Cymbal Alloys Explained: B8 vs. B20 (and B10)

The number in B8 or B20 is the tin content of the bronze: B8 is 92% copper and 8% tin, B20 is 80% copper and 20% tin. B20 usually sounds warmer, more complex and more lively, while B8 sounds brighter, more direct and more focused. Neither is simply better: how a cymbal sounds depends at least as much on thickness, hammering, shape and finish, and when you buy used, condition and sound matter more than the alloy label.

The alloys at a glance

Almost every drum kit cymbal is made of tin bronze. Tin hardens the copper and gives it the ability to ring long and in many layers. In general, the more tin, the more complex the overtone picture.

The in-between values are rough figures and differ by line; makers do not always state them. Brass is the cheapest base metal, is easy to press and is more prone to cracking. In practice it only appears in entry-level cymbals.

Warmer or brighter: how B8 and B20 differ in sound

B20 has a wider frequency range with more low end, a fuller wash, and reacts more strongly to different playing strengths. Many players value that for jazz, quieter to medium volumes and in the studio. B8 emphasizes the highs, speaks quickly and cuts through a band mix, which is why it has many fans in rock and metal too. Most sources agree that alloy alone does not fix the sound: two B20 cymbals of different thickness and hammering can sound very different, and a well-made B8 cymbal beats an average off-the-shelf B20 one.

What about durability?

Opinions differ here. Some sources consider B20 more crack-resistant, while others describe B20 as a two-phase alloy that is harder and more brittle and therefore needs more careful processing. A workable rule of thumb: thickness, build quality and how the cymbal is treated matter more for lifespan than the alloy number. Thin cymbals of any bronze crack more easily under hard hits than thick ones.

How cymbals are made: cast, rolled, hammered

The path from metal to cymbal strongly affects sound and price. In broad strokes: the bronze is melted at about 1150 °C and cast, then rolled several times (roughly 6 to 12, depending on the process), shaped, hammered and finally turned on a lathe, which creates the typical fine grooves ("lathing").

• B20 is usually cast in small blanks that are then heated, rolled, cooled and hammered repeatedly. That is laborious, and each cymbal turns out a little different.
• B8 can be cast in larger bars and cold-rolled into long sheets. Blanks are punched out of the sheet, which allows more uniform results and lower prices.
• Hand hammering shapes the tension and tone color of each cymbal individually; machine hammering gives consistent, usually brighter cymbals at lower prices.
• Entry-level cymbals are often pressed in one step, and the hammer and lathe marks are frequently only stamped in.

Bronze sheet with about 15% tin appeared in the late 1980s as a separate development: hot-rolled and annealed, with very uniform blanks. Top-quality sheet-bronze cymbals are now widely seen as comparable to many cast ones.

Finishes and thickness

Polished brilliant finishes sound a bit more controlled and stay shiny until they tarnish. Unlathed or raw finishes sound darker and drier. Heavy cymbals, where the metal measures about 2 mm or more at the center hole, sit higher in pitch, are louder and respond more slowly; thin ones speak quickly and have shorter sustain.

Cymbal types and sizes

Larger cymbals are generally louder and sustain longer. A bigger bell adds overtones and projection, while a flat ride without a pronounced bell sounds more muted and struggles against loud band volume. Perforated or stacked cymbals produce effect sounds.

A sensible starter set

A common starting point is 14-inch hi-hats, a 20-inch ride and one or two crashes of 16 to 18 inches. That covers most styles. Splash and china are additions, not basics. When buying used, choose hi-hat pairs whose cymbals match and sit flat against each other.

Inspecting used cymbals: cracks, keyholing, warping

Photos hide a lot, so in person the rule is: look, feel, listen.

Edge and cracks

Run a fingernail with moderate pressure all the way around the edge; a fine crack gives itself away this way. Nicks, dents and rough spots point to poor technique, such as hitting at too flat an angle. Light helps too: hold the cymbal at an angle to a lamp and look along the edge. On china cymbals, gently flexing the rim can reveal hidden cracks.

• Edge crack: least critical and most likely repairable while it is short.
• Crack in the bow: more problematic because it often keeps spreading.
• Crack at the bell-to-bow junction: has a large effect on durability and counts as very serious.
• Crack at the center hole: in practice usually not worth repairing, a dealbreaker.

Even a hairline crack rarely stays stable with continued playing. Networks of surface cracks ("spider webs") and small edge chips ("flea bites") are signs of heavy wear even if the cymbal is still playable.

Keyholing

When the round center hole has worn into a keyhole shape, the cymbal ran for years without a sleeve and felt, directly on metal. A slightly elongated hole hardly affects the sound and is not an automatic dealbreaker. Severe keyholing weakens the cymbal, and cracks tend to start from there later. It is a useful bargaining point on price.

Warping and sound

Lay the cymbal on a flat surface or hold it at eye level: it should sit evenly. Waves and dents come from heat or hard impacts and change feel and sound. Tape residue, stick marks and fingerprints, on the other hand, are purely cosmetic. Always strike the cymbal, in several spots and at different strengths. A cymbal that looks flawless but sounds dead or has an unwanted sizzle is a bad buy. And two cymbals from the same line can sound noticeably different, especially hand-hammered models.

Cleaning and care

The first question: shiny or matte? Brilliant cymbals are polished and often have a protective layer. Traditional, raw or dark cymbals live on their natural surface and patina, which is part of their sound.

1. After playing: wipe off dust and fingerprints with a dry, soft cloth (microfiber or cotton).
2. More thoroughly every two to three months: lukewarm water with a few drops of mild dish soap, a soft cloth, circular motions along the lathe grooves (not across them), rinse thoroughly and dry right away.
3. Brilliant finish: additionally a non-abrasive cymbal cleaner or mild cymbal polish, applied sparingly. This brings back the shine.
4. Traditional finish: no polish, only a dry or slightly damp wipe. Polish leaves marks and can change the look permanently.

Skip steel wool, scouring powder, ammonia and household cleaners; vinegar, lemon and metal polish are also best avoided because they attack the surface and strip printed logos. Some lines carry a protective coating, where only care products made for cymbals are appropriate. Verdigris and heavy discoloration usually respond better to the mild soap solution and some patience than to chemistry. If you do not want the shine, leave the patina alone; it does not harm the cymbal.

Stands, felts and sleeves

Most damage happens at the stand. A nylon or rubber sleeve belongs around the tilter rod, a felt above and below the cymbal, and the wing nut is tightened only until it rests on the top felt so that the cymbal swings freely when struck. Cymbals clamped too tightly sound choked and crack at the center hole; without a sleeve, keyholing starts quickly. On the hi-hat, keep the clutch medium-tight so the top cymbal moves freely. Replace worn felts regularly.

Technique and storage

• Hit crashes with a glancing blow at roughly 30 degrees, not straight onto the edge.
• Rotate crashes by 180 degrees from time to time so the stress does not always land on the same spot.
• Transport cymbals in padded bags with dividers and store them upright, not stacked, dry and away from temperature swings.

Repair: what is possible and what is not

Short edge cracks of up to about two centimeters (under an inch) can often be saved by a specialist shop. The crack is worked out or cut away and the edge rounded, or the end of the crack is secured with a relief hole so the metal stops tearing. This changes weight and sound only slightly. Worn center holes can also be reworked by a shop. Cracks at the center hole or many separate cracks are usually not economical to fix. Do not try drilling, milling or welding yourself: without the right tools and experience, the damage easily ends up bigger than before. Repair prices depend on the crack, the size and the shop, so get a quote.

A repaired crack is not a dealbreaker, but it is a clear price discount, and the cymbal is less suited to hard playing.

Prices in the US

• New: prices range from entry-level sets to expensive hand-hammered single cymbals, and bundles are often cheaper than buying cymbals one by one. Compare current offers and, if possible, hear or see the cymbal before buying.
• Used: listing prices vary widely with series, size and condition, and actual sale prices are often lower. Compare several listings of the same model before you decide.

Myths and misconceptions

• "B20 is always better": False. It is a tonal choice, and good B8 cymbals are fully professional.
• "Cast cymbals beat sheet cymbals": Misleading, because both alloys are cast; processing and thickness decide.
• "Hand-hammered means automatically good": No, quality depends on the craftsmanship, and variation is larger in handwork.
• "Heavier is better": Heavier means louder and slower, not better. It depends on style and room.
• "A cracked cymbal is scrap": Short edge cracks are often repairable, cracks at the center hole usually are not.

Vintage and dating in brief

For older Zildjian cymbals there are clues: a printed "Zildjian" logo is common only from the second half of the 1970s, laser stamps arrived in 1994, and the center hole was enlarged in the 1950s from about 7/16 to 1/2 inch. Brilliant finish first appeared in the catalog in 1970. For a precise placement, hammering, lathing and bell shape matter too. For vintage, value depends heavily on condition and rarity; without a check by an expert you should not pay high prices.

Further reading

All inspection points for a complete kit are in buying a used drum kit: what to look for. Whether an acoustic kit or an electronic one suits you is covered in acoustic vs. electronic drums. For the drums themselves, see shell materials for drum kits and drumheads compared.