Australia’s premier cymbal-smith
Located in Adelaide, South Australia. Current date & time -
Email: sales@cymbalutopia.com
Site Last Updated: May 16, 2013.
Catch up on facebook - http://www.facebook.com/people/Cymbalutopia-Hand-Crafted-Cymbals/100001348813426
Come and check out the latest there or shoot me a message.
- I draw upon many years of study, research, experience and passion every time I pick up a hammer or a lathing tool.
- I use a number of tools and techniques which are completely unique to myself and which impart subtle unique qualities to the sonic characteristics of my cymbals.
- I use the finest B20 and B25 alloys available for my cymbals.
A lot of cymbals I produce never make it onto this website, because they are specially crafted pieces by request. So, let me know what sound you’re after and I’ll hand craft a cymbal for your specific needs.
For custom projects, I provide photos and soundfiles so that you can be completely involved in the process.
Michael Paiste and myself in Lucerne, 2008
Roberto Spizzichino and myself in Tuscany, 2008
This website is the result of my passion for cymbal sounds. Sounds created by an artisan hand hammering pieces of bronze.
You’ll find my Craig Lauritsen Hand Crafted Custom Cymbals, a small selection of hand crafted Turkish cymbals by Masterwork and some second-hand cymbals.
- Cymbals that are hand hammered for shape and tension, produce sounds which cannot be replicated by a machine.
- Each and every cymbal (CL Custom) is hand hammered, lathed and fine tuned by me.
I spend as much time as needed to achieve the desired sound, feel and look of every cymbal.
If you’re after something in particular or a specific sound that’s not here, send me an email and I’ll see what I can do.
All the best,
Craig Lauritsen
I ship worldwide using Express Post International which features a tracking service. There is an insurance option available for additional cost. If you opt not to insure, you wear the risk of damage in transit.
Why choose Cymbalutopia Cymbals?
If you’re looking for cymbals with an individual and unique voice, cymbals that have a cymbalsmith with thousands of hours of experience attend to every detail, then you’ve come to the right place.
- I make individually tailored boxes with appropriate reinforcing for each shipment, so that the cymbals arrive in perfect condition.
-If you’re not happy with the cymbal you purchased you can return it within 7 days for a full refund (minus shipping costs), or exchange it.
- Returns are not accepted for custom or overseas orders.
Heard about CLUB UTOPIA? - It’s my rewards club for all those that have purchased my cymbals or services. Check it out in the ‘Latest News’ link at the top of this page.
Visit the best forum on the net for discussing cymbals and other drummery things -
This is my beautiful, locally handmade (from recycled native timber) DeeJay drumkit. You can find them here - http://deejaydrums.com.au
WHY A HAND SHAPED CYMBAL?
If the design goal of a cymbal is complexity and a large spread with a good balance of lower frequencies, hand shaped cymbals are far superior to those that are pressed into shape.
A cymbal which is pressed into shape is inherently simple because of the even overall compression and activates fewer frequency systems. The simple tonal structure isn’t very pleasing to the ear and needs further processing to create complexity and a more pleasing sound.
The evenly compressed foundation also raises the overall tessitura and reduces the lower spectrum of the spread.
Additional hammering on such a foundation has a more limited impact overall (primarily because of the large overall compression from the shaping press) and the increased speed of the soundwaves through the plate, limits the activation of lower frequencies in fundamentals, partials and overtones (both harmonic and inharmonic).
Often very deep machine hammering is used to ‘cheat’ complexity, but this usually has the side effect of increased trash and diminished dynamic potential.
A cymbal which is shaped by hammering has thousands of marks of higher compression surrounded by areas of less compression.
Sound waves reflect from boundaries between differing shape and density within the same material, therefore creating a base of complexity and multiple complex frequency systems.
The areas of less compression facilitate a good presence of lower frequencies.
I believe a hand shaped foundation combined with additional hammering is the secret to the old k sound and the old k ability to possess a great low and high end presence.
Part of the upper register characteristic is also due to the increased brittleness of bronze with age.
This ageing characteristic is much more beneficial to a cymbal which was shaped by hand rather than pressed into shape.
A little update, 24th March 2013 -
I sent a new batch of cymbals off to Gregory Hutchinson in February and I’m proud to announce that he used some of those for his latest tour with John Scofield.
My ability to add new cymbals for sale here, is still minimal. It’s on my to do list ... but it may take a little while.
I’m still too busy to take on modification work right now as my current backlog continues to run in the dozens of cymbals.
I will always be available for custom orders as I believe it’s a critical role that I as an independent fulfil.
All the best, Craig.
It is with great pleasure that I announce Lee Ruff as my exclusive representative in the US. If you’d like to contact Lee, send me an email and I’ll pass on his details.
Here’s a few words from Lee Ruff, who’s experience with cymbals is second to none. Lee introduced Spizzichino cymbals to North America and had a very close relationship with Roberto ......
For 50 years I have been obcessed with cymbals. Being a heavily schooled trumpet player, I can remember being annoyed by drummers' ride cymbals on the gig. When I switched to drums and became a full time road musician, I always located the local music stores in my travels to try out cymbals. Believe me, in my 10 years on the road, I played alot of cymbals! My old Ks that I hand picked, served me well in those early days. It was in the 80s that I heard my first Spizzichino cymbal. I was immediately excited. In the 90s I tracked down Roberto Spizzichino. He and I became close friends, and I was honored, when he asked me to introduce his cymbals to North America. Sadly, we lost Roberto in 2011. I really miss him.
In January of 2012, I attended the winter NAMM show in California. I literally spent hours previewing cymbals from manufacturers from around the world. I walked away from NAMM somewhat distraught. It seemed nothing at the show had the degree of unique mystery, that I always looked for in a cymbal. The Turkish stuff all seemed to blend together. There were many cymbals that would work well in a jazz setting, but they all lacked that special organic, mystical character that I always loved. About one month later, an independent cymbal artisan from Australia and I began to exchange ideas. I'm referring to Craig Lauritsen. I was extremely impressed with his ideas, and frankly, I was blown away by his jazz cymbals. I am very excited to be playing his cymbals. Craig and I have agreed that I would represent him in the USA. So Craig Lauritsen now joins my short list of the best of the best, (the "good" old Ks, Spizzichino, and Lauritsen)! I am pleased to maintain a selection of Craig's creations for previewing at my residence.
Lee Ruff