Types of Cymbals

General

The types presented here are common names that have developed over time. They give a notion of the purpose intended by the manufacturer. This should be understood as a means of orientation, rather than an obligation. While most cymbals will work (more or less) perfectly in their intended role there is really no reason to not use a cymbal in all manners that make sense to you, the musician.

Cymbals may be categorized in three coarse categories:

  • Cymbals for use with a drum set
  • Cymbals for use in orchestras and marching bands (usually in pairs)
  • Others (Types for special applications such as cymbals for percussionists, ethnic types like Chinese opera cymbals, finger cymbals for dancing, and so on)

    Within those coarse categories cymbals are usually further classified by their function and weight.

    Function

    The function of a cymbal is a description of its intended use. 'Intended' of course means 'intended by the manufacturer'. That the R&D and marketing department of a cymbal manufacturer marked a certain cymbal as 'Ride' should not keep you from using it as a crash, provided you like the sound. The function description is often further enhanced by reference to the shape (profile) of the cymbal such as 'Flat Ride', 'Bell Ride', and so on. See Anatomy of a cymbal for an explanation of sound determining factors in the cymbal's shape.

    It should be noted that the entire concept of rides, crashes and the likes is based on the assumption, that the instrument is played with a drum stick in the most common way. The use of other striking tools implies different sonic possibilities which may void these categories altogether. Bottom line: Use your phantasy, trust your ears!

    Weights

    The weight is the result of the material being used, the diameter, and the thickness of a cymbal. Below is a list of commonly used terms. These must be considered in relation to each other, rather than being an absolute measure. Not all stages appear with each cymbal line of every manufacturer.
    Moreover, a medium cymbal from one manufacturer maybe significantly heavier or lighter than another one's medium. Even the weight of, for instance, two thin crashes from two different lines of the same brand may differ. So, these descriptions offer no more than a coarse orientation. This may be one reason why UFIP partly left this path in favor of writing the exact weight of each cymbal on its surface.

    Size (Diameter)

    Currently cymbals are available in sizes ranging from 6" (a tiny splash) to 24" (a big ride). Not all cymbal lines offer all of these sizes, though. The amount of available sizes (along with the amount of different models) is to some degree an indicator for the quality of a cymbal line. Therefore in budget cymbal series the choice is often limited to sizes of 14, 16, 18, and 20" with two or three different functions. These have been the standard sizes for decades and still are. They may be found in any cymbal series of any western industrial brand. These standard sizes also frequently appear first in any newly released cymbal line, with smaller and larger sizes being added later when the product proves successful.

    The availability of certain cymbals sizes is subject to fashion and changes. Currently there seems to be a slight trend towards smaller sizes. This may change in the future. Despite all trends there are always special cymbals that break the rules, but they are few.

    Drum set cymbals

    Hi-Hat

    The (almost) sole purpose of this two-cymbal combination is timekeeping. The closed hi-hat is the perfect instrument for this for its tight and defined sound. The mounting of the two even-sized but differently weighted cymbals on one stand allows for a broad range of effects. By pressing the foot pedal of the hi-hat the top cymbal is brought in contact with the bottom cymbal. The amount of pressure has radical effect on the sound. It may vary between a loose crash or swish when completely open and a tight and sharp tick when firmly closed.

    Modern hi-hats include numerous types for all styles of music. The one thing they all have in common is the even size of the two cymbals and the fact that the bottom cymbal is usually thicker and higher in pitch (very few exceptions disregarded).

    Typical profile: Usually lower on top cymbal, higher on bottom
    Typical sizes: 13-15"

    Crash

    Crash cymbals are used for accenting and highlighting. Richness of sound, quick development of overtones, and fast attack are required for a cymbal to work as a crash. The decay ranges from fast (typical) to medium long. Since more metal takes more time to get in motion, crashes are usually lighter and smaller than rides.

    Typical profile: Low to medium high
    Typical sizes: 16-18"

    Ride

    The purpose of the ride cymbal is to mark off the beat or pulse in the flow of music (timekeeping). Therefore it must have a clearly defined punctuated sound that stands out from both the surrounding music and its own wash. To achieve this, rides usually have a larger diameter, more thickness (thus being heavier) stronger bow, and higher profile than crashes.

    Ride cymbals are the most diversified class. There are literally dozens of types for all applications. Bright, dark, low, high, heavy, light, dry, washy, are just a few of the endless possibilities in existence. It is said that the ride cymbal is the most personal cymbal in a drummer's setup. This may be the reason for the myriad of models currently produced (and bought). Two subtypes stand out because they can easily be identified by their distinct look: The Flat Ride, an original invention by Paiste, has no cup, which makes the cymbal the most controlled and subtle of its kind. The Bell Ride has an oversized cup giving the cymbal more overall volume and its cup a big bell-like sound. An intermediate type between a regular cupped and a flat ride is the Mini Cup or Mini Bell Ride.

    Typical profile: Medium high to high
    Typical size: 18-22"

    Crash Ride

    A dual-purpose cymbal trying to combine the uses of a crash (accenting) and a ride (timekeeping) in one instrument. Since the characteristics of a typical ride and a typical crash are quite contrary it is clear that a crash ride will never have the clear definition of a specialized ride nor the instant reaction of a crash. These cymbals are therefore often used either as one or the other. They can however be useful in small setups, avoiding an extra specialized cymbal.

    Typical profile: Medium high
    Typical size: 18-20"

    Splash

    A splash is basically a very thin (thus very responsive) and small crash cymbal. These are the lightest and therefore quickest responding and most fragile cymbals. They are used for quick punctuation and accents in fast sequence where a regular crash would take too much space and time. Splashes are also the softest cymbals with the least volume. A good splash nevertheless can be heard through the music because of its very high pitch and explosive character.

    Typical profile: Low to medium high
    Typical size: 8-12"

    China or Chinese

    Effect. Mostly used as crash. Different types range from soft and low (Pang) to harsh and biting (Wuhan). Many different types exist, the Wuhan being the original design. It has a sharply flanged edge and a trapezoid shaped 'cup'. Other types have a Turkish style cup (the one that looks like a cup), thus creating a cross-breed of the Turkish and Chinese style (Examples: Paiste Formula 602 China Type, Zildjian Pang, Power Smash).

    Typical profile: Chinese, flanged edge. Everything from low to high.
    Typical size: 16-20"

    Profiles of 'china type' cymbal

    The transition from Turkish to Chinese shape is fluent. Today many intermediate shapes are in use.
    1 100 % Turkish: Turkish profile (ex. all 'regular' cymbals)
    2 Small flange (ex. Sabian Sound Control)
    3 Soft bow, small bell (ex. Zildjian Pang)
    4 Bigger flange, 'square' bell (ex. Paiste 2000 Mellow China)
    5 Softer, bigger flange, bigger bell (ex. Zildjian Original China)
    6 100% Chinese: Original Chinese profile (ex. Wuhan)

    Bell

    Effect cymbals used by percussionists or set drummers to expand their sound range. Bell cymbals are usually small and thick and produce narrow, ringy sounds from triangle to (small) church bell, depending on their character and how they are played.

    Typical size: 6-10"

    Sizzle

    There a several possibilities to alter the sound of a cymbal. One pretty popular is to hang a key chain or similar object from the cymbal stand down the bow. This produces a sizzling noise when the cymbal's edge flutters after being struck. The more professional way is to drill holes around the edge of the cymbal and install special sizzle rivets in them. These are listed in cymbal catalogues and available at drum shops. Common are chrome or nickel plated and brass rivets. Steel gives a stronger, more brilliant sound, while brass rivets sound softer and more mellow. Some manufacturers offer ready-made sizzle cymbals as well. The downside is that this operation is one-way: You may remove the rivets, but not the holes... The occasional sizzler on a budget will stick to the key chain.

    To make a working sizzle cymbal one needs a good cymbal first. All too obvious, but every now and then a frustrated drummer is wondering why his crappy cymbal with rivets installed sounds just like a crappy cymbal with rivets... Second, not every good cymbal will make a good sizzle cymbal. To produce audible sizzle effects, the rivets (or other objects) must vibrate against the edge of the cymbal. A small cymbal or a heavy, stiff cymbal will not produce sufficient motion at the edge. Likewise, adding too many rivets will choke the cymbal motion and result in less sizzle, not more.

    As a rule of thumb, the larger and thinner the cymbal, the more edge vibration it will have. The heavier the cymbal is, the longer it will sustain and the more rivets it will carry without being choked. When drilling holes, it must be observed not to damage the structure of the instruments. Drilling close to the edge or near sharp kinks or flanges or any other part that is under constant stress will cause damage. Everyone not absolutely sure what s/he is doing should turn to professional service. Ask your drum shop.

    Typical size: 20-22"

    Orchestra and band cymbals

    Orchestra Cymbals

    In orchestral and symphonic cymbals are usually played in pairs and hand-held. The player holds the cymbals by leather straps that are tied around his/her wrists. The pair is then played by striking them against each other (set drummers: imagine a big manual hi-hat).

    There are three weight stages in common use:

    The other, less common type of using cymbals in symphonic orchestras is the 'Suspended Cymbal'. Instead of holding a pair in hands, a single cymbal is mounted on a stand or suspended from a post. The typical use is rolling with soft mallets to produce a breathing hiss or swish.

    Typical size: 16-22"

    Band Cymbals

    As the name suggests, band cymbals are used by marching bands, like drum and bugle corps, military bands, and the likes. As with orchestra playing, the instruments are played hand-held and in pairs. The weights are usually thicker because the outdoor application needs more volume. To compensate for the greater weight, the cymbals are smaller. Where a symphonic drummer can put a pair of heavy 22" cymbals aside when his score allows him to pause, the marching drummer cannot... Another difference between band and orchestra cymbals is, that band cymbals are usually brighter and more focused than indoor instruments to allow them to project over larger distances. Beginner instruments often try to combine the two opposite applications in one pair to reduce cost.

    Typical size: 14-18"

    Other cymbals

    There lots of other special cymbals that do not fall into any of the above categories. As we depart into the border zone of cymbalism, we find various jingling stuff: