Choosing cymbals can be a difficult and confusing exercise at the best of times, and what can sound good in a shop often sounds duff at a gig and vice versa. In this article I hope to clarify a few points regarding the many types of cymbals, their sounds and applications. The two main cymbal manufacturers in the world are Avedis Zildjian and Paiste. There are, of course, many other makes varying in degrees of quality, but Zildjian and Paiste are generally considered the best, and are the most widely used. In the manufacturing of cymbals, the methods vary, each manufacturer having particular methods, processes and chemical formulae.

Avedis Zildjian have been making cymbals since 1623 when an alchemist of Constantinople, named Avedis, discovered a still secret process for treating alloys and applied his knowledge to making cymbals. As his fame spread, patrons and guildsmen gave Avedis the name Zildjian, which means 'Cymbalsmith'. Today, over 350 years later, Avedis descendents are still using the closely-held Zildjian family secret process to make what are probably the world's most widely used cymbals.

Paiste, with a shorter history, have a different process of manufacturing; the cymbals also have a very different sound characteristic. Paiste cymbals are generally more uniform in sound. For example, out of a random batch of ten 20in medium rides, at least nine would sound roughly the same. It must be said that Paiste are very nice, sweet-sounding cymbals which record very well, although heavy rockers should stay clear of the 602 range, as they are rather delicate and have been known to crack. The differences in the manufacturing process of Avedis and Paiste are varied. Avedis pour the molten alloy into a cast mould which is then heated and rolled. The cup is formed in a press machine and the blank is then sheared to circular shape and the centre hole punched for lathing. The cymbal is then hammered on a lathe by highly skilled craftsmen before final edging. The final process is something that no amount of automation will change: the ageing of cymbals in large vaults.

Paiste, on the other hand, are more of a factory production-line cymbal. This is in no way derogatory to the cymbals, as hundreds of fine drummers and percussionists swear by them and will not use anything else. The final process is roughly the same except for the ageing — of which Avedis Zildjian are rightly proud. Paiste cymbals start life as a plate. They are all cut from this plate which varies in thickness depending on what type of cymbal will be coming out at the other end of the production line — be it crash or ride, hi-hat, dark ride or whatever.

Most cymbal manufacturers designate their cymbals into categories like Ride, Crash, Crash/Ride, Pang or Swish. These categories give a guide to the general application of the cymbal. When choosing a cymbal it is important to have some idea of the sound you want and what kind of music it will be used for. It would be advisable to take your own cymbals along to your local drum shop to compare the compatibility of the new cymbals with, your old ones.

Here is a rundown of the types of cymbals and their common names and application:

Splash cymbals (also known as Choke cymbals) — range in size from 6in to 12in in diameter and are thin. They are very useful for fast crash work and can be choked off very quickly.

Crash cymbals — usually thin or medium from about 14in to 20in. There are many types of crash cymbals for different sounds and response. Thin crash for fast response and quick decay. Mini cup with extra small bells for a dry, tight sound — very good for small group or studio.

Crash Ride cymbals — medium to thin, from 16in to 24in in diameter which can be used for a heavy crash or sustained riding.

Ride cymbals — usually 18in to 24in in diameter for a sustained beat and rhythm keeping.

Medium Ride cymbals — medium in weight, these are probably the most popular of all ride cymbals, ranging from 18in to 24in and suiting most types of music.

Mini Cup Ride cymbals — available in 18in, 20in and 22in diameters. A dry ride, pingy sound with very few overtones. The bells are, as the name suggests, smaller and have sweeping bows.

Ping Ride cymbals — medium to heavy in weight. They give more ring and a stronger crash quality and are made especially to control overtones.

Rock Ride cymbals — usually in 20in and 21 in, slightly heavier than normal ride cymbals with deeper cups and produce a very loud ride beat.

Dark Ride cymbals — very similar to rock ride cymbals with a very definite stick sound and a lower undertone.

Dark Crash cymbals — similar to dark rides in sound and can be used as a crash ride in the larger sizes — a little bit heavier than the normal crash.

Sizzle cymbals — any size over 16in with rivets set in holes about 1½in from the edge which give a sustained sizzle or buzzing sound. There is a device available which screws on to the top of the cymbal stand with two arms with rivets in them. When set in position the rivets produce the same effect as a riveted cymbal.

Swish cymbals — usually 18in, 20in or 22in with upturned edge and rivets; like the sizzle, available in different weights. Many players prefer playing them upside down.

Pang cymbals — (or China types) come in a variety of types and sizes. Some have large square-ish bells, usually about 18in or 20in, and the sound produced is usually 'pangy' and dirtier than ordinary cymbals. These have become very popular in recent years with rock and jazz/rock types of music.

New Beat Hi-hat cymbals — a matched pair of cymbals with a heavy bottom and a medium top giving a very pronounced 'chick' sound with very fast response.

Sound Edge Hi-hat cymbals — an exclusive design from Paiste with a ripple-edged design on the bottom cymbal which expels air through the serrations giving a very bright 'chick' sound.

Dark Hi-hat cymbals — similar characteristics as other dark cymbals, low undertones, volume and clarity.

Rock Hi-hat cymbals — heavy bottom and heavy top matched, made with the rock drummer in mind.

Mini Cup Hi-hat cymbals — medium weight mini cup top cymbal and a heavy bottom cymbal, designed and matched for high pitched tonal qualities and light stick sound.

Flange Hi-hat cymbals — a tapered medium-heavy top cymbal and a heavy bottom cymbal, which has a 2in flanged outer edge. It produces a rather 'bottom'-type sound with a nice 'chick' of definition.

These are only some of the more popular cymbals available on the market. I have concentrated on Paiste and Avedis Zildjian; the names they give to their products are only a guide. It is best to select your cymbal for the sound you want — only use this breakdown as a guide. It is important to remember that the higher the pitch of a cymbal, the more chance there is of cutting through the rest of the kit which is usually lower in pitch and not so easily defined. When choosing cymbals always try to get a friend, or the sales person, to play the favourite cymbal for you while you stand back to listen. You will probably find it sounds a little different and the sound characteristics will be more apparent.

I was doing a gig once with a rather loud band and had no mics on the kit, and I found myself really playing the cymbals very hard because I could not really hear them very clearly. In the break, a drummer friend of mine asked to have a blow with the band and duly got up and started playing. To my amazement, he was playing the cymbals almost lightly but I could hear every beat. This proved to me that when you sit on top of something you cannot always hear things as people out front hear them.

There are some dos and don'ts with cymbal care — I often see cymbals being abused. When playing a ride-type cymbal, always use a cymbal stand that is capable of taking the weight of the cymbal in question; never put a 20in ride on a bass drum mounted cymbal arm. This is a sure step to disaster, as either the arm will eventually collapse from the weight or it will start to damage the shell from too much weight and pressure.

Always make sure a ride cymbal is free to move on the tilter and never tighten up the wing nut too much. Let the cymbal breathe and always use a piece of plastic tubing to stop wear on the cymbal hole to give you a clear, rattle-free sound. Hi-hat cymbals should also be free and not rigid or too tight. See that there is a tilter on the bottom cup so as to ensure a good 'chick' sound when tilted slightly. Crash cymbals should be set more vertically than rides. Never hit hard on the edge but always try to glance the cymbal across. With Pangs and Swishes this also applies, although Pangs are usually hit around the middle edge, straight on, for maximum effect.

To keep your cymbals in good condition always use a suitable case and, if you are really fussy, put them in pillow cases or buy the case a size bigger than you need and line it with foam. There are many makes of cymbal cleaner on the market and there is not much to choose between them. Always wash dirt off with warm soapy water and then use the cymbal cleaner, rubbing the grooves in a circular motion. Wash off and polish with a dry cloth and your cymbals should look and sound as new.

If your finances won't run to the price of Avedis Zildjian or Paiste, there are some other makes which may not be the ultimate in cymbal perfection but sound pretty good and are very good value for money. Tosco, Ujip and Super Zyn are worth checking out.

I have not mentioned orchestral cymbals, gongs, tom toms and other related cymbal-type instruments because I hope to go into these at length in a later issue.

Peter Randall is an ex-pro drummer now working as a salesman at Henrit's Drumstore in central London.