How Cymbals Are Made – Different Alloys and Processes

Making a cymbal is a time-consuming and complicated process, involving numerous stages and hours. Cymbals are great additions to any drum kit, giving it a wider range of sounds.

Cymbals are made out of metal. Since there are dozens of different metals and metal alloys, over the years people have figured out that bronze alloy is the best for cymbal production.

Bronze is one of the earliest alloys mankind has invented and it’s made out of copper and tin. For cymbals, its useful properties include how it responds to shaping and hammering, and the range of sounds a maker can produce. Raw materials are only part of the cost; skilled finishing and quality control matter too.

Before we get into it in more detail, check out this great Zildjian factory tour (one of the biggest cymbal brands in the world).

Cast vs. sheet metal

First of all, there are two ways in which cymbals are being made today. Individually cast cymbals begin with a separate casting for each cymbal. Makers then use a combination of heating, rolling, shaping, hammering and lathing. This technique gives the maker control over the finished product, and the many production stages can increase the cost. How much is done by hand depends on the maker and range.

Individually cast cymbals include many professional models, with experienced workers checking the result even when machines perform some stages. They are also used by beginners and intermediate players who want those sounds; casting is a manufacturing method, not a restriction on who can play the cymbal.

Sheet metal can make blank production more economical and consistent. It does not make the finished cymbal inherently worse: professional cymbals are also made from rolled sheet bronze.

The main difference is that the metal for cymbals is not cast in the factory of the cymbals manufacturer but is pre-rolled somewhere else. This means that the main ingredient is bought from other factories and comes in bulk to the manufacturers.

There, discs are cut from the sheet and formed into cymbals. Pressing, hammering, lathing and finishing can involve machines, skilled handwork or both. Starting with a sheet does not mean the remaining work is all automatic.

Professional cymbals are made by both methods. Affordable sheet-made models can be useful for beginners and intermediate players, but compare the actual response, sustain and stick definition rather than rejecting every sheet cymbal. Paiste is a clear example of a maker using rolled bronze for professional instruments.

B20

There are several different alloys that cymbal makers around the world use. The most standard one is the bronze mixture with 80 percent copper and 20 percent tin, also known as B20 (as you’re going to notice, all of these alloys are named B something – that number is simply a percent of tin in the alloy which makes it different to one another).

B20 is widely used for individually cast cymbals, although it is not the only alloy used in cymbal making. It’s also known as bell bronze. You can find many cymbals that are made with this material in Zildjian, Paiste, Sabian, Meinl, and so on.

This specific alloy has been known for many years and is used so often because makers can shape it into cymbals with a wide range of dynamics and tonal colors. Some are dark and restrained, while others are bright and powerful. B20 needs careful heat treatment and working; it is not correct to say that it cannot be rolled. Individually cast B20 cymbals are rolled during production too.

Since these cymbals are all-rounders, you can find them anywhere from jazz bands to heavy metal bands.

B8

B8 is a bronze alloy consisting of 8% tin and 92% copper. It contains less tin than B20 and can be supplied as rolled sheet for cymbal production. Paiste began using CuSn8 for cymbals in 1963. Its use in both affordable and professional ranges shows why tin percentage alone is not a quality rating.

Paiste makes professional B8 cymbals as well as instruments in other alloys. Its 2002 bronze is CuSn8, another name for B8. Choosing it is a sound-design decision, not evidence of a failed attempt to imitate B20; listen for the attack and presence you want in the music.

B8 also appears in lower-priced products aimed at beginners and intermediate players. That does not place a ceiling on what the alloy can do. You should note that these cymbals have a bit different sound, with higher tones and sharper sound being produced. This is great for punk and rock bands, as it suits better their needs.

Examples include Meinl HCS Bronze and the historical Amun series, Sabian B8-family cymbals, and older Zildjian ZBT and ZXT models. The older ZHT series belongs with B12, not B8. Paiste uses the name 2002 Bronze for its B8 alloy; 2002 is also a cymbal series, so the material name and range name should not be confused when identifying a used cymbal.

Various B alloys

Apart from B8 and B20, various manufacturers use different types of other alloys for some cymbals in trying to get something new and fresh on the market.

Meinl has marketed its use of four bronze alloys under the name “4 Is More”. Apart from B20 and B8, they also use B10 and B12 (with 10% and 12% of tin, respectively). Paiste is also known to have its own 15% tin alloy, called B15.

These alloys are used in established ranges, not just novelty effects. Meinl uses B12 for ranges including Pure Alloy and Classics Custom, as well as B10 in its professional marching range. Compare the individual model with your existing cymbals; alloy names alone will not tell you whether the sounds blend.

Brass and silver nickel

Brass is a mixture of copper and zinc, with the proportions varying by alloy. It is used for cymbals as well as other metal percussion; Paiste specifies MS63 brass for its budget cymbals. Do not assume that every gong or cymbal uses the same brass formula.

Brass cymbals are commonly aimed at beginners, but they are playable instruments rather than just kids’ toys. They are on the other side very, very cheap to make and sell, but if you’re ever going to go to anything more serious than playing the basics, you’ll need some other cymbals.

Silver nickel is a compound of nickel and copper, with usually 12% nickel inside. Nickel-bearing alloys appear in older cymbal ranges, but bronze cymbals were already being made long before the 1960s. The alloy label does not establish an instrument’s age, and a change of alloy alone does not guarantee a louder or sharper sound. Check the maker and range when identifying a vintage cymbal.

They are still produced today, but rarely, and have that beautiful silver look in contrast to the standard goldish color of today’s cymbals.

Process of crafting cymbals

The whole process behind the fine craftsmanship of cymbals is divided into three steps. It starts with casting, crafting the shape, and finishing.

Casting

Casting revolves around melting the metal and pouring it into a mold. This process is followed by cooling the metal, then reheating it again and putting it back to further the process which is pressing the metal for the particular thickness of it.

After the necessary steps have been made, follow the creation of the bell. This is done by a machine that dents the cymbal right at the center and creates the bell. After all this, the product is cut to a certain shape without the edges to better resemble a cymbal.

Shaping (hammering)

Probably the most accurate process there is – hammering. Nowadays this process may be done by hand, by someone operating a hammering machine, or by computer-controlled machinery. Different makers use different combinations; hand hammering has not disappeared.

The process of hammering is to get the desired shape of the product and the particular design of a cymbal. The way it would look, the thickness, and the shape, all take place further into this process.

Finishing

The finishing process can include lathing: a cutting tool removes metal from the rotating cymbal, controlling thickness and creating tonal grooves. This is different from polishing. Some cymbals are left partly or completely unlathed for a particular response, so a smooth-looking surface is not a requirement.

Polishing may be used for a brilliant finish, while other cymbals retain a traditional or natural surface. Ink logos and engraved trademarks are separate markings. Makers also inspect and sound-test the finished instrument, rather than treating a printed logo as the final quality check.

There is no single production time that applies to every cymbal. The alloy, manufacturing stages, finishing and inspection all affect how a maker turns a blank into a finished instrument.

What is the best material for a Cymbal?

The most common cymbal materials you’ll encounter are B20 and B8. B20 cymbals are 80% copper and 20% tin. They are used for everything from quiet, dark cymbals to loud, cutting models. Hammering, shape, weight and finish help determine which sound you get. B8 cymbals, on the other hand, are 8% tin and 92% copper. They produce a high and sharp sound.

What is the difference between Brass and Bronze Cymbal?

Brass combines copper with zinc, while cymbal bronze combines copper with tin. Brass is common in entry-level ranges, whereas bronze is widely used for gigging and recording. Neither label alone tells you the volume or whether a cymbal will survive transport; use a suitable bag or case for either. That being said, you can’t knock brass cymbals just yet as they are still a viable option and a more affordable one as well.

Why are Cymbals so Expensive?

It’s only natural that quality costs money. The cymbal-making process is one that takes time and skill, as well as costly materials (depending on the alloy/manufacturer). However, not all cymbals are expensive and you have lots of quality options on the market that are considered budget-friendly.

Conclusion

Cymbal-making is a very complicated process that takes a lot of steps and time to get right. It is also linked with the craftsmanship that existed in the past and was automated over time, making a high level of accuracy possible.

The whole process revolves around getting a particular shape and design, with a special focus on hammering which gives it all this unique sound each cymbal has.

Knowing different compounds, ways of manufacturing, and how that affects the sound, it will be easier for you to pick the right product for you and your playing style, depending on the budget you have available. But ultimately, you should always go and test the cymbals you’re looking for, to see in person if that sound is the right one for you.