some of the higher frequencies. Brilliant cymbals generally have less darkness, less attack and less spread.

Every one will have a different opinion about the number of crash cymbals needed in a drum set.  One crash is where most of us start. There is this saying: a true drummer, can make use out of one 17 inch bright crash, and play tons of things.

I play anything from soft rock to extreme death metal. And I find that about four crashes is a good amount so that I never have to hit one twice when I’m doing something like hitting my crash and my snare at the same time for an entire bar, it allows to make small patterns and get some difference out of my simplistic beats.

Back when I was starting out all I needed was a single crash. But I found that when I got my second crash a few years ago I used it a lot. I was using both cymbals almost evenly. Later I did add another two crashes. I am using now 15″ 16″ 17″ and 18″crashes, they all have a lot the tonal differences and I couldn’t even imagine how boring my drumming must have been with a single crash.

Hand hammered cymbals are unique due to the blows are applied and tend to have a darker, lower, and richer tones. The uniqueness is created by hand hammering makes the surface of the cymbal uneven that disrupts the way the cymbal vibrates causing the unique sound.

Every blow of hammering leaves different marks on the cymbal affecting the sound of a cymbal. While dense hammering causes a more complex cymbal sound, larger hammer marks projects higher frequencies.

Hand hammered cymbals are unique due to the blows are applied and tend to have a darker, lower, and richer tones. The uniqueness is created by hand hammering makes the surface of the cymbal uneven that disrupts the way the cymbal vibrates causing the unique sound.

Every blow of hammering leaves different marks on the cymbal affecting the sound of a cymbal. While dense hammering causes a more complex cymbal sound, larger hammer marks projects higher frequencies.

Playing slowly and quietly are the hardest tasks for a drummer, it’s almost like dancing… using your whole body to lend a sense of legato to the time… You really need to move your body with a different attitude.

Playing slowly emphasizes a condition that comes closest to the idea of sculpture: the physical material (notes) is no more important than the negative space (silence) in forming a complete composition. By mastering the form, the space is given energy and life.

Playing quietly (in addition to coaxing superior tone from the instrument) is less fatiguing for the listener, and tends to allow you to be surrounded by the music.

Playing slowly and quietly are the hardest tasks for a drummer, it’s almost like dancing… using your whole body to lend a sense of legato to the time… You really need to move your body with a different attitude.

Playing slowly emphasizes a condition that comes closest to the idea of sculpture: the physical material (notes) is no more important than the negative space (silence) in forming a complete composition. By mastering the form, the space is given energy and life.

Playing quietly (in addition to coaxing superior tone from the instrument) is less fatiguing for the listener, and tends to allow you to be surrounded by the music.

Ping rides are always wonderful for rock as they have that clearly defined stick sound (the “ping”) that can cut through. The so called “Rock” & “Heavy” rides are pretty similar in that regard.

The only thing about these somewhat thicker cymbals is they don’t open up quite as nicely when they are crashed. If you never crash your ping ride, or you like the way your current ping ride sounds when you crash then that’s this will be the ride for you.

Otherwise you might consider moving a step down in thickness to a medium ride. These tend to crash better when you lay into them although you will also lose some of that “ping” quality as a trade off.

Ping rides are always wondeful for rock as they have that clearly defined stick sound (the “ping”) that can cut through. The so called “Rock” & “Heavy” rides are pretty similar in that regard.

The only thing about these somewhat thicker cymbals is they don’t open up quite as nicely when they are crashed. If you never crash your ping ride, or you like the way your current ping ride sounds when you crash then that’s this will be the ride for you.

Otherwise you might consider moving a step down in thickness to a medium ride. These tend to crash better when you lay into them although you will also lose some of that “ping” quality as a trade off.

Ping rides are always wondeful for rock as they have that clearly defined stick sound (the “ping”) that can cut through. The so called “Rock” & “Heavy” rides are pretty similar in that regard.

The only thing about these somewhat thicker cymbals is they don’t open up quite as nicely when they are crashed. If you never crash your ping ride, or you like the way your current ping ride sounds when you crash then that’s this will be the ride for you.

Otherwise you might consider moving a step down in thickness to a medium ride. These tend to crash better when you lay into them although you will also lose some of that “ping” quality as a trade off.

When you situate yourself comfortably behind the kit, place right foot on the bass pedal to guage. Place your left foot on the hi-hat pedal and, when, comfortable, push down on the pedal to where your foot feels good and then tighten the clutch. I suppose it would be anywhere from 1/4″ to 1/2″.

Hi-hat spacing also depends how tight the clutch on your hi-hat cymbal is adjusted. By that, I mean, let the top hat cymbal wobble loosely or keep it fairly tight.  Another good idea is to have the bottom hat slightly tilted so its touching when half way closed.

The bottom line is, as you progress you’ll figure out what works for you and what doesn’t. There is not one fits all scenario here. It really is a matter of personal preference. What works for you may not work another. Play around, not only with your cymbals but your whole drum set, until you get what works for you.

When you situate yourself comfortably behind the kit, place right foot on the bass pedal to guage. Place yout left foot on the hi-hat pedal and, when, comfortable, push down on the pedal to where your foot feels good and then tighten the clutch. I suppose it would be anywhere from 1/4″ to 1/2″.

Hi-hat spacing also depends how tight the clutch on your hi-hat cymbal is adjusted. By that, I mean, let the top hat cymbal wobble loosely or keep it fairly tight.  Another good idea is to have the bottom hat slightly tilted so its touching when half way closed.

The bottom line is, as you progress you’ll figure out what works for you and what doesn’t. There is not one fits all scenario here. It really is a matter of personal preference. What works for you may not work another. Play around, not only with your cymbals but your whole drum set, until you get what works for you.

When I found that even my 16″ crashes are too small and splashy sounding, I started thinking about bigger crashes.

Bigger crashes in general fill out the mix a bit better, give more fullness and project the lower to mid range tones. You need also to figure out if you need a long-sustaining crash as on bigger crashes instead of a short accent small crash.

Use a small crash at the same time unless you want necessarily to choke the bigger crashes.

When I found that even my 16″ crashes are too small and splashy sounding, I started thinking about bigger crashes.

Bigger crashes in general fill out the mix a bit better, give more fullness and project the lower to mid range tones. You need also to figure out if you need a long-sustaining crash as on bigger crashes instead of a short accent small crash.

Use a small crash at the same time unless you want necessarily to choke the bigger crashes.

Here is the big question: When do you hit small and bigger crashes?

I hit the bigger crashes when I am really into the groove or when the song is building, or when I just want that big crash sound, I use the smaller ones for more fast accents. 16″ and up are more sensitive to touch, you can ride on them, they are easier to control, they have more sounds in them and they have a longer decay. Small crashes tend to be a bit one-sided and their sound is easily overrun in a loud situation. A 14″ crash might be too big to be a splash and too small to be a crash.

I have my crashes in tone…which normally means in size. I don’t play my crashes like crashes because when I hit a single crash I have a small issue with trying to make a pattern before I go back to my beat, sometimes a draw-back but most of the time it just adds to how cool it sounds.

For years I’ve been unable to play without my main ride being a sizzle cymbal. When I tried to use a regular cymbal I couldn’t get the same drive or intensity, especially at low volume. There’s just something about the way a sizzle cymbals opens up.

What’s interesting about a sizzle ride is that the sizzle is actually a separate sound from the ride…If you use a pingy or dry ride, the cymbal sound is still there by itself and the rivet sound exists in its own space, so you don’t really have to worry about the sizzle creating too much wash…however if you’re using a really washy type cymbal that washes in the exact same frequency range as the rivets then it could be a bit much…

Many people prefer to have fewer rivets so they don’t over power the cymbal. Playing on a ride with a lot of rivets might get annoying because the sizzle will be so loud and it will go on forever.

For years I’ve been unable to play without my main ride being a sizzle cymbal. When I tried to use a regular cymbal I couldn’t get the same drive or intensity, especially at low volume. There’s just something about the way a sizzle cymbals opens up.

What’s interesting about a sizzle ride is that the sizzle is actually a separate sound from the ride…If you use a pingy or dry ride, the cymbal sound is still there by itself and the rivet sound exists in its own space, so you don’t really have to worry about the sizzle creating too much wash…however if you’re using a really washy type cymbal that washes in the exact same frequency range as the rivets then it could be a bit much…

Many people prefer to have fewer rivets so they don’t over power the cymbal. Playing on a ride with a lot of rivets might get annoying because the sizzle will be so loud and it will go on forever.

Consider cymbals of the same alloy, diameter, profile, weight, hammering, and lathing but each with a different weight distribution. What would the differences be in pitch, sustain, response, etc.?

A cymbal thicker at the cup and get thinner toward the edge (tapered a lot at the edge) is the ideal type cymbal if you like a musical edge, for crashing, yet still a bold bell sound.

A cymbal of uniform thickness throughout: “Crash/Ride” type cymbals exemplify this type of structure, which tends to make them neither crash or ride significantly. Hi hat cymbals tend to be much more uniform, and heavier rock type cymbals many times are also close to one thickness. The more uniform design causes slow attack, low gong like undertone, and long sustain.

A cymbal thinner at the cup and get thicker toward the edge do exist. These types of cymbals are sometimes crash able in the area under the bell, getting a quick ‘burst’ type sound out. Many times they sound like a completely different cymbal if you play near the edge, where it is more defined. They might project all sorts of sound possibilities.

The ‘trash’ characteristic refers to how the cymbal opens up when it is crashed side stick within a ride pattern pretty much sounds like china that you hear a little of in the wash. If you listen to Tony Williams playing his ride what you’ll hear the side stick crash qualities is apparent constantly. A trashy cymbal is more inharmonic and has complex partial sound.

Trashy means it is more like a hybrid. It’ll do whatever you want it to. Instead of just having one sound the ride will crash, it’ll ride. When you crash it then ride it back and forth with ease, it is trashy. A good trashiness is a sound with an attractive quality; it adds to the complexity of the tone, fills the sound and adds an edge.

Generally graphite sticks for medium and high-volume rock and pop might be good with their consistency and durability far outweighing any sonic and feel sacrifices. And for jazz wood-tip sticks are recommended.

Naturally different sticks will sound different on cymbals and drums. Small sticks will tend to have a lighter touch on cymbals. Larger sticks will cause heavy hits due to momentum and weight and project higher volumes.

Two very similar sticks - with identical tips, might sound different on both cymbals and drums. Not only those two similar sizes of sticks sound radically different, but two sticks of identical size and make can also sound radically different because of the density of the wood and grain patterns. Some drummers actually mark their stick pairs in pitch ranges with a marker, so they know which sticks bring a higher or lower pitched sound out of the cymbals.

Identical sticks with different tips can also sound different. A “ball” tip for example will bring out the full body of a cymbal. A light maple stick with a cone tip or barrel tip will sound much lighter on a cymbal even though they sound fatter on the drums.

With all the options available for sticks, the best advise is to try them and see what fits best in your music.

Here is a link for more information on the subject: www.xs4all.nl/~marcz/percussioninformation/Sticks/sticksmain.html

Generally graphite sticks for medium and high-volume rock and pop might be good with their consistency and durability far outweighing any sonic and feel sacrifices. And for jazz wood-tip sticks are recommended.

Naturally different sticks will sound different on cymbals and drums. Small sticks will tend to have a lighter touch on cymbals. Larger sticks will cause heavy hits due to momentum and weight and project higher volumes.

Two very similar sticks - with identical tips, might sound different on both cymbals and drums. Not only those two similar sizes of sticks sound radically different, but two sticks of identical size and make can also sound radically different because of the density of the wood and grain patterns. Some drummers actually mark their stick pairs in pitch ranges with a marker, so they know which sticks bring a higher or lower pitched sound out of the cymbals.

Identical sticks with different tips can also sound different. A “ball” tip for example will bring out the full body of a cymbal. A light maple stick with a cone tip or barrel tip will sound much lighter on a cymbal even though they sound fatter on the drums.

With all the options available for sticks, the best advise is to try them and see what fits best in your music.

Here is a link for more information on the subject: www.xs4all.nl/~marcz/percussioninformation/Sticks/sticksmain.html

With a little creativity and some good hardware, you can get a lot of cymbals working for you. When you have a big set, placing your cymbals will be a big challenge.

There is a visual appeal of having one cymbal way up in the air and the others in line with each other. But it may also increase uncomfort to play when they are placed too high especially above the shoulder.

One of the solutions would be stacking cymbals. Although you can stack ride cymbals, it will restrict playing the bells of all of cymbals. The stackers are best used for splashes and small crashes.

If the rides are arranged in tiers, usually using boom stands, they can be placed close to each other but not concentrically mounted on the same stand. Multi-tiered approach will offer ease and flexibility to play up-tempo ride patterns alternating between the 2 (or 3) cymbals tiered together. This way you can still access the bells while having the ability to execute good sounding ride patterns between two or three cymbals.

Grooving with hi-hat cymbals is a quite simple technique in theory but hard to masterize. It requires a dancy, splashy sound by having hats very loose in the clutch and using a rocking heel-to-toe motion on the foot pedal.

A dancing hi-hat motion would be created by getting the hats moving first with a strike and then keeping them moving. The distance between the cymbals also needs to be adjusted so there is a couple of inches in the open position.

Using the bottom hat tilted where you like the sound and feel, would make grooving easier giving a fuller splash sound. It will cause a nice teeter/totter motion in the clutch. This way you dont have to be as accurate as when they are flat.

I’m a full time jazzer, and I also use this cymbal to play Pop/RnB/Funk too, and it can handle it without any hassle at all. It’s absolutely amazing…

I was drawn to the K Custom Dry Ride, but it’s just a bit too ‘pingy’ for jazz, the K Custom Dry Light is is a bit too dry for me, almost dull sounding.

The Xilxo Legend Turk’s got a sweet stick definition, but the under/over tones are….well…almost edible. It’s so dirty and raw, on the brink of complex. If there’s going to be one dry ride for jazz…this has gotta be it.

I’m a full time jazzer, and I also use this cymbal to play Pop/RnB/Funk too, and it can handle it without any hassle at all. It’s absolutely amazing…

I was drawn to the K Custom Dry Ride, but it’s just a bit too ‘pingy’ for jazz, the K Custom Dry Light is is a bit too dry for me, almost dull sounding.

The Xilxo Legend Turk’s got a sweet stick definition, but the under/over tones are….well…almost edible. It’s so dirty and raw, on the brink of complex. If there’s going to be one dry ride for jazz…this has gotta be it.

I am in love with this incredible ride and would like to share my opinion with you.

This ride is an esssential piece of my drum kit. It has a sizzling dark sound with a lot of sustain which fits my style. Its thinness gives a lot of sensitivity. When I use this ride I always receive compliments.

Sound file: xilxoselectionjazzmasterride 
Size: 24″ (very unusual for a paper thin ride this size)
Weight: 2200 g (should be the lowest edge of thinness)
Profile height: from edge to bell top 2.5″ (very low bow)
Bell size: 5.5″

I am planning to use other cymbals from the Selection Jazz Master series in the future and I will post their characteristics in this blog.

I’m a full time jazzer, and I also use this cymbal to play Pop/RnB/Funk too, and it can handle it without any hassle at all. It’s absolutely amazing…

I was drawn to the K Custom Dry Ride, but it’s just a bit too ‘pingy’ for jazz, the K Custom Dry Light is is a bit too dry for me, almost dull sounding.

The Xilxo Legend Turk’s got a sweet stick definition, but the under/over tones are….well…almost edible. It’s so dirty and raw, on the brink of complex. If there’s going to be one dry ride for jazz…this has gotta be it.

I’m a full time jazzer, and I also use this cymbal to play Pop/RnB/Funk too, and it can handle it without any hassle at all. It’s absolutely amazing…

I was drawn to the K Custom Dry Ride, but it’s just a bit too ‘pingy’ for jazz, the K Custom Dry Light is is a bit too dry for me, almost dull sounding.

The Xilxo Legend Turk’s got a sweet stick definition, but the under/over tones are….well…almost edible. It’s so dirty and raw, on the brink of complex. If there’s going to be one dry ride for jazz…this has gotta be it.

I am in love with this incredible ride and would like to share my opinion with you.

This ride is an esssential piece of my drum kit. It has a sizzling dark sound with a lot of sustain which fits my style. Its thinness gives a lot of sensitivity. When I use this ride I always receive compliments.

Sound file: xilxoselectionjazzmasterride 
Size: 24″ (very unusual for a paper thin ride this size)
Weight: 2200 g (should be the lowest edge of thinness)
Profile height: from edge to bell top 2.5″ (very low bow)
Bell size: 5.5″

I am planning to use other cymbals from the Selection Jazz Master series in the future and I will post their characteristics in this blog.

 I am in love with this incredible ride and would like to share my opinion with you.

This ride is an esssential piece of my drum kit. It has a sizzling dark sound with a lot of sustain which fits my style. Its thinness gives a lot of sensitivity. When I use this ride I always receive compliments.

Sound file: xilxoselectionjazzmasterride 
Size: 24″ (very unusual for a paper thin ride this size)
Weight: 2200 g (should be the lowest edge of thinness)
Profile height: from edge to bell top 2.5″ (very low bow)
Bell size: 5.5″

I am planning to use other cymbals from the Selection Jazz Master series in the future and I will post their characteristics in this blog.

 I am in love with this incredible ride and would like to share my opinion with you.

This ride is an esssential piece of my drum kit. It has a sizzling dark sound with a lot of sustain which fits my style. Its thinness gives a lot of sensitivity. When I use this ride I always receive compliments.

Sound file: xilxoselectionjazzmasterride 
Size: 24″ (very unusual for a paper thin ride this size)
Weight: 2200 g (should be the lowest edge of thinness)
Profile height: from edge to bell top 2.5″ (very low bow)
Bell size: 5.5″

I am planning to use other cymbals from the Selection Jazz Master series in the future and I will post their characteristics in this blog.

I am in love with this incredible ride and would like to share my opinion with you.

This ride is an esssential piece of my drum kit. It has a sizzling dark sound with a lot of sustain which fits my style. Its thinness gives a lot of sensitivity. When I use this ride I always receive compliments.

Sound file: xilxoselectionjazzmasterride 
Size: 24″ (very unusual for a paper thin ride this size)
Weight: 2200 g (should be the lowest edge of thinness)
Profile height: from edge to bell top 2.5″ (very low bow)
Bell size: 5.5″

I am planning to use other cymbals from the Selection Jazz Master series in the future and I will post their characteristics in this blog.

I am in love with this incredible ride and would like to share my opinion with you.

This ride is an esssential piece of my drum kit. It has a sizzling dark sound with a lot of sustain which fits my style. Its thinness gives a lot of sensitivity. When I use this ride I always receive compliments.

Sound file: xilxoselectionjazzmasterride 
Size: 24″ (very unusual for a paper thin ride this size)
Weight: 2200 g (should be the lowest edge of thinness)
Profile height: from edge to bell top 2.5″ (very low bow)
Bell size: 5.5″

I am planning to use other cymbals from the Selection Jazz Master series in the future and I will post their characteristics in this blog.

I am in love with this incredible ride and would like to share my opinion with you.

This ride is an esssential piece of my drum kit. It has a sizzling dark sound with a lot of sustain which fits my style. Its thinness gives a lot of sensitivity. When I use this ride I always receive compliments.

Sound file: xilxoselectionjazzmasterride 
Size: 24″ (very unusual for a paper thin ride this size)
Weight: 2200 g (should be the lowest edge of thinness)
Profile height: from edge to bell top 2.5″ (very low bow)
Bell size: 5.5″

I am planning to use other cymbals from the Selection Jazz Master series in the future and I will post their characteristics in this blog.

I am in love with this incredible ride and would like to share my opinion with you.

This ride is an esssential piece of my drum kit. It has a sizzling dark sound with a lot of sustain which fits my style. Its thinness gives a lot of sensitivity. When I use this ride I always receive compliments.

Sound file: xilxoselectionjazzmasterride 
Size: 24″ (very unusual for a paper thin ride this size)
Weight: 2200 g (should be the lowest edge of thinness)
Profile height: from edge to bell top 2.5″ (very low bow)
Bell size: 5.5″

I am planning to use other cymbals from the Selection Jazz Master series in the future and I will post their characteristics in this blog.

I am in love with this incredible ride and would like to share my opinion with you.

This ride is an esssential piece of my drum kit. It has a sizzling dark sound with a lot of sustain which fits my style. Its thinness gives a lot of sensitivity. When I use this ride I always receive compliments.

Sound file: xilxoselectionjazzmasterride 
Size: 24″ (very unusual for a paper thin ride this size)
Weight: 2200 g (should be the lowest edge of thinness)
Profile height: from edge to bell top 2.5″ (very low bow)
Bell size: 5.5″

I am planning to use other cymbals from the Selection Jazz Master series in the future and I will post their characteristics in this blog.

I am in love with this incredible ride and would like to share my opinion with you.

This ride is an esssential piece of my drum kit. It has a sizzling dark sound with a lot of sustain which fits my style. Its thinness gives a lot of sensitivity. When I use this ride I always receive compliments.

Sound file: xilxoselectionjazzmasterride 
Size: 24″ (very unusual for a paper thin ride this size)
Weight: 2200 g (should be the lowest edge of thinness)
Profile height: from edge to bell top 2.5″ (very low bow)
Bell size: 5.5″

I am planning to use other cymbals from the Selection Jazz Master series in the future and I will post their characteristics in this blog.

I am in love with this incredible ride and would like to share my opinion with you.

This ride is an esssential piece of my drum kit. It has a sizzling dark sound with a lot of sustain which fits my style. Its thinness gives a lot of sensitivity. When I use this ride I always receive compliments.

Sound file: xilxoselectionjazzmasterride 
Size: 24″ (very unusual for a paper thin ride this size)
Weight: 2200 g (should be the lowest edge of thinness)
Profile height: from edge to bell top 2.5″ (very low bow)
Bell size: 5.5″

I am planning to use other cymbals from the Selection Jazz Master series in the future and I will post their characteristics in this blog.

Airlock happens with hi-hat cymbals when they don’t come together and make a clean, loud “chick” sound, but instead more of a muted, “airy” sound. This usually happens when both cymbals are paralell to each other, that’s why every hi-hat stand allows you to tilt the bottom cymbal, to eliminate this.

Some hi-hat cymbal sets have air holes in the bottom cymbal like quickbeats, its lets air escape rather than airlock, so that they don’t have to be tilted.

Some drummers use the benefits of the airlock concept, they can use it to somewhat adjust the volume of the chick. If it’s too loud, you can bring the bottom cymbal closer to flat, and if it’s too quiet, you can make it louder.

Typically sound wise, cymbals get a more mellow sound with aging and patina build up. Mostly they lose some of the sharpness and “attack”. They may also lose some of the darkness as well (lower overtones). Cleaning will definitely change the sound and whether a good thing or not.

From the point of view of strength, copper alloys like brass and bronze work harden so that means that as they are deformed they will harden. With harness comes brittleness. In theory, each time a drummer hits the cymbal they get a very slight deformation and so over time the cymbal should get harder and more brittle. It’s not from age; it’s from the actual work hardening that takes place over a lifetime of playing.

The big thing to watch out for is major deformation to the cymbal such as dents and dings, key holing, home drilled rivet holes, etc. This will change the sound of an old cymbal way more than patina or general aging.

There are two general types of dry rides. One gets it’s dryness from it’s heavy weight and usually un-lathed and hammered as examples are Xilxo Legend Turk rides. Another type of dryness in cymbals is light in weight, light in the profile area- giving a sort of “hollow dryness” - typically with very low, integrated bells.

Dry rides with a lot of stick definition are great in situations where the music has bit of forward motion like played with an acoustic piano. The created sound there will be good for intricate sticking patterns.

You might sometimes feel a bit “naked” and need to play more to fill in the sound when you play dry rides. With dry cymbals in general it is more “rythmic” approach, whereas you might tend to play more ‘melodically’ with a wetter sound, and feel more comfortable leaving a bit of space in the music to let it breathe.

Some drummers prefer to keep their top hats loose in a dancing motion and have not experience any problems like keyholing and breakage. They use a rocking heel-to-toe motion on the foot pedal to maintain the stability while playing.

Keyholing is usually caused by having a cymbal constantly hanging due to the cymbal stand being tilted. Hi-hats are mounted more or less flat so they don’t get much pressure from gravity that might cause a keyhole. And they rotate naturally when played on so it would not wear away at the same bit all the time. Key holes are mainly caused when hitting very heavy and mounting on the clutch wrongly. The top hat clutch has to be adjusted in a way that the top hat cymbal stays on the unthreaded area on the rod and would not go high enough to hit the thread.

Beside very heavy hitting hi-hat breakage is caused not always paying attention to the clutch when played with a heavy foot. The clutch can loosen up on the rod that actuates it. The top hat can wind up two or three inches away from the bottom hat and they clash with some big force that would result a broken top hat.

The profile (height) and diameter of a bell relative to the cymbal’s diameter has a significant direct effect on the cymbal’s sustain and tone. The bigger the bell, the longer sustain and greater overtones the cymbal will produce. Flat rides generally have a clear, crystalline, and “tight” sound. A flat ride may have just as many overtones as a regular cymbal but they decay away so quickly that we dont hear them except for the first fraction of a second. They have an interesting crash that won’t lose control.

When you hear a flat you hear the stick and higher overtones a lot because there is no mid frequency ping from a bell and hence it seems quiter. Even though the lack of a bell usually places flat rides into a “niche” category, there is still a broad range of flat ride sounds based upon two variables: size and thickness. I’ve heard flats that produce a one dimensional, clear “ping” (big thick ones), yet others produce a dry, crisp “tah” with a subtle dark wash underneath (small thin ones). Somewhere in between fall many of the rest.

Positioning a ride cymbal is more personal preference depending to drummer. Cymbal height and angle will not only affect the comfort and playability, but its sound to the drummer and the audience.

If you position a ride cymbal very low and flat, it will decrease some of the cymbal’s projection to the audience, because the sound will be reflected into the drums. However, this placement can often be very comfortable because it requires the least amount of wide arm and faster movement around the kit (less energy expenditure). Keeping cymbals at shoulder height will also reduce the strain on your back from leaning forward. A much higher and angled ride cymbal will provide greater projection to the audience but it will be less comfortable to play for long periods of time.

The key for positioning your ride is to find the balance between playability and projection. When ride cymbal is used frequently like playing in jazz, long-term endurance should be here considered.

About cymbals break-in subject, there always seems to be some drummers that say ‘yes, cymbals do change over time’, and the others saying ‘it’s only your ears’.

German Drummer Jochen Rückert once said, he breaks-in cymbals playing cymbal rolls with mallets for hours again and again.

Likewise some believe, when a cymbal is tempered, soft and hard molecules are formed and need to settle down from all the hammering, and this stabilization results in a lower fundamental pitch and more wash. The main cause of changes in a cymbal’s sound over time is relaxation and redistribution of molecular tension imparted in the manufacturing process. The molecular structure of bronze in a cymbal changes continually over it’s life, more quickly immediately after manufacture, and then slowing down gradually over time.

In my experience, cymbals take on a less ‘metallic’ sound as they are played and the metal ages, creating a more pleasing, musical sound. The patina also plays a role suppressing some of those unwanted high or mid hairy frequencies.

Hi-hat’s with relatively same physical characteristics but with different sizes sound generall different.

Smaller diameter hi-hats will be generally higher in pitch and produce a relatively quicker, more compact sound. They yield a tighter, crisper chick sound. The drawback to the quickness of response of a smaller hi-hat is the fact that very few of them yield the rich wash that a larger diameter hi-hat set can.

Bigger sized hi-hats are more controlled, easier to get various dynamics out of and also fuller sounding. If the bigger sized hats are heavier and higher pitched, you can get a real sizzle sound. If they’re thin and lower pitched, then the wash can be dark and lush. But the wash seems to sustain more, right up to the closure.

Hi-hat’s with relatively same physical characteristics but with different sizes sound generall different.

Smaller diameter hi-hats will be generally higher in pitch and produce a relatively quicker, more compact sound. They yield a tighter, crisper chick sound. The drawback to the quickness of response of a smaller hi-hat is the fact that very few of them yield the rich wash that a larger diameter hi-hat set can.

Bigger sized hi-hats are more controlled, easier to get various dynamics out of and also fuller sounding. If the bigger sized hats are heavier and higher pitched, you can get a real sizzle sound. If they’re thin and lower pitched, then the wash can be dark and lush. But the wash seems to sustain more, right up to the closure.

The impression is that thinner cymbals get the edge wobble, which is in general true. There are many factors to cause a cymbal wobble like how it is produced, hammered, lathed etc. A lot of times it is not just how heavy the whole pie is, but the distribution of the weight. If a cymbal has a much thinner taper towards the edge, even a heavy cymbal can wobble a lot.

At the impact of the stick the kinetic energy is transfered into the cymbal and stored in it, basically denting it temporarily. The elastic power in the cymbal then restores the original undisturbed shape, thus creating a contrary wavey movement can also be called wobble. Whenever the wave reaches to the edge, bell, center hole or even a hammer mark; it is reflected and sent back. Like a pebble dropped in a tub full of water, two waves interacting with each other creating a new wave. This complex wavey wobble repeates until the cymbal stops moving.

The impression is that thinner cymbals get the edge wobble, which is in general true. There are many factors to cause a cymbal wobble like how it is produced, hammered, lathed etc. A lot of times it is not just how heavy the whole pie is, but the distribution of the weight. If a cymbal has a much thinner taper towards the edge, even a heavy cymbal can wobble a lot.

At the impact of the stick the kinetic energy is transfered into the cymbal and stored in it, basically denting it temporarily. The elastic power in the cymbal then restores the original undisturbed shape, thus creating a contrary wavey movement can also be called wobble. Whenever the wave reaches to the edge, bell, center hole or even a hammer mark; it is reflected and sent back. Like a pebble dropped in a tub full of water, two waves interacting with each other creating a new wave. This complex wavey wobble repeates until the cymbal stops moving.

Following is an article of a study that you might find interesting:

Modal Analysis of Musical Instruments Using Electronic TV Holography

Thomas D. Rossing- Rossing@physics.niu.edu
Physics Department
Northern Illinois University
DeKalb, IL 60115

Popular version of paper 4aMUa2
Presented Thursday morning, December 7, 2000
ASA/NOISE-CON 2000 Meeting, Newport Beach, CA

Holographic interferometry provides a means for mapping the motion of vibrating objects by using holography. What results is a sort of contour map that indicates the relative motion of all locations on a vibrating surface. Holographic interferometery gives the best spatial resolution of any method of modal analysis. However, recording holograms on photographic film is time consuming and does not allow one to view the hologram continuously.

Electronic TV holography was developed partly in the aerospace industry to study vibrations. This technique uses a sensitive TV camera and a computer to create an electronic hologram pixel by pixel for display on a TV monitor. It essentially allows one to observe the holographic interferogram in real time as the driving frequency of the vibrating system is varied and results in an enormous saving in time over the photographic method.

We have applied this electronic TV holography to study the vibrational modes of several musical instruments, including violins, guitars, mandolins, bells, steelpans, cymbals, bronze drums, and gongs of various types. Understanding the way in which a musical instrument vibrates is tantamount to understanding how it produces musical sound and how it can be modified and improved.

Shown below is a series of holographic interferograms of a crash cymbal. Each one shows one mode of vibration of the cymbal with one to six nodal diameters. In each case the bright lines are nodal lines, which act as pivots as the cymbal vibrates. The modes in the top row have no nodal circles, while those in the second row each have one nodal circle, those in the third row have two, and those in the fourth row have three nodal circles. When a cymbal is struck, all of these modes are excited, as well as others, resulting in a bright musical sound.

By examining the holographic interferograms, it is possible to determine just how much each point on the vibrating surface moves and thus to determine the radiated sound field. The interferograms tell us what the sonic ingredients are, but the changing sound spectrum tells us how strongly each mode is excited during a cymbal crash. In the case of a cymbal, some modes of vibration are large initially but die away and as they do they furnish energy to other modes, so that the sound spectrum changes with time, giving the cymbal sound its characteristic “shimmer.”

Reference: www.acoustics.org/press/140th/rossing.htm

Following is an article of a study that you might find interesting:

Modal Analysis of Musical Instruments Using Electronic TV Holography

Thomas D. Rossing- Rossing@physics.niu.edu
Physics Department
Northern Illinois University
DeKalb, IL 60115

Popular version of paper 4aMUa2
Presented Thursday morning, December 7, 2000
ASA/NOISE-CON 2000 Meeting, Newport Beach, CA

Holographic interferometry provides a means for mapping the motion of vibrating objects by using holography. What results is a sort of contour map that indicates the relative motion of all locations on a vibrating surface. Holographic interferometery gives the best spatial resolution of any method of modal analysis. However, recording holograms on photographic film is time consuming and does not allow one to view the hologram continuously.

Electronic TV holography was developed partly in the aerospace industry to study vibrations. This technique uses a sensitive TV camera and a computer to create an electronic hologram pixel by pixel for display on a TV monitor. It essentially allows one to observe the holographic interferogram in real time as the driving frequency of the vibrating system is varied and results in an enormous saving in time over the photographic method.

We have applied this electronic TV holography to study the vibrational modes of several musical instruments, including violins, guitars, mandolins, bells, steelpans, cymbals, bronze drums, and gongs of various types. Understanding the way in which a musical instrument vibrates is tantamount to understanding how it produces musical sound and how it can be modified and improved.

Shown below is a series of holographic interferograms of a crash cymbal. Each one shows one mode of vibration of the cymbal with one to six nodal diameters. In each case the bright lines are nodal lines, which act as pivots as the cymbal vibrates. The modes in the top row have no nodal circles, while those in the second row each have one nodal circle, those in the third row have two, and those in the fourth row have three nodal circles. When a cymbal is struck, all of these modes are excited, as well as others, resulting in a bright musical sound.

By examining the holographic interferograms, it is possible to determine just how much each point on the vibrating surface moves and thus to determine the radiated sound field. The interferograms tell us what the sonic ingredients are, but the changing sound spectrum tells us how strongly each mode is excited during a cymbal crash. In the case of a cymbal, some modes of vibration are large initially but die away and as they do they furnish energy to other modes, so that the sound spectrum changes with time, giving the cymbal sound its characteristic “shimmer.”

Reference: www.acoustics.org/press/140th/rossing.htm

Following is an article of a study that you might find interesting:

Modal Analysis of Musical Instruments Using Electronic TV Holography

Thomas D. Rossing- Rossing@physics.niu.edu
Physics Department
Northern Illinois University
DeKalb, IL 60115

Popular version of paper 4aMUa2
Presented Thursday morning, December 7, 2000
ASA/NOISE-CON 2000 Meeting, Newport Beach, CA

Holographic interferometry provides a means for mapping the motion of vibrating objects by using holography. What results is a sort of contour map that indicates the relative motion of all locations on a vibrating surface. Holographic interferometery gives the best spatial resolution of any method of modal analysis. However, recording holograms on photographic film is time consuming and does not allow one to view the hologram continuously.

Electronic TV holography was developed partly in the aerospace industry to study vibrations. This technique uses a sensitive TV camera and a computer to create an electronic hologram pixel by pixel for display on a TV monitor. It essentially allows one to observe the holographic interferogram in real time as the driving frequency of the vibrating system is varied and results in an enormous saving in time over the photographic method.

We have applied this electronic TV holography to study the vibrational modes of several musical instruments, including violins, guitars, mandolins, bells, steelpans, cymbals, bronze drums, and gongs of various types. Understanding the way in which a musical instrument vibrates is tantamount to understanding how it produces musical sound and how it can be modified and improved.

Shown below is a series of holographic interferograms of a crash cymbal. Each one shows one mode of vibration of the cymbal with one to six nodal diameters. In each case the bright lines are nodal lines, which act as pivots as the cymbal vibrates. The modes in the top row have no nodal circles, while those in the second row each have one nodal circle, those in the third row have two, and those in the fourth row have three nodal circles. When a cymbal is struck, all of these modes are excited, as well as others, resulting in a bright musical sound.

By examining the holographic interferograms, it is possible to determine just how much each point on the vibrating surface moves and thus to determine the radiated sound field. The interferograms tell us what the sonic ingredients are, but the changing sound spectrum tells us how strongly each mode is excited during a cymbal crash. In the case of a cymbal, some modes of vibration are large initially but die away and as they do they furnish energy to other modes, so that the sound spectrum changes with time, giving the cymbal sound its characteristic “shimmer.”

Reference: www.acoustics.org/press/140th/rossing.htm

“Wash” for cymbals refer to the amount of sustain or overtones the cymbal has. Wash is the sonic cushion between notes, kind of like the sustain pedal on a piano.

A thinner cymbal will have a lower tone and more wash. A thicker cymbal will have a higher tone and a more distinct “ping.” Other than thickness, other factors like hammering also the lathing has a lot to do with wash, the more and/or deeper lathing, the more wash. Also, bell size affects wash dramatically; notice that flat rides can’t build up enough to overtake the stick. Flat profiles tend to bring out more overtones, while higher ones restrict them.

Many drummers like a balance of both wash and ping with many cymbals that can be managed by where and how the cymbal is strike.

Xilxo Blog is a great way to let your knowledge shared and connected with other Xilxo users and blog members. There are many things you can do with this blog:

Reviews:

This is a place for Xilxo blog members to share their opinions about products.

You can write a simple review (for example, analyze a cymbal you are used) or give first-hand information (perhaps you’re a cymbal expert). This is your opportunity to share your opinions and expertise, and help others. Writers can insert pictures, special formatting, links, and headings.

Guides:

They enable Xilxo cymbals users to share their expertise. Whatever your interest or expertise, you can write a guide on it. Possible topics include:  

• How to set your drum kit with Xilxo cymbals
• Tips on playing Xilxo cymbals
• All about cymbal care

Guides help readers learn about almost any topic or product category. Writers can insert pictures, special formatting, links, and headings.

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I am always torn on this question because having too much wash can turn a good ride cymbal into a whitenoise factory; on the other hand, having too much ping would tend to make things sound too sterile. The answer might be somewhere in the middle. It depends on what you wish to say on a piece and there is no standard.

A jazz ride would have light earthy tones on the edge, slightly clearer on the bow, and mid range ping on and near the bell. You need a good amount of ping and a good amount of wash, both equal amounts, to have a good sounding jazz ride cymbal. I tried Xilxo Echoes 22″ ride, it has got good stick definition and a very controlled wash with dark undertones. not very pingy, not very washy.

Cymbal timbre is that unique combination of fundamental frequency, harmonics, and overtones that gives each cymbal its unique color and quality.

Cymbal timbre is actually a less fundamental acoustic parameter than frequency, but it is indispensable in describing the texture or “feel” of a cymbal sound. Cymbal timbre can help articulate portions of the music being played.

Cymbals are not even in thickness all the way round, there are some parts thicker or more dense than others. Unevenness of cymbals that give them their complex voices and many choices of colors when you strike different parts of them.

When they are tilted, it will always roll to the heaviest side that is also called natural balancing of the cymbal. If you have favorite sweet spot on your cymbal on thin part it will stay always on the far side. When you crash a ride a lot though, it will always find it’s way back to where it naturally wants to sit on the stand. Another cause for rolling to the heaviest side on the stand might be slightly off drilled center holes.

Although the solution playing on sweet spot would be flatten the cymbal angle out so that gravity wont have as much effect, many drummers play cymbals letting them move freely.

Cymbals are not even in thickness all the way round, there are some parts thicker or more dense than others. Unevenness of cymbals that give them their complex voices and many choices of colors when you strike different parts of them.

When they are tilted, it will always roll to the heaviest side that is also called natural ballancing of the cymbal. If you have favorite sweet spot on your cymbal on thin part it will stay always on the far side. When you crash a ride alot though, it will always find it’s way back to where it naturally wants to sit on the stand. Another cause for rolling to the heaviest side on the stand might be slightly off drilled center holes.

Although the solution playing on sweet spot would be flatten the cymbal angle out so that gravity wont have as much effect, many drummers play cymbals letting them move freely.

Hi-hat’s with relatively same physical characteristics but with different sizes sound generall different.

Smaller diameter hi-hats will be generally higher in pitch and produce a relatively quicker, more compact sound. They yield a tighter, crisper chick sound. The drawback to the quickness of response of a smaller hi-hat is the fact that very few of them yield the rich wash that a larger diameter hi-hat set can.

Bigger sized hi-hats are more controlled, easier to get various dynamics out of and also fuller sounding. If the bigger sized hats are heavier and higher pitched, you can get a real sizzle sound. If they’re thin and lower pitched, then the wash can be dark and lush. But the wash seems to sustain more, right up to the closure.

Complex sound on a cymbal is created by having differing pockets of tension stored in the metal, so that the vibration after stike activates a wider band of frequencies, frequencies which are transmitted from different radial areas on the cymbal.

Generally less complex cymbals have a smoother, less interrupted path for the vibration to travel through. A cymbal of greater complexity, like Xilxo Echoes, has an inherently reduced volume potential.

I’m a full time jazzer, and I also use this cymbal to play Pop/RnB/Funk too, and it can handle it without any hassle at all. It’s absolutely amazing…

I was drawn to the K Custom Dry Ride, but it’s just a bit too ‘pingy’ for jazz, the K Custom Dry Light is is a bit too dry for me, almost dull sounding.

The Xilxo Legend Turk’s got a sweet stick definition, but the under/over tones are….well…almost edible. It’s so dirty and raw, on the brink of complex. If there’s going to be one dry ride for jazz…this has gotta be it.

A cymbal sound begins when stroke at “a” and reaches its peak at level “b” (attack), than drops slightly in level and remains steady until “c” (sustain) and when the sound source is removed at “c”, it drops to a point of silence (decay).

The way a cymbal sound is initiated is called attack. The closer “a” is to the peak “b”, the faster cymbal attack is. Cymbals that have a slow attack take longer to build to the sustain level.

Once a cymbal sound has reached its peak, the length of time that the cymbal sound will sustain is dependent upon the energy from the source vibrations. When the source cymbal sound stops, it will began to decay. Manipulating the sustain time of a cymbal sound is yet another way of either modifying a cymbal sound or create a totally new one.

The bell provides the cutting tone from where the ping of a cymbal is mostly generated while it’s profile contributes to provide the wash and shimmer. In a typical cymbal, sound travels in waves both concentrically and from the cymbal edge to the bell. The bell bounces the sound wave back to the edge of the cymbal creating the sustained sound. The bell of a cymbal outputs mostly midrange frequencies of in the 2000 to 3000 Hz area that the human hearing is most sensitive.

The height and shape of a bell contributes to the sound potential it can provide to a cymbal. In general larger cymbal bells like in rock crashes provide greater volume potential than a smaller one. While smaller and higher bells of a cymbal tend in a dry response, larger and lower bells provide generally more wash.

The bell provides the cutting tone from where the ping of a cymbal is mostly generated while it’s profile contributes to provide the wash and shimmer. In a typical cymbal, sound travels in waves both concentrically and from the cymbal edge to the bell. The bell bounces the sound wave back to the edge of the cymbal creating the sustained sound. The bell of a cymbal outputs mostly midrange frequencies of in the 2000 to 3000 Hz area that the human hearing is most sensitive.

The height and shape of a bell contributes to the sound potential it can provide to a cymbal. In general larger cymbal bells like in rock crashes provide greater volume potential than a smaller one. While smaller and higher bells of a cymbal tend in a dry response, larger and lower bells provide generally more wash.

When a cymbal vibrates it projects sound waves of a certain frequency. This frequency, in turn, sets in motion frequency waves called overtone. The combination of basic frequency of cymbal sound and its overtones is a complex wave form. The basic frequency and its resultant overtones also determine the timbre of a cymbal sound. The greater the number of overtones, the more interesting is the cymbal sound that is produced.

It is a cymbals’s ability to vibrate and set up overtones that determines the pleasantness of the resultant sound. Some cymbals set up overtones as in many Xilxo Circa 1600 series that are more pleasant than other cymbals.

When a cymbal vibrates it projects sound waves of a certain frequency. This frequency, in turn, sets in motion frequency waves called overtone. The combination of basic frequency of cymbal sound and its overtones is a complex wave form. The basic frequency and its resultant overtones also determine the timbre of a cymbal sound. The greater the number of overtones, the more interesting is the cymbal sound that is produced.

It is a cymbals’s ability to vibrate and set up overtones that determines the pleasantness of the resultant sound. Some cymbals set up overtones as in many Xilxo Circa 1600 series that are more pleasant than other cymbals.

For anyone who is interested in cymbals there is one “must have” resource book:

The Cymbal Book

By Hugo Pinksterboer, Rick Mattingly
Contributor Rick Mattingly
Published by Hal Leonard Corporation, 1993
ISBN 0793519209, 9780793519200
212 pages

The Cymbal Book is the first book of its kind. It details the 5000-year history and development of these fascinating instruments. Based on visits to all the major cymbal manufacturing companies and interviews with the world’s leading drummers, journalist and drummer Hugo Pinksterboer has created a well-documented and readable book, featuring over 200 photos and a 16-page color photo section. It covers topics such as selection and testing, acoustics, ideas for set-ups, cleaning, and repair, and much, much more. Whether read for enjoyment or used as a specific reference guide, The Cymbal Book will answer every question on this subject.

For anyone who is interested in cymbals there is one “must have” resource book:

The Cymbal Book

By Hugo Pinksterboer, Rick Mattingly
Contributor Rick Mattingly
Published by Hal Leonard Corporation, 1993
ISBN 0793519209, 9780793519200
212 pages

The Cymbal Book is the first book of its kind. It details the 5000-year history and development of these fascinating instruments. Based on visits to all the major cymbal manufacturing companies and interviews with the world’s leading drummers, journalist and drummer Hugo Pinksterboer has created a well-documented and readable book, featuring over 200 photos and a 16-page color photo section. It covers topics such as selection and testing, acoustics, ideas for set-ups, cleaning, and repair, and much, much more. Whether read for enjoyment or used as a specific reference guide, The Cymbal Book will answer every question on this subject.

For anyone who is interested in cymbals there is one “must have” resource book:

The Cymbal Book

By Hugo Pinksterboer, Rick Mattingly
Contributor Rick Mattingly
Published by Hal Leonard Corporation, 1993
ISBN 0793519209, 9780793519200
212 pages

The Cymbal Book is the first book of its kind. It details the 5000-year history and development of these fascinating instruments. Based on visits to all the major cymbal manufacturing companies and interviews with the world’s leading drummers, journalist and drummer Hugo Pinksterboer has created a well-documented and readable book, featuring over 200 photos and a 16-page color photo section. It covers topics such as selection and testing, acoustics, ideas for set-ups, cleaning, and repair, and much, much more. Whether read for enjoyment or used as a specific reference guide, The Cymbal Book will answer every question on this subject.

I found an interesting article about Ottoman/Turkish cymbals:

Turkish Cymbals - by Alex Gallafent
January 11, 2008

“All this week, we’ve been visiting the Turkish city of Istanbul. It’s a place where history won’t stay in the past. In fact, Istanbul’s history is playing a big part in shaping the city’s future. Some of you wrote to comment on our series. Aubree Caunter, of Cleveland, came back to the US last August after living in Istanbul for several years.

Thank you, she writes, for highlighting Istanbul and all its quirky charms. Here’s another quirky bit of Istanbul for you. It involves cymbals — you know, drum cymbals. In the final part of our series from Istanbul, The World’s Alex Gallafent explores an industry that’s both ancient and modern.

Throw your mind back a few hundred years, to the 17th century. You’re a visitor to Constantinople, the capital of the Ottoman Empire. Let’s say you’re an important visitor - an ambassador maybe.

Walking through the Topkapi Palace, you’re greeted by these sounds. It’s an Ottoman military band. Usually they play stirring music on the battlefield. Today, they’re performing a sedate march to welcome you to Constantinople. Listen out, in particular, for the jangling cymbals high up in the music.

Jump forward to modern times, and you’ll see those Ottoman cymbals have evolved. Now they’re key to the sound of different music. American music.
Jazz.

Say hello to drummer Mel Lewis and his Jazz Orchestra, burning through a tune in the late 1980s. In that recording, Mel Lewis is playing Turkish cymbals. In fact, more or less the whole tradition of cymbal-making in modern music comes from Turkey.

The Chinese were making cymbals centuries ago, too, but it’s Turkey that’s led the way in modern times…”

http://www.theworld.org/?q=node/15295

I found an interesting article about Ottoman/Turkish cymbals:

Turkish Cymbals - by Alex Gallafent
January 11, 2008

“All this week, we’ve been visiting the Turkish city of Istanbul. It’s a place where history won’t stay in the past. In fact, Istanbul’s history is playing a big part in shaping the city’s future. Some of you wrote to comment on our series. Aubree Caunter, of Cleveland, came back to the US last August after living in Istanbul for several years.

Thank you, she writes, for highlighting Istanbul and all its quirky charms. Here’s another quirky bit of Istanbul for you. It involves cymbals — you know, drum cymbals. In the final part of our series from Istanbul, The World’s Alex Gallafent explores an industry that’s both ancient and modern.

Throw your mind back a few hundred years, to the 17th century. You’re a visitor to Constantinople, the capital of the Ottoman Empire. Let’s say you’re an important visitor - an ambassador maybe.

Walking through the Topkapi Palace, you’re greeted by these sounds. It’s an Ottoman military band. Usually they play stirring music on the battlefield. Today, they’re performing a sedate march to welcome you to Constantinople. Listen out, in particular, for the jangling cymbals high up in the music.

Jump forward to modern times, and you’ll see those Ottoman cymbals have evolved. Now they’re key to the sound of different music. American music.
Jazz.

Say hello to drummer Mel Lewis and his Jazz Orchestra, burning through a tune in the late 1980s. In that recording, Mel Lewis is playing Turkish cymbals. In fact, more or less the whole tradition of cymbal-making in modern music comes from Turkey.

The Chinese were making cymbals centuries ago, too, but it’s Turkey that’s led the way in modern times…”

http://www.theworld.org/?q=node/15295

I bought two Xilxo Legend Turk rides (20″; 21″) from Cymbal House. Received them about 2 weeks before bringing musicians into my studio to record my next cd. These Legend Turk cymbals are amazing. Serious trash, superbly sensitive, nice stick definition and beautifully dirty crash with a wash that I´ve dreamed of and now finally have.

I bought two Xilxo Legend Turk rides (20″; 19″) from Cymbal House. Received them about 2 weeks before bringing musicians into my studio to record my next cd. These Legend Turk cymbals are amazing. Serious trash, superbly sensitive, nice stick definition and beautifully dirty crash with a wash that I´ve dreamed of and now finally have.

I bought two Xilxo Legend Turk rides (20″; 21″) from Cymbal House. Received them about 2 weeks before bringing musicians into my studio to record my next cd. These Legend Turk cymbals are amazing. Serious trash, superbly sensitive, nice stick definition and beautifully dirty crash with a wash that I´ve dreamed of and now finally have.

I bought two Xilxo Legend Turk rides (20″; 19″) from Cymbal House. Received them about 2 weeks before bringing musicians into my studio to record my next cd. These Legend Turk cymbals are amazing. Serious trash, superbly sensitive, nice stick definition and beautifully dirty crash with a wash that I´ve dreamed of and now finally have.

I bought two Xilxo Legend Turk rides (20″; 19″) from Cymbal House. Received them about 2 weeks before bringing musicians into my studio to record my next cd. These Legend Turk cymbals are amazing. Serious trash, superbly sensitive, nice stick definition and beautifully dirty crash with a wash that I´ve dreamed of and now finally have.

I found an interesting article about Ottoman/Turkish cymbals:

Turkish Cymbals - by Alex Gallafent
January 11, 2008

“All this week, we’ve been visiting the Turkish city of Istanbul. It’s a place where history won’t stay in the past. In fact, Istanbul’s history is playing a big part in shaping the city’s future. Some of you wrote to comment on our series. Aubree Caunter, of Cleveland, came back to the US last August after living in Istanbul for several years.

Thank you, she writes, for highlighting Istanbul and all its quirky charms. Here’s another quirky bit of Istanbul for you. It involves cymbals — you know, drum cymbals. In the final part of our series from Istanbul, The World’s Alex Gallafent explores an industry that’s both ancient and modern.

Throw your mind back a few hundred years, to the 17th century. You’re a visitor to Constantinople, the capital of the Ottoman Empire. Let’s say you’re an important visitor - an ambassador maybe.

Walking through the Topkapi Palace, you’re greeted by these sounds. It’s an Ottoman military band. Usually they play stirring music on the battlefield. Today, they’re performing a sedate march to welcome you to Constantinople. Listen out, in particular, for the jangling cymbals high up in the music.

Jump forward to modern times, and you’ll see those Ottoman cymbals have evolved. Now they’re key to the sound of different music. American music.
Jazz.

Say hello to drummer Mel Lewis and his Jazz Orchestra, burning through a tune in the late 1980s. In that recording, Mel Lewis is playing Turkish cymbals. In fact, more or less the whole tradition of cymbal-making in modern music comes from Turkey.

The Chinese were making cymbals centuries ago, too, but it’s Turkey that’s led the way in modern times…”

http://www.theworld.org/?q=node/15295

I found an interesting article about Ottoman/Turkish cymbals:

Turkish Cymbals - by Alex Gallafent
January 11, 2008

“All this week, we’ve been visiting the Turkish city of Istanbul. It’s a place where history won’t stay in the past. In fact, Istanbul’s history is playing a big part in shaping the city’s future. Some of you wrote to comment on our series. Aubree Caunter, of Cleveland, came back to the US last August after living in Istanbul for several years.

Thank you, she writes, for highlighting Istanbul and all its quirky charms. Here’s another quirky bit of Istanbul for you. It involves cymbals — you know, drum cymbals. In the final part of our series from Istanbul, The World’s Alex Gallafent explores an industry that’s both ancient and modern.

Throw your mind back a few hundred years, to the 17th century. You’re a visitor to Constantinople, the capital of the Ottoman Empire. Let’s say you’re an important visitor - an ambassador maybe.

Walking through the Topkapi Palace, you’re greeted by these sounds. It’s an Ottoman military band. Usually they play stirring music on the battlefield. Today, they’re performing a sedate march to welcome you to Constantinople. Listen out, in particular, for the jangling cymbals high up in the music.

Jump forward to modern times, and you’ll see those Ottoman cymbals have evolved. Now they’re key to the sound of different music. American music.
Jazz.

Say hello to drummer Mel Lewis and his Jazz Orchestra, burning through a tune in the late 1980s. In that recording, Mel Lewis is playing Turkish cymbals. In fact, more or less the whole tradition of cymbal-making in modern music comes from Turkey.

The Chinese were making cymbals centuries ago, too, but it’s Turkey that’s led the way in modern times…”

http://www.theworld.org/?q=node/15295

When the cymbal is played, the energy gets transferred to the stand. You will be amazed when you put your hand on the stand and feel how much vibration goes down.

The angle of the cymbal on the stand determines the amount of vibration being transferred to the stand. A cymbal on a boom arm verses a straight stand, a heavy tripod verses a lightweight base sounds drastically different. Boom stands can make some cymbals rumble. All cymbal stands especially lightweight bases vibrate with the cymbal as oppose to absorbing the energy. Lighter stands make the cymbal feel a little looser and wide open, more than they change the sound of the cymbal.

The floor conditions are another factor to contribute in this matter. Flat stands on a hard surface can help bring out low tones, but on soft surface like carpet, a lot of the vibrations might dissipate into the stand and the floor rather than through the cymbal.

When the cymbal is played, the energy gets transferred to the stand. You will be amazed when you put your hand on the stand and feel how much vibration goes down.

The angle of the cymbal on the stand determines the amount of vibration being transferred to the stand. A cymbal on a boom arm verses a straight stand, a heavy tripod verses a lightweight base sounds drastically different. Boom stands can make some cymbals rumble. All cymbal stands especially lightweight bases vibrate with the cymbal as oppose to absorbing the energy. Lighter stands make the cymbal feel a little looser and wide open, more than they change the sound of the cymbal.

The floor conditions are here another factor to contribute in this matter. Flat stands on a hard surface can help bring out low tones, but on soft surface like carpet, a lot of the vibrations might dissipate into the stand and the floor rather than through the cymbal.

In almost every genre sizzle cymbals are used but they find more intense use in jazz. Sizzle cymbals are generally ride cymbals that rivets, chains or other rattles have been added to modify the sound with a sustaining silvery ring. Beside rides china cymbals, less commonly bottom hi-hats, crash and effect cymbals are also used for sizzle.

The effects created by rattles are louder, penetrating sizzling cymbal wash sounds. There is a natural balance how many rivets can be used on a cymbal. Too many or too heavy rattles can cause a negative unnatural effect by losing sustain and dynamic range of the cymbal. Usually evenly spaced minimum three rivets follow a close arc cluster parallel to the cymbal edge.

The bell provides the cutting tone from where the ping of a cymbal is generated while it’s profile provides the wash and shimmer. In a typical cymbal, sound travels in waves both concentrically and from the edge to the bell. The bell bounces the sound wave back to the edge of the cymbal creating a sustained sound. The bell of a cymbal outputs mostly midrange frequencies of in the 2000 to 3000 Hz area that the human hearing is most sensitive.

The height and shape of a bell contributes to the sound potential it can provide to a cymbal. In general larger cymbal bells like in rock crashes provide greater volume potential than a smaller one. While smaller and higher bells of a cymbal tend in a dry response, larger and lower bells provide more wash.

The profile (height) and diameter of a bell relative to the cymbal’s diameter has a significant direct effect on the cymbal’s sustain and tone. The bigger the bell, the longer sustain and greater overtones the cymbal will produce. Flat rides generally have a clear, crystalline, and “tight” sound. A flat ride may have just as many overtones as a regular cymbal but they decay away so quickly that we dont hear them except for the first fraction of a second. They have an interesting crash that won’t lose control.

When you hear a flat you hear the stick and higher overtones a lot because there is no mid frequency ping from a bell and hence it seems quiter. Even though the lack of a bell usually places flat rides into a “niche” category, there is still a broad range of flat ride sounds based upon two variables: size and thickness. I’ve heard flats that produce a one dimensional, clear “ping” (big thick ones), yet others produce a dry, crisp “tah” with a subtle dark wash underneath (small thin ones). Somewhere in between fall many of the rest.

The profile (height) and diameter of a bell relative to the cymbal’s diameter has a significant direct effect on the cymbal’s sustain and tone. The bigger the bell, the longer sustain and greater overtones the cymbal will produce. Flat rides generally have a clear, crystalline, and “tight” sound. A flat ride may have just as many overtones as a regular cymbal but they decay away so quickly that we dont hear them except for the first fraction of a second. They have an interesting crash that won’t lose control.

When you hear a flat you hear the stick and higher overtones a lot because there is no mid frequency ping from a bell and hence it seems quiter. Even though the lack of a bell usually places flat rides into a “niche” category, there is still a broad range of flat ride sounds based upon two variables: size and thickness. I’ve heard flats that produce a one dimensional, clear “ping” (big thick ones), yet others produce a dry, crisp “tah” with a subtle dark wash underneath (small thin ones). Somewhere in between fall many of the rest.

There are two general types of dry rides. One gets it’s dryness from it’s heavy weight and usually un-lathed and hammered as examples are Xilxo Legend Turk rides. Another type of dryness in cymbals is light in weight, light in the profile area- giving a sort of “hollow dryness” - typically with very low, integrated bells.

Dry rides with a lot of stick definition are great in situations where the music has bit of forward motion like played with an acoustic piano. The created sound there will be good for intricate sticking patterns.

You might sometimes feel a bit “naked” and need to play more to fill in the sound when you play dry rides. With dry cymbals in general it is more “rythmic” approach, whereas you might tend to play more ‘melodically’ with a wetter sound, and feel more comfortable leaving a bit of space in the music to let it breathe.

There are two general types of dry rides. One gets it’s dryness from it’s heavy weight and usually un-lathed and hammered as examples are Xilxo Legend Turk rides. Another type of dryness in cymbals is light in weight, light in the profile area- giving a sort of “hollow dryness” - typically with very low, integrated bells.

Dry rides with a lot of stick definition are great in situations where the music has bit of forward motion like played with an acoustic piano. The created sound there will be good for intricate sticking patterns.

You might sometimes feel a bit “naked” and need to play more to fill in the sound when you play dry rides. With dry cymbals in general it is more “rythmic” approach, whereas I tend to play more ‘melodically’ with a wetter sound, and feel more comfortable leaving a bit of space in the music to let it breathe.

There are two general types of dry rides. One gets it’s dryness from it’s heavy weight and usually un-lathed and hammered as examples are Xilxo Legend Turk rides. Another type of dryness in cymbals is light in weight, light in the profile area- giving a sort of “hollow dryness” - typically with very low, integrated bells.

Dry rides with a lot of stick definition are great in situations where the music has bit of forward motion like played with an acoustic piano. The created sound there will be good for intricate sticking patterns.

The sound we hear results from vibration in the air. The amplitude, or breadth, of vibrations produces our sense of loudness, or volume.

The loudness of a cymbal sound depends on the intensity of the sound stimulus. An explosive strike on a cymbal is loader than that of a soft stike because of the greater amount of air molecules the cymbal is capable of displacing.

Loudness becomes meaningful only if we are able to compare it with something. The sound of a cymbal may be greater in a small room, but actually go blending in the music if played in a concert hall.

Humans are most sensitive to frequencies in the midrange (250 Hz - 5000 Hz). When two sounds, a bass sound and a middle range sound are played at the same decibel, the listener perceive the middle range sound to be louder.

Loudness is also related to perceived distance; often the loader the sound, the closer we take it to be. A louder cymbal is sensed as in the acoustic “foreground”, while the less louder cymbal sinks to the background.

A cymbal sound begins when stroke at “a” and reaches its peak at level “b” (attack), than drops slightly in level and remains steady until “c” (sustain) and when the sound source is removed at “c”, it drops to a point of silence (decay).

The way a cymbal sound is initiated is called attack. The closer “a” is to the peak “b”, the faster cymbal attack is. Cymbals that have a slow attack take longer to build to the sustain level.

Once a cymbal sound has reached its peak, the length of time that the cymbal sound will sustain is dependent upon the energy from the source vibrations. When the source cymbal sound stops, it will began to decay. Manipulating the sustain time of a cymbal sound is yet another way of either modifying a cymbal sound or create a totally new one.

A cymbal sound begins when stroke at “a” and reaches its peak at level “b” (attack), than drops slightly in level and remains steady until “c” (sustain) and when the sound source is removed at “c”, it drops to a point of silence (decay).

The way a cymbal sound is initiated is called attack. The closer “a” is to the peak “b”, the faster cymbal attack is. Cymbals that have a slow attack take longer to build to the sustain level.

Once a cymbal sound has reached its peak, the length of time that the cymbal sound will sustain is dependent upon the energy from the source vibrations. When the source cymbal sound stops, it will began to decay. Manipulating the sustain time of a cymbal sound is yet another way of either modifying a cymbal sound or create a totally new one.

A cymbal sound begins when stroke at “a” and reaches its peak at level “b” (attack), than drops slightly in level and remains steady until “c” (sustain) and when the sound source is removed at “c”, it drops to a point of silence (decay).

The way a cymbal sound is initiated is called attack. The closer “a” is to the peak “b”, the faster cymbal attack is. Cymbals that have a slow attack take longer to build to the sustain level.

Once a cymbal sound has reached its peak, the length of time that the cymbal sound will sustain is dependent upon the energy from the source vibrations. When the source cymbal sound stops, it will began to decay. Manipulating the sustain time of a cymbal sound is yet another way of either modifying a cymbal sound or create a totally new one.

You can use more than one probably two ride cymbals in your set up depending what sound palate you are after and what’s needed for each musical situation.

Usually ride cymbals in a set up will each have a contrasting character going on for different musical applications, especially they find a very practical place when playing jazz. In choosing a second ride contrast will be the key, something that is going to produce a different sound but still fits in with your existing palate.

You can use more than one probably two ride cymbals in your set up depending what sound palate you are after and what’s needed for each musical situation.

Usually ride cymbals in a set up will each have a contrasting character going on for different musical applications, especially they find a very practical place when playing jazz. In choosing a second ride contrast will be the key, something that is going to produce a different sound but still fits in with your existing palate.

The sound we hear results from vibration in the air. The amplitude, or breadth, of vibrations produces our sense of loudness, or volume.

The loudness of a cymbal sound depends on the intensity of the sound stimulus. An explosive strike on a cymbal is loader than that of a soft stike because of the greater amount of air molecules the cymbal is capable of displacing.

Loudness becomes meaningful only if we are able to compare it with something. The sound of a cymbal may be greater in a small room, but actually go blending in the music if played in a concert hall.

Humans are most sensitive to frequencies in the midrange (250 Hz - 5000 Hz). When two sounds, a bass sound and a middle range sound are played at the same decibel, the listener perceive the middle range sound to be louder.

Loudness is also related to perceived distance; often the loader the sound, the closer we take it to be. A louder cymbal is sensed as in the acoustic “foreground”, while the less louder cymbal sinks to the background.

The sound we hear results from vibration in the air. The amplitude, or breadth, of vibrations produces our sense of loudness, or volume.

The loudness of a cymbal sound depends on the intensity of the sound stimulus. An explosive strike on a cymbal is loader than that of a soft stike because of the greater amount of air molecules the cymbal is capable of displacing.

Loudness becomes meaningful only if we are able to compare it with something. The sound of a cymbal may be greater in a small room, but actually go blending in the music if played in a concert hall.

Humans are most sensitive to frequencies in the midrange (250 Hz - 5000 Hz). When two sounds, a bass sound and a middle range sound are played at the same decibel, the listener perceive the middle range sound to be louder.

Loudness is also related to perceived distance; often the loader the sound, the closer we take it to be. A louder cymbal is sensed as in the acoustic “foreground”, while the less louder cymbal sinks to the background.

The sound we hear results from vibration in the air. The amplitude, or breadth, of vibrations produces our sense of loudness, or volume.

The loudness of a cymbal sound depends on the intensity of the sound stimulus. An explosive strike on a cymbal is loader than that of a soft stike because of the greater amount of air molecules the cymbal is capable of displacing.

Loudness becomes meaningful only if we are able to compare it with something. The sound of a cymbal may be greater in a small room, but actually go blending in the music if played in a concert hall.

Humans are most sensitive to frequencies in the midrange (250 Hz - 5000 Hz). When two sounds, a bass sound and a middle range sound are played at the same decibel, the listener perceive the middle range sound to be louder.

Loudness is also related to perceived distance; often the loader the sound, the closer we take it to be. A louder cymbal is sensed as in the acoustic “foreground”, while the less louder cymbal sinks to the background.

The pitch of a cymbal sound is determined by the frequency of the sound. Generally this is referred to the cymbal pitch.

The general rule is, the heavier a cymbal it projects the higher the pitch. In contrast thinner cymbals produce slower vibrations that cause lower pitch. The cymbal pitch depends on many factors such as how the cymbal is made regarding it’s hammering and shaping, profile, overall bell to edge thickness, choice of alloy, size and shape of the bell, lathing patterns etc. The height of the bell usually determines the pitch of a cymbal. The higher the bell the higher the pitch.

The frequency of sound vibrations on the cymbal governs pitch, or the perceived “highness” or “lowness” of the sound.

Low frequencies make the cymbal sound powerful and warm, midrange frequencies projects energy, high frequencies give a cymbal its “presence” that enables the audience hear it clearly.

Nevertheless cymbal pitch plays a useful role in picking out distinct cymbal sounds in music band. It helps to distinguish cymbal sound from other instruments. Low-pitched cymbal sounds, can evoke hollow sound character, while higher-pitched cymbal sounds suggest smoother sound character.

There is a very complex quality about the specifics of cymbals and they are always cymbals more evaluated for their sound rather than their physical characteristics.

The pitch of a cymbal sound is determined by the frequency of the sound. Generally this is referred to the cymbal pitch.

The general rule is, the heavier a cymbal it projects the higher the pitch. In contrast thinner cymbals produce slower vibrations that cause lower pitch. The cymbal pitch depends on many factors such as how the cymbal is made regarding it’s hammering and shaping, profile, overall bell to edge thickness, choice of alloy, size and shape of the bell, lathing patterns etc. The height of the bell usually determines the pitch of a cymbal. The higher the bell the higher the pitch.

The frequency of sound vibrations on the cymbal governs pitch, or the perceived “highness” or “lowness” of the sound.

Low frequencies make the cymbal sound powerful and warm, midrange frequencies projects energy, high frequencies give a cymbal its “presence” that enables the audience hear it clearly.

Nevertheless cymbal pitch plays a useful role in picking out distinct cymbal sounds in music band. It helps to distinguish cymbal sound from other instruments. Low-pitched cymbal sounds, can evoke hollow sound character, while higher-pitched cymbal sounds suggest smoother sound character.

There is a very complex quality about the specifics of cymbals and they are always cymbals more evaluated for their sound rather than their physical characteristics.

When a cymbal vibrates it projects sound waves of a certain frequency. This frequency, in turn, sets in motion frequency waves called overtone. The combination of basic frequency of cymbal sound and its overtones is a complex wave form. The basic frequency and its resultant overtones determine the timbre of a cymbal sound. The greater the number of overtones, the more interesting is the cymbal sound that is produced.

It is a cymbals’s ability to vibrate and set up overtones that determines the pleasantness of the resultant sound. Some cymbals set up overtones that are more pleasant than other cymbals.

Cymbal timbre is that unique combination of fundamental frequency, harmonics, and overtones that gives each cymbal its unique color and quality.

Cymbal timbre is actually a less fundamental acoustic parameter than frequency, but it is indispensable in describing the texture or “feel” of a cymbal sound. Cymbal timbre can help articulate portions of the music being played.

Cymbal timbre is that unique combination of fundamental frequency, harmonics, and overtones that gives each cymbal its unique color and quality.

Cymbal timbre is actually a less fundamental acoustic parameter than frequency, but it is indispensable in describing the texture or “feel” of a cymbal sound. Cymbal timbre can help articulate portions of the music being played.

The pitch of a cymbal sound is determined by the frequency of the sound. Generally this is referred to the cymbal pitch.

The frequency of sound vibrations on the cymbal governs pitch, or the perceived “highness” or “lowness” of the sound.

Low frequencies make the cymbal sound powerful and warm, midrange frequencies projects energy, high frequencies give a cymbal its “presence” that enables the audience hear it clearly.

Nevertheless cymbal pitch plays a useful role in picking out distinct cymbal sounds in music band. It helps to distinguish cymbal sound from other instruments. Low-pitched cymbal sounds, can evoke hollow sound character, while higher-pitched cymbal sounds suggest smoother sound character.

Complex sound on a cymbal is created by having differing pockets of tension stored in the metal, so that the vibration after stike activates a wider band of frequencies, frequencies which are transmitted from different radial areas on the cymbal.

Generally less complex cymbals have a smoother, less interrupted path for the vibration to travel through. A cymbal of greater complexity, like Xilxo Echoes, has an inherently reduced volume potential.

Complex sound on a cymbal is created by having differing pockets of tension stored in the metal, so that the vibration after stike activates a wider band of frequencies, frequencies which are transmitted from different radial areas on the cymbal.

Generally less complex cymbals have a smoother, less interrupted path for the vibration to travel through. A cymbal of greater complexity, like Xilxo Echoes, has an inherently reduced volume potential.

Positioning a ride cymbal is more personal preference depending to drummer. Cymbal height and angle will not only affect the comfort and playability, but its sound to the drummer and the audience.

If you position a ride cymbal very low and flat, it will decrease some of the cymbal’s projection to the audience, because the sound will be reflected into the drums. However, this placement can often be very comfortable because it requires the least amount of wide arm and faster movement around the kit (less energy expenditure). Keeping cymbals at shoulder height will also reduce the strain on your back from leaning forward. A much higher and angled ride cymbal will provide greater projection to the audience but it will be less comfortable to play for long periods of time.

The key for positioning your ride is to find the balance between playability and projection. When ride cymbal is used frequently like playing in jazz, long-term endurance should be here considered.

Positioning a ride cymbal is more personal preference depending to drummer. Cymbal height and angle will not only affect the comfort and playability, but its sound to the drummer and the audience.

If you position a ride cymbal very low and flat, it will decrease some of the cymbal’s projection to the audience, because the sound will be reflected into the drums. However, this placement can often be very comfortable because it requires the least amount of wide arm and faster movement around the kit (less energy expenditure). Keeping cymbals at shoulder height will also reduce the strain on your back from leaning forward. A much higher and angled ride cymbal will provide greater projection to the audience but it will be less comfortable to play for long periods of time.

The key for positioning your ride is to find the balance between playability and projection. When ride cymbal is used frequently like playing in jazz, long-term endurance should be here considered.

I have several of Classic Collection Series. They’re all really good cymbals for jazz.

One of them is  the Xilxo Classic Collection 20″ ride. You can`t ask much more from a cymbal- dark, with stick and wash, and crashable. It records very well. In general it`s a beautiful cymbal with a lot of qualities- it dosen`t have that tiny bit of chinese/trash and turkish/trash I like under some rides- but it`s excellent and I could bring to any jazz gig.

I have several of Classic Collection Series. They’re all really good cymbals for jazz.

One of them is  the Xilxo Classic Collection 20″ ride. You can`t ask much more from a cymbal- dark, with stick and wash, and crashable. It records very well. In general it`s a beautiful cymbal with alot of qualities- it dosen`t have that tiny bit of Chinese/trash Turkish/trash I like under some rides- but it`s excellent and I could bring to any jazz gig.

Cymbal sound terms can be placed in a spectrum  less < more.

heavy =  light < medium < heavy
volume = quiet < loud
tone = bright, cold < sweet < dark, warm
decay = slow < fast
pitch = low < high
sustain, spread = pingy, dry < washy, wet
responce = stiff < wobbly
frequency range = unfocused < complex < focused
white noise = clean < sizzling < trashy

Some of the terms can be used together to define a cymbal may refere to many sounds creating also a paradox.

Cymbal sound terms can be placed in a spectrum from less to more as in a formula less

heavy =  light < medium < heavy
volume = quiet < loud
tone = bright, cold < sweet < dark, warm
decay = slow < fast
pitch = low < high
sustain, spread = pingy, dry < washy, wet
responce = stiff < wobbly
frequency range = unfocused < complex < focused
white noise = clean < sizzling < trashy

Some of the terms can be used together to define a cymbal may refere to many sounds creating also a paradox.

Grooving with hi-hat cymbals is a quite simple technique in theory but hard to masterize. It requires a dancy, splashy sound by having hats very loose in the clutch and using a rocking heel-to-toe motion on the foot pedal.

A dancing hi-hat motion would be created by getting the hats moving first with a strike and then keeping them moving. The distance between the cymbals also needs to be adjusted so there is a couple of inches in the open position.

Using the bottom hat tilted where you like the sound and feel, would make grooving easier giving a fuller splash sound. It will cause a nice teeter/totter motion in the clutch. This way you dont have to be as accurate as when they are flat.

Grooving with hi-hat cymbals is a quite simple technique in theory but hard to masterize. It requires a dancy, splashy sound by having hats very loose in the clutch and using a rocking heel-to-toe motion on the foot pedal.

A dancing hi-hat motion would be created by getting the hats moving first with a strike and then keeping them moving. The distance between the cymbals also needs to be adjusted so there is a couple of inches in the open position.

Using the bottom hat tilted where you like the sound and feel, would make grooving easier giving a fuller splash sound. It will cause a nice teeter/totter motion in the clutch. This way you dont have to be as accurate as when they are flat.

Some drummers prefer to keep their top hats loose in a dancing motion and have not experience any problems like keyholing and breakage. They use a rocking heel-to-toe motion on the foot pedal to maintain the stability while playing.

Keyholing is usually caused by having a cymbal constantly hanging due to the cymbal stand being tilted. Hi-hats are mounted more or less flat so they don’t get much pressure from gravity that might cause a keyhole. And they rotate naturally when played on so it would not wear away at the same bit all the time. Key holes are mainly caused when hitting very heavy and mounting on the clutch wrongly. The top hat clutch has to be adjusted in a way that the top hat cymbal stays on the unthreaded area on the rod and would not go high enough to hit the thread.

Beside very heavy hitting hi-hat breakage is caused not always paying attention to the clutch when played with a heavy foot. The clutch can loosen up on the rod that actuates it. The top hat can wind up two or three inches away from the bottom hat and they clash with some big force that would result a broken top hat.

Some drummers prefer to keep their top hats loose in a dancing motion and have not experience any problems like keyholing and breakage. They use a rocking heel-to-toe motion on the foot pedal to maintain the stability while playing.

Keyholing is usually caused by having a cymbal constantly hanging due to the cymbal stand being tilted. Hi-hats are mounted more or less flat so they don’t get much pressure from gravity that might cause a keyhole. And they rotate naturally when played on so it would not wear away at the same bit all the time. Key holes are mainly caused when hitting very heavy and mounting on the clutch wrongly. The top hat clutch has to be adjusted in a way that the top hat cymbal stays on the unthreaded area on the rod and would not go high enough to hit the thread.

Beside very heavy hitting hi-hat breakage is caused not always paying attention to the clutch when played with a heavy foot. The clutch can loosen up on the rod that actuates it. The top hat can wind up two or three inches away from the bottom hat and they clash with some big force that would result a broken top hat.

Some drummers prefer to keep their top hats loose in a dancing motion and have not experience any problems like keyholing and breakage.

Keyholing is usually caused by having a cymbal constantly hanging due to the cymbal stand being tilted. Hi-hats are mounted more or less flat so they don’t get much pressure from gravity that might cause a keyhole. And they rotate naturally when played on so it would not wear away at the same bit all the time. Key holes are mainly caused when hitting very heavy and mounting on the clutch wrongly. The top hat clutch has to be adjusted in a way that the top hat cymbal stays on the unthreaded area on the rod and would not go high enough to hit the thread.

Beside very heavy hitting hi-hat breakage is caused not always paying attention to the clutch when played with a heavy foot. The clutch can loosen up on the rod that actuates it. The top hat can wind up two or three inches away from the bottom hat and they clash with some big force that would result a broken top hat.