You will need a set of high hats, a ride, and a crash. And then it starts. Like the teenager with a late model Honda civic we accessorize. Then upgrade. Then purchase different cymbal sets for our moods, musical style of the month, and romantic musical fantasies.
“Didn’t Tony play Paiste?”
Drum magazine and adverts are written for middle aged drummers of comfortable means. It works. Over the last 11 years I’ve bought, sold, and traded numerous cymbals. It is embarrassing.
They are endlessly fascinating. The colour, nuance, attitude, lathing, size, weight, product line name, and metallurgic composition.
Then they invent new types of FX cymbals, and remote high hats. It never ends. My wife, a professional linguist, says my normally mono-syllabic vocabulary bursts forth when describing cymbals. Apparently, it rivals a master French sommelier or Cuban cigar collector.
• "Tah” ?
• It goes on and on
So, we end up with things like this: "Complex hammering contributes to the cymbals' unique sonic identity and dark tones that can be at once cutting and smooth. Made in small batches using a 14-step hammering process" I'll drink to that.
For the younger set this: "Dry and unrefined, the Raw Crash is explosive but shuts down quickly, and also works as an alternate ride that is dry and cutting."
And finally this: "The cymbal has a bright and cutting sound that makes it ideal for experimenting with new fills and rhythmic accents. It offers a high pitched tone with a short sustain, and this cymbal cuts through music with ease. It has a remarkably strong bite! " That sounds more like more fun than practicing.
("Cutting through" is a frequent anxiety--Those damn guitarists!")
David Story, drummer, pianist, qualified online music teacher