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A cymbal transducer has a simple structure consisting of a piezoceramic disk and metallic caps and has broadband characteristics when built as an array. The finite element method (FEM) is generally used to analyze the characteristics of acoustic transducers. However, the FEM requires a longer analysis time as the model becomes larger, which makes it limited and less efficient for analyzing the cymbal array. In this study, a new equivalent circuit with higher efficiency and accuracy, comparable to that of the FEM, was proposed to analyze the performance of cymbal arrays. The equivalent circuit for the array was constructed by connecting the equivalent circuits of individual cymbal transducers in parallel with a radiation impedance matrix that included both the self- and mutual radiation characteristics of the array. The validity of the new equivalent circuit was verified by measuring the transmitting voltage response of a cymbal array specimen and comparing it with that calculated using the circuit. The comparison confirmed the efficiency of the equivalent circuit in analyzing the characteristics of the cymbal array. The proposed equivalent circuit can facilitate the design of a large array of cymbal transducers.

Understanding the development and use of musical instruments in prehistory is often hampered by poor preservation of perishable materials and the relative rarity of durable examples. Here, the authors present a pair of third-millennium BC copper cymbals, excavated at Dahwa, Oman. Although they are the only well-contextualised examples from Arabia, the Dahwa cymbals are paralleled by contemporaneous examples from the Indus Valley and images in Mesopotamian iconography. Not only do the cymbals add to the body of evidence interpreted in terms of Indus migrants in Early Bronze Age Oman, they also suggest shared musical and potentially ritual practices around the Arabian Gulf at that time.

The complex frequency domain assurance criterion is here applied for the comparison of a pristine to an altered state of a vibrating system. The criterion was originally proposed for the detection of defects in vibrating structures, while in later research studies it has been successfully used in musical acoustics. In this paper, we evaluate the differences in the vibrational behavior of finished and non-finished cymbals by adopting the proposed correlation criterion. Since idiophones are playable and produce sounds after any manufacturing process, the methodology presented correlates the vibrational state of a cymbal, at any stage of manufacturing, to a reference pristine cymbal. The evaluation of the cymbals is performed by the comparison of finished cymbals with semi-finished and blank 8-inch cymbals of the same material. The correlation criterion is applied to the vibrational measurements of blank, semi-finished, and finished B8 and B20 cymbals. Additionally, commercially available finished cymbals of the same material and geometrical characteristics are introduced in this correlation study. The measuring methodology and the vibration symmetry are discussed, and valuable results and conclusions are presented. The proposed methodology highlights the influence of the manufacturing processes of forming, hammering, and finishing on the vibrational behavior of cymbals, offering manufacturers and drummers a quantifiable criterion for evaluating cymbals’ vibroacoustic performance. Representative evaluations of blanks, semi-finished, and finished cymbals demonstrate the capability of the correlation criterion to monitor, identify, and visualize the vibrational state of any cymbal compared to a pristine reference. This enables the development of a novel methodology for both manufacturers and musicians.

Cymbal was discovered in the Bronze Age and it is among the oldest instruments. The development of metalwork in Asian geography is seen as the main source of this discovery. Chinese, Turkish and Egyptian tribes played a major role in the production and musical use of cymbals for centuries. The instrument, which was transported to other continents and countries either by means of war and invasions or trade, has undergone various changes and transformations in terms of material and shape based on the social customs and habits in history. The importance of cymbals has increased with Janissary Band in the 17th century. The copper smith of the palace, Kerope Zildjian was specialized in the making of cymbals and became a pioneer of 400 years of heritage. The knowledge of production and crafting has passed from father to son and has been kept as a secret for a long time, resulting in “Turkish cymbals” becoming legends. Mikhail Zilçan, a member of the Zildjian family, who moved to America in the beginning of the 20th century, had stayed in İstanbul, and continued to produce cymbals until 1977. After this date, his apprentices helped to sustain this heritage. The conversion of the metal into the instrument requires specific expertise at every stage, from preparation of the alloy to sealing. Nowadays, including the Zildjian Company, it is more common to use mechanical production. Handmade production is learnt through master-apprentice relationship and since all the production stages are hand-crafted, each cymbal in the end, has its own, unique timbre. In Turkey, cymbals are still crafted by hand and therefore they preserve their worldwide value. The continuation of this longlasting tradition until today is very honoring for the survival of culture and for contributing to the art of music. The article aims to introduce the Zildjian family, who are the founders of Turkish cymbals and the technical features of these cymbals. The literature review proved that the archival material of the Ottoman Empire period are still mostly unrevealed. However, the light of the acquired information, the article provides a chronological and descriptive framework on the Zildjian family and the Turkish cymbals, associated with the family name.

So far, cymbal transducers have been developed primarily for transmitting purposes, and even when used for receiving, the focus has been mostly on improving the receiving sensitivity. In this study, we developed a cymbal hydrophone with a higher sensitivity and a wider bandwidth than other existing hydrophones. First, the initial structure of the cymbal hydrophone was established, and then the effects of structural variables on the hydrophone’s performance were analyzed using the finite element method. Based on the analysis results, the structure having the highest sensitivity and widest bandwidth, with a receiving voltage sensitivity level above a certain threshold, was derived using optimal design techniques. A prototype of the cymbal hydrophone with the designed structure was fabricated, and its performance was measured, validating the effectiveness of the design by comparing the measurement results with the design values. The developed cymbal hydrophone is expected to be utilized in various underwater precision measurements, as it possesses a significantly broader reception frequency bandwidth when compared with other hydrophones used for the same purpose.

Cymbal transducers are typically grouped and arranged in planar arrays. For projector arrays, a wide bandwidth on the transmitting voltage response (TVR) spectrum is required for better underwater communication and data transmission within a short time. The purpose of this study is to develop a wideband cymbal array by controlling the center-to-center (CTC) spacing between the cymbal transducers in the array. In the practical design of the array, due to the arrangement of elements in one layer, the minimum CTC spacing between the cymbals is constrained to the diameter of the cymbals in use. To overcome this limitation, we propose a new dual-layer array structure. Finite element analysis of the cymbal array showed that the bandwidth was generally inversely proportional to the CTC spacing. We explained the mechanism of this relationship using a theoretical analysis of the mutual radiation impedance between the cymbals in the array. Subsequently, we identified the optimum CTC spacing to achieve the widest possible bandwidth for the cymbal array. The validity of the wideband array design was verified through the fabrication and characterization of prototype arrays. We confirmed that the two-layered arrangement could significantly widen the bandwidth of the cymbal array while maintaining the TVR above a specified level.

Over the past fifteen years, much of the music-theoretical scholarship on heavy metal has addressed metric processes (Lucas 2019, Capuzzo 2018, Hannan 2018, Lucas 2018, Lennard 2016, Smialek 2008, Pieslak 2007) and the use of the voice (Smialek 2017, Young 2018). A significant portion of the literature deals with the band Meshuggah, but the music of countless artists scattered across manifold subgenres remains unexplored. Widening the focus on such a large repertoire not only helps remedy this issue, but serves to inform one recent music-theoretical topic that relies on a broad stylistic understanding: time feels. To date, scholars have mainly limited the discussion of time feels to the kick and snare drums (e.g., de Clercq 2016), and indeed, these instruments ultimately determine a feel. I argue, however, that different uses of guitar, bass, and cymbals can reinforce, clarify, or contradict the feel laid down by the kick and snare. In this article, I describe several categories of guitar and bass riff types and timekeeping cymbals. I then discuss how their associations with certain time-feel contexts inform further analyses. To this end, I draw from post-millennial metal music in various subgenres including black metal, death metal, doom metal, grindcore, metalcore, progressive metal, sludge metal, and thrash metal.

Cymbal transducers are frequently used as an array rather than a single element because of their high quality factor and low energy conversion efficiency. When used as an array, cymbal transducers are likely to have a big change in their frequency characteristics due to the interaction with neighboring elements. In this study, we designed an array pattern of cymbal transducers to achieve a wide frequency bandwidth using this property. First, cymbal transducers with specific center frequencies were designed. Next, a 2 × 2 planar array was constructed with the designed transducers, where dielectric polarity directions of the transducers were divided into two cases (i.e., same and different). For the array, the effect of the difference in the center frequencies and the spacing between the transducers on the acoustic characteristics of the entire array was analyzed. Based on the results, the structural pattern of the array was optimized to have the maximum fractional bandwidth while maintaining the transmitting voltage response over a given requirement. The design validity was verified by making cymbal array prototypes, followed by measuring their performances and comparing them with that of the design.

Cymbal transducers are characterized by a high mechanical quality factor and low power efficiency. The research conducted so far on cymbal transducers has focused on improving the power efficiency and structural stability, but modern underwater sensor network systems need transducers to have a wide frequency bandwidth as well. In this study, a wideband cymbal transducer was designed to fill that need. First, the effect of various structural parameters on the performance of the cymbal transducer was analyzed with emphasis on the bandwidth using the finite element method. Based on the analysis results, the structure of the cymbal transducer was optimized to have the widest possible bandwidth while maintaining its transmitting voltage response (TVR) level over a typical power requirement as well. The validity of the design was verified by fabricating a prototype of the optimized cymbal transducer and comparing its measured performance with the design.

Cymbal transducers are often used in arrays for underwater communication and detection systems. The working environment of a cymbal array is underwater; therefore, waterproofing, salt-corrosion prevention, and impact resistance are necessary for stable operation of the array. Hence, we simulated potting a cymbal array with 15 different rubber and epoxy materials available in the market, using the finite element method, and analyzed their effect on the transmitting voltage response spectrum of the array. From the analysis results, we selected the material that would achieve the widest frequency bandwidth, while preserving the structural stability of the array. A potting method corresponding to the selected material was suggested as well. This study provides guidelines for the selection of a potting material for use in underwater transducer arrays.