One of the skills needed to custom make cymbals, is knowing what shaping method (or combinations) and what tools should be used at exactly what phase in the process, to achieve a desired sonic outcome.

I use three primary hammering methods (or combinations of) when shaping a blank; circular, spokes and band.

Each method produces slightly different sonic outcomes.

Exactly which hammer to use at which stage of the process also greatly affects the prevailing SC’s (Sonic Characteristics).

Top to bottom hammering ratios, flipping (inverting the profile) and hammering on a concave or convex shape, pocket hammering, density and hammering force, all influence the final sound of a cymbal.

Here are the notes on the production of this cymbal, which at the time of recording the video-file had only had 24hrs rest time .........

- Blank weight = 2565g. Blank has a few caliper marks but is sheered fairly round and the bell forming looks good. Some beautiful colours in this ... brown, yellow, grey, purple, greenish tinges.

- Shaping phase – 2 rounds of radial hammering with small face of my BOP (backing out punch) hammer (1200g; 13mm dome face); equal top to bottom ratio; very forceful.

- Cymbal flipped. 2 Rounds of radial hammering with equal top to bottom ratio using blacksmith hammer (1455g; 31mm diameter domed face); very forceful.

- More radial hammering with Turkish hammer (1210g; dogshead shape, face = 30mm x 40mm domed), cymbal flipped as necessary. - Bell hammered from bottom only. Just in from bridge in a circular pattern using BOP hammer and then wide radial bands using Blacksmith hammer.

- Final shaping with Tensioning hammer (1092g; 40mm diameter flatter face) 75/25 top to bottom ratio, using both radial and circular hammering.

- Rest time of two days.

- After playing the cymbal decided to fine tune it and add a little more complexity to the mid range with Big Blu Eliptical Pein Hammer (870g, face = 30mm x 20mm medium convex).

- Lathing – ½ inch carbide bits, using 12mm, 6mm and 3mm curved faces and 12mm flat faced bits. The top was lathe tensioned before the first lathing pass and in between the next two passes. The last pass was with the flat faced bit. 40% weight loss from bottom lathing and 60% from top lathing. Taper installed predominantly to 10mm in from edge.

The cymbal below is a more recent one of mine (manufactured on Nov 6, 2020).

I’ve included the production notes for the cymbal, which includes the basic hammering method, hammers used, some top to bottom ratios (which are also critical to the final sonic outcome and often a process which is overlooked by all but the very experienced independent cymbal-smith), lathing strategy and lathe tools used.