Australia’s premier cymbal-smith
Located in Adelaide, South Australia. Current date & time -
Email: eargasmm@ozemail.com.au
Site Last Updated: 19th May, 2012.
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- 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.
I also perform a modification service where I re-hammer and lathe your existing cymbals and work with you to achieve the desired sound.
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.
Fees for modifications are between $80 and $180 AUD, depending on the time taken.
For both custom and modification projects, I provide photos and soundfiles so that you can be completely involved in the process.
- 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.
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.
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 an 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.