ADVANCED MATERIALS & PROCESSES | JANUARY/FEBRUARY 2025 1 7 at failure locations was performed. The failure zone (Fig. 9) cross-section confirmed that the microstructure at the crack location is different from the microstructure at an adjacent location, which did not exhibit cracking (Fig. 10)[4]. The cracks propagate in the segregated tin area. The microstructure indicates non-uniform distribution of tin, a non- homogeneous condition. Hammering of cymbals evolved throughout the 20th century and now includes semi-auto drop hammer (e.g., Baileigh reciprocating) and automated programmable hammer machines for consistent patterns, depth, and a variety of tooling for unlimited surface markings (Fig. 11). Figure 12 shows a cymbal before hammering. Figure 13 is the same cymbal after automated mechanical hammering. LATHING The lathe (Figs. 14 and 15) is an ancient machine, possibly the most important machine invented. Used for working wood and metal, the lathe helped revolutionize the mechanical world and lead the advancement of humankind. It is a tool of simplicity, yet capable of complex creations. It inevitably became part of the cymbal world for its ability to transform the sound of a metal disc into a percussive instru- ment. As with hammering, lathing, also referred to as metal turning, is a technique for creating and controlling the vibrational (sound) characteristics of a cymbal. Lathing removes the rough, oxidized surface layer, restoring the metal’s shine and luster. Weight is removed and “tonal” grooves are cut, creating the desired cymbal geometry (profile) and resonance. The cymbal sound, length of sustain, and pitch definition (high, low) are imparted and controlled. The cymbalsmith, beginning with the bottom side, makes a rough pass, from cup to edge. Likewise, the cymbalsmith lathes the top, first a rough pass, followed by a finish pass. Manual lathing requires learning a hard-to-master skill involving pressure, angles, patterns, tooling, and speed. Lathe tooling (Fig. 16) used for cutting the cymbal grooves may include carbide, Stellite, steel, diamond, or other material. A cymbalsmith may hammer a cymbal in multiple successions, using varying patterns and tooling, lathe the cymbal, and then hammer it Fig. 8 — Hand-hammered cymbal with crack. Fig. 9 — Microstructure at crack location. Fig. 10 — Microstructure at location with no cracks. Fig. 11 — 21” dia. “Z Custom” cymbal with star-shaped hammer marks and “mega” bell. Fig. 12 — Cymbal before hammering. Fig. 13 — Mechanical hammering. Fig. 14 — Metalworking lathe machine, patented 1884. Fig. 15 — Cymbal lathing machine.
RkJQdWJsaXNoZXIy MTYyMzk3NQ==