Cymbals with a deep and full-bodied tone that cuts through the mix with powerful clarity. Excellent tonal quality and versatility. The cymbal design allows maximum projection when needed.
This 18-inch crash cymbal has a brilliant finish. Made from a copper and tin ratio of 80/20. Produces a powerful, full-bodied tone when hit hard, and the high and mid tone is bright with plenty of sustain when pulling back the volume.
Can dull quickly and requires regular maintenance.
A loud and powerful dual-purpose cymbal, doubling up as a ride as well as a crash, making this a highly versatile cymbal at an excellent value for those on a budget.
Crafted from brass with high-pressure hammering and traditional hand lathing techniques for excellent quality. Ideal for tonal riding or heavy crashing, with a lively sounding bell that is very responsive.
Some players find it too dull for certain music genres.
The perfect crash for loud music genres. Crafted from B8 bronze and hand-hammered, this cymbal delivers a bright and powerful tone.
Hand-hammered 18-inch crash with reflector finish. Made from B8 bronze (92% copper, 8% tin), which is ideal for loud music genres. This cymbal has an energetic, tonal quality with a wide range, clean mix and short sustain.
Some users find the cymbal wears quicker than other models.
This 14-inch crash produces a bright and cutting sound perfect for accenting. Sturdier than other thin cymbals, and cheaper than high-end models without affecting quality.
Crafted from B8 bronze (92% copper, 8% tin), this cymbal is fast and punchy and it cuts through the mix well. Ideal for accenting parts, the tonal quality is bright and tight.
Because of its thin weight, it is prone to splitting quicker than heavier cymbals.
This cymbal adds a unique sound to your arsenal. The drilled holes dry the sound out, offering a trashy sound with less sustain. Perfect when you just need a short loud accent.
A 16-inch trash crash that's made from brass alloy (63% copper, 37% zinc). Quick and bright sound. The holes cut a lot of the sustain for a short burst of sound. This cymbal also makes for a great stacker, place it on top of another cymbal to experiment with sounds.
Some users just don't like the sound of this crash, not ideal if needing sustain in your accent.
We recommend these products based on an intensive research process that's designed to cut through the noise and find the top products in this space. Guided by experts, we spend hours looking into the factors that matter, to bring you these selections.
Crash cymbals add character and pizazz to music, but did you know that no two cymbals are alike? If you’re in the market for new crash cymbals, it’s helpful to know exactly what you’re looking for before you make a purchase.
The details behind the manufacture of crash cymbals — material, size, and shape, to name a few — contribute to the unique sound of each instrument. Perhaps you’re a jazz musician looking for a dark and rumbling sound. Perhaps you’re a rocker looking for a bright, responsive crash. Perhaps you’re still searching for your own unique sound. The right crash cymbals can help you achieve your musical goals.
Most cymbals are made of copper alloy. The cheapest of these materials is brass. The sound of a brass crash cymbal isn’t considered to be all that great, but if you’re shopping for a child or a beginner, you might not mind. In terms of sound quality and durability, note that even the best brass cymbals pale in comparison to cymbals made of bronze, the most popular cymbal material.
Most bronze cymbals consist of a mixture of copper and tin. The ratio of copper to tin should be reflected in the product specs. For example, cymbals containing 80% copper and 20% tin are known as B20 cymbals. Cymbals containing 92% copper and 8% tin are B8 cymbals. In fact, B20 and B8 cymbals are the market’s two primary offerings.
Faced with a choice, how would you choose between B20 and B8 cymbals? Generally, the more tin in the cymbal, the more versatile the sound. B20 cymbals have a wide frequency range that appeals to professional recording artists. These cymbals tend to be more expensive than B8 cymbals, which have a brighter sound. Most beginners and intermediate-level players would be satisfied with a pair of B8 cymbals, but professional players should consider B20 cymbals, especially if they intend to perform or make recordings.
Notably, some manufacturers also make B10, B12, and B15 cymbals. If you’re interested in one of these and plan to order online, perform an internet video search to hear some sound samples first so you know what you’re getting.
Size: Crash cymbals range from 8 to 24 inches in diameter. Most “beginner” cymbals fall in the middle of this range, between 14 and 18 inches. The pitch varies depending on size; larger cymbals tend to have a lower pitch, and smaller cymbals tend to have a higher pitch.
Thickness: The thickness of a cymbal is often referred to as its “weight” by manufacturers. Thicker cymbals produce faster vibrations and thus a higher sound; thinner cymbals produce slower vibrations and thus a lower sound. A rock musician may prefer thicker crash cymbals, whereas a jazz musician may be more pleased with the subtle sound of thinner crash cymbals.
In addition to material, size, and thickness, the hammering and lathing of a cymbal affect its sound. Before a cymbal leaves the factory, it is hammered and lathed. Let’s take a look at what this means.
Hammering: The hammering may be done by hand or with a machine; high-end cymbals are often hand-hammered by professionals. Now, you may be wondering why someone would want to take a musical instrument and hammer dents into it. After all, you wouldn’t take a hammer to a trombone or trumpet! The answer: hammering adds depth to the sound of a cymbal. Because the metal surface is imperfect, the tone becomes more complex and interesting, exuding overtones and warmth that an unhammered cymbal simply cannot produce.
Lathing: After a cymbal has been hammered, it goes through a lathing process in which concentric “tonal grooves” are shaved into the cymbal. These grooves further contribute to the complexity of the sound. Grooves in a cymbal may be close together or far apart. Close-together, or “tight,” lathing tends to produce a more focused sound, whereas wide lathing tends to create a wider, darker sound.
There are three parts of a cymbal that also play a part in its sound quality: the bell, bow, and edge. Let’s take a look at each.
Bell: The bell is the raised area in the center of the cymbal. It may be steep, flat, or somewhere in between. A steeper bell creates a higher pitch than a flatter bell. If you want lots of ping, look for a cymbal with a pronounced bell. If you want something more subtle, look for a cymbal with a flatter bell.
Bow: The way a cymbal curves outward from bell to edge is called the bow. A pronounced bow produces a brighter, higher pitch. A flatter bow is slower to respond and exudes a lower pitch.
Edge: The delicate edge of the cymbal, also known as the rim, is the thinnest and most responsive part of the instrument. In fact, the thinner it is, the more responsive it will be. The edge of a cymbal can be surprisingly fragile. Yes, this instrument is made of metal, but played improperly, the edge could crack.
As mentioned, cymbals are hammered at the factory to create a complex and interesting tone. Some cymbals are hammered by hand; others are hammered by machine. Hand-hammered cymbals tend to wear higher price tags because, for one thing, they cost more to produce. What’s more, the sound quality of a hand-hammered cymbal is arguably better and worth the higher asking price.
“Aged” cymbals are thought to have better tone. Some cymbals are allowed to age at the factory before they are sold. If you don’t want to pay a premium for factory-aged cymbals, you can age your cymbal yourself. There are plenty of online tutorials that can show you how to do this. For example, “soil aging” is a process in which cymbals are buried underground for a period of time. The longer a cymbal is buried, or “soil aged,” the darker the tone will be when it is later played.
Thankfully, you don’t have to bury your cymbal to age it. There are chemical methods you can use to add a “patina” to your cymbal that changes the sound. If you choose to do this, note that some risk is involved. You might love the results of your chemical experiment — but you might not.
The finish of a crash cymbal may be “brilliant” or “traditional.” This is largely an aesthetic choice. Brilliant cymbals look shiny and flashy, whereas traditional cymbals have a more muted appearance. Brilliant cymbals do tend to show fingerprints more easily.
In addition to finish, there are several colors to choose from in the cymbal world. Gold and copper hues are popular. Silver is another fairly common choice. If you want something unique like purple, you can probably find it, but you may have to scour the market a bit — and once you find your uniquely colored cymbal, there’s no guarantee that it will be of the material, thickness, or size that you prefer.
Inexpensive: For $20 to $40, you can get an inexpensive cymbal made of brass or copper alloy. If you’re not picky about sound quality, a cymbal like this might serve your purposes. Some cheaper cymbals have been described as sounding like a gong or cowbell. The volume, resonance, and durability of these cymbals may not be as good as those of a pricier cymbal.
Mid-range: For $40 to $80, you can get a quality crash cymbal made of bronze (usually B8) that ticks most or all of your boxes. The quality and complexity of the tone will be sufficient for amateur concertizing and practicing at home. The majority will be satisfied with crash cymbals in this range, though professionals and those with serious musical aspirations will want to consider spending more.
Expensive: For $80 and above, you will find many B20 offerings (and some B8 products as well). If you’re willing to spend $200 or more, your chance of finding handcrafted (or at least hand-hammered) cymbals with excellent lathing and a complex tone increases dramatically. Professional performers and recording artists will want to look at this highest price tier for the very best.
Understand the anatomy of your cymbal. It will help you be more creative with your sound. Strike your crash cymbal on its bell to achieve a high, clear tone; the metal is at its thickest here. Strike your crash cymbal on its edge, where the metal is at its thinnest, to achieve a more responsive crash.
Experiment with your equipment. If you have more than one type of cymbal, try stacking them one on top of another to create new tone colors.
Follow best practices for keeping your cymbal clean. Fingerprints and dirt can be wiped away with a microfiber cloth. If you moisten the cloth, be sure to dry the cymbal thoroughly afterward, as unchecked moisture can degrade the metal.
Q. My friend says I don’t have to buy a crash cymbal because I can use his splash cymbals. Are crash and splash cymbals the same?
A. Crash cymbals and splash cymbals are not quite the same. It’s true that both can be used to create a crashing effect, but splash cymbals are smaller and thinner than crash cymbals. In a pinch, you could definitely use your friend’s splash cymbal instead of a crash cymbal, but the sound won’t be as full, loud, or complex.
You could also use a hi-hat cymbal as a crash cymbal. In fact, some people use them all the time. However, a hi-hat cymbal (responsible for the “chick” sound you often hear from a drum kit) doesn’t create the unique crash that a dedicated crash cymbal makes.
Q. Does it matter whether the crash cymbal I buy is made of cast metal or sheet metal?
A. If you’re picky about sound, you will definitely want to pay attention to the method with which a cymbal was made. Some cymbals are “cast” cymbals and others are “sheet” cymbals. This distinction has to do with the manufacturing method: cast cymbals are formed in a mold, whereas sheet cymbals are stamped from sheet metal. Sheet cymbals are cheaper, but the level of sustain isn’t as good as that of cast cymbals. A beginner may not mind, but a professional should probably stick to cast cymbals.
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