Hey, I'm happy you can learn from watching the video! Actually in this video I'm mainly doing the initial stretching of the blank. So I try to hammer as evenly as possible all over the surface of the blank. The rings I hammer near the edge is to determine where the tension of the profile ends. So in between the edge and the bell, I hammer (top and bottom) to slowly raise the profile. Then I also do some small adjustments on the shape during that process to make sure it stays even and doesn't turn into a taco.

Noted! Thanks 😊

@@pgbartisancymbals :)

Yeah this one is a 24oz hammer, with a slightly round face. Inverting the cymbal helps me see uneven spots better. After hammering the same side for a while, it helps to invert it and do some adjustments. Bending it sometimes helps the bronze to stretch and place itself in shape. It also releases some weird tension that can build up. Yeah, when I do targeted hammering, it's stretch some areas that lack hammering to put them back in with the rest of the pofile.

It's called an anvil. You need to purchase some tool steel cylinder. Approximately 6" wide by 5" deep and make the surface slightly curved. Than heat treat it to make it hard. You should go see a black smith to help you with the process.

Yes I like to work it in both profiles, it's helpful to see the shape of the cymbal from different angles. It also has some shaping perks. Tension, or hardness of the metal can be obtained by working in inverted or regular profile. This blank is on the thinner side, but it's medium (2300g) . I use the same process on thin or heavy cymbals. I mainly switch the hammers and strength of hammering.

for this reason the hammermarks are way to small!

Lol

Materials cost + work (hammering or Lathing, adding patinas, etc.) + tons of expertise + trained ears. I'd say $800 is about right.