It doesn’t.

@@rsilvers129 Cope

It's okay he's a drummer and also deaf@@billmint8122

I thought it looked a bit like a k constantinople after the sandpaper pass. really did end up looking like a foundry reserve

10/10 crash. 👏 👏 👏

Thanks!

Very nice! I bet that's a good combo!

Thanks John! I use between 80 and 120 grit typically. Then I finish off with a fine grit, abrasive pad to smooth it out.

Thanks Amigo!

That's pretty common actually. Ideally a cymbal will have even weight distribution, but I find just about every cymbal has a way it wants to lean (which would indicate it's uneven).

No, but i'll definitely have to try that! Thanks for the tip!

Yeah! I don't have a sandblaster but I'd love to experiment with that at some point.

Yeah! I repair cymbals all the time and it can make them perfectly playable again.

Interesting. My understanding is that 'bronze', while nominally a two phase alloy of copper and tin, is nearly if not always cast with trace amounts of other elements. This is true not just for cymbals, though, and owes more to practical concerns, both in the casting process itself, and the finished alloy's eventual applications. Phosphor, lithium, zinc and nickel are some common trace additives used in bronze casts (phosphor is particularly desirable for industrial parts like bushings, for instance). Much hay has been made about secret cymbal ingredients/family recipes, etc, but I'm fairly skeptical about trace additives in regards to desirable sonic qualities specifically because (marketing claims aside, it is bronze itself that's most remarkable. There's just something about bell bronze making it uniquely suited to musical applications. This is already too long but I have a case in point if you got this far. There are cymbals made from other alloys which make useful sounds, even rapturous sounds when struck with a stick. However, while these often make for great effects cymbals, I have yet to hear any nickel-silver or stainless steel cymbal that gets anywhere near the complexity, versatility or dynamic in its character afforded by an expertly worked bronze casting. Just my 2 cents, but if you work enough with bronze, you will come to see it as extremely special. At times one gets the feeling that there is (lacking a better term) a life force at work in the metal, and cymbalsmithing is the art of guiding that dynamism special to copper and tin alloys towards a musically useful goal. It's why I often think of cymbal making as the real alchemy.

The makeup of cymbal bronze is 80/20, copper and tin w/ trace elements either added by the redsmith or as a consequence of the method of creating the alloy (coal fired, wood burning, or gas). There's arguments as to whether or not this has a drastic effect on the sound. I would say it has an effect, but the biggest factor in the sound is how the blank is formed into a finished cymbal by the cymbalsmith.

The first is the AJ1 and the second is the SD2 bolero!

There are some hammering and lathing techniques I use to create that dry sound in a rested cymbal. It usually involves using a heavier blank and more top hammering for the extra stiffness needed to get that sound.

Thank you! I've been interviewed for a few podcasts where I tell my story. One is called the "drum history podcast". That episode comes out this upcoming Friday. Another is this podcast here: kzfaq.info/get/bejne/oMd0dq2hqKyzZKs.html

Sometimes I use a specialized wax that keeps the patina from developing quickly. Sometimes I want a natural patina to develop so I'll leave the surface untreated. It's all about the desired sound!

@@ReverieDrumCo Thanks for the info. I've been experimenting with applying wax (Minwax Paste Wax) post-cleaning. One layer seems to do well protecting against air but not so much against finger prints.

@@RockerBug17 yeah I use paste wax for certain things. It does a fair amount of dampening to the sound which can be really effective. Try renaissance wax! It’s a micro-crystalline wax that’s super thin.

Did you listen to the "rested" clip? It sounds significantly different than it did post the work. I do this as my full time job and I promise you resting makes a huge difference. The alloy is really amazing in that way. It's malleable and has very interesting properties when "cold-formed" by hammering and lathing.

If it takes a double-blind randomized A/B listening test to convince you, it could be because you've never discovered it by accident.

I used to be a disbeliever of this as well. But after watching Timothy’s channel, I can definitely hear that resting changes the cymbal’s sound. There is remarkably more spread, sustain and shimmer to the sound. In regard to the actual physics of the matter, I am not sure. I have a hard time understanding how the metal structures can re-arrange due to resting. I’ll leave that to any metallurgists out there.

@@p.diddle I agree. It's bizarre and I know of no other example in metallurgy (though they probably exist). I mean, there is the phenomenon of work hardening, but that's pretty immediate.

@@ReverieDrumCo and the unrested one was already cooled?