A suspended cymbal is a single cymbal in a fixed playing position, not a pair of hand cymbals brought together for a crash. In an orchestral part, your choice involves the passage, the cymbal and its support, the mallets, and the way the sound begins, develops and ends. Buying one item cannot make those decisions for you.
This guide brings those questions together for orchestral percussion. It is not a personal comparison of every cymbal on the market. For a separate example of a pair of crash cymbals and how the end of their sound can shape a phrase, see my Faust cymbal excerpt.
Relationships and affiliate links: I am a Dragonfly Percussion ambassador and use the brand’s SC1, SC2 and SC3 suspended-cymbal mallet models. That artistic relationship is separate from the Thomann affiliate links in this guide. I may earn a commission if you buy through those links. My use of the three models is not a measured comparison. The retailer mallet links below are for rattan-handle pairs; Dragonfly also offers hickory versions. Check each exact reference, package contents, current price, availability and delivery terms before ordering.
Start with the musical task, not the model number
Read the part before choosing equipment. Is the instruction a single attack, a quiet roll, a long crescendo, or a sound that must stop clearly before the next event? What dynamic range and duration are actually written? Where will the instrument sit relative to the other percussion you must reach?
That question prevents a common category error: a suspended cymbal and a pair of crash cymbals can both sustain after an attack, but their setup and gestures are not interchangeable. If the part or local terminology is ambiguous, check the score and the conductor’s or teacher’s intended instrumentation. Preparing an orchestral percussion entrance gives a broader plan for the moment before the first sound.
Choosing a suspended cymbal and its support
First check the exact instrument reference, diameter, construction and mounting arrangement in the manufacturer’s information. Then check whether your stand or mounting hardware is compatible and stable, how freely the cymbal can vibrate, and whether the playing areas are reachable without colliding with another instrument. The nominal diameter is useful for planning space, not a prediction that one model will sound better in your hall.
The following are four single suspended-cymbal references documented by their makers and by exact Thomann listings. They are candidates for comparison, not instruments I claim to own or rank.
| Reference | Documented facts | Useful question before choosing | Exact retailer item |
|---|---|---|---|
| Zildjian S Family 18″ | One 18-inch Medium Thin suspended cymbal, maker SKU S18SUS; mallets separate | Does this size and mounting arrangement fit the part and available space? | Check S Family 18″ on Thomann |
| Zildjian Classic Orchestral Selection 18″ | One 18-inch Medium Thin cymbal with traditional finish; the exact retailer lists B20 | How does the 18-inch option respond in the passage you need? | Check Classic 18″ on Thomann |
| Zildjian Classic Orchestral Selection 20″ | One 20-inch Medium Thin cymbal with traditional finish; the exact retailer lists B20 | Can you mount, reach and transport it, and how does it compare in your passage? | Check Classic 20″ on Thomann |
| Sabian Artisan Suspended 18″ | One 18-inch Thin B20 cymbal, maker reference A1823; Sabian describes its timbre as dark | Does that maker-described colour serve the ensemble after you hear it there? | Check Artisan 18″ on Thomann |
The two Classic sizes are not a controlled experiment in which every variable but diameter is fixed. A 20-inch label does not guarantee a louder, lower or better result. Likewise, Sabian’s word dark is the manufacturer’s description, not my audition result. The A1823 above is a suspended cymbal, not Sabian’s similarly named Artisan hand-cymbal pair. Confirm the stand, accessories and mallets separately; a product photograph is not a contents list.
If you already have an appropriate cymbal, do not buy another merely to solve a roll that can be improved through setup or practice. Compare the instrument in the musical context you actually need.
Choosing suspended-cymbal mallets: Dragonfly SC1, SC2 and SC3
My use of all three Dragonfly models does not make one a universal winner. The important question is how a model’s documented construction relates to the passage and to the response of your own cymbal. A maker’s description is not a listening test conducted in your room.
SC1: a medium option for notes and rolls
Dragonfly describes SC1 Medium as a heavy plastic core covered in rubber with a tightly wrapped cloth head. The maker presents it for isolated notes across a range of dynamics as well as rolls. That makes it a general option to investigate when the passage moves between single attacks and sustain; it does not guarantee the same articulation on every cymbal.
The verified SC1R Thomann listing is the rattan-handle pair, article 505019.
SC2: articulation without bare metal contact
Dragonfly’s SC2 Hard has a small brass core covered in rubber and a tight cloth wrap. The brass is not a bare-metal striking surface. The maker positions this model for rhythmic passages and more clearly articulated isolated notes. Consider whether that documented intent matches your passage rather than assuming that Hard means playing louder by default.
The SC2R Thomann item is a rattan-handle pair, article 505022.
SC3: a softer option for continuity
Dragonfly describes SC3 Soft as lighter and more yielding than its firmer models, intended for rolls across different dynamics and for single notes with a rounder attack. It is a candidate when you are working on roll continuity, not a mallet reserved only for pianissimo. The maker’s description does not predict the result on your cymbal.
The SC3R Thomann item is the rattan-handle pair, article 505023.
Build a roll by listening to its beginning, middle and release
Joshua J. Knight’s Percussive Arts Society guide to suspended-cymbal rolls treats mallet type, stroke height, speed and playing area as interacting choices. It proposes an alternating roll and asks the player to find a speed that sustains the sound without unnecessary tension. His particular playing-area measurements and exercises are pedagogical examples, not a rule for every cymbal or score.
Here is a short proposed listening exercise, not a transcription of Knight’s etude or a claim about my own product test. Choose a comfortable, moderate phrase and hold your cymbal, mallets, room and recording position constant. In trial A, focus on whether the first two strokes produce the intended quiet entry. In trial B, keep that entry and shape a gradual increase in energy through the middle. In trial C, keep both and plan how the roll will stop or leave its resonance. Change only one variable at a time, then listen back with a specific question in mind.
For a crescendo, avoid treating “faster” and “higher” as interchangeable shortcuts. Knight discusses both stroke speed and height; the musical aim is a controlled development, not maximum motion. If a response feels unstable, reconsider the relationship among cymbal size, mallet weight, playing area and your own relaxed control before deciding that a product is defective.
Give the end of the sound a place in the phrase
An indicated release, a following entrance and the acoustic all affect whether you let the cymbal ring or damp it. Knight advises against ending a roll with a sudden movement or with mallets left pressed down as a default response. That does not override a score’s particular effect or a teacher’s instruction. Identify the intended end, practise the motion you can control safely, and listen to the next event.
The Faust crash-cymbal article asks a similar musical question about resonance, but its instrument is a pair of cymbals. The link is an invitation to compare listening decisions, not to copy a crash-cymbal gesture onto a suspended cymbal.
A practical check before ordering
- Verify that the score calls for a single suspended cymbal, not a pair of crash cymbals or an electronic sample.
- Check the exact cymbal reference, diameter, mounting parts and stand compatibility; do not infer supplied hardware from a photograph.
- Confirm the exact mallet model, handle material, pair quantity and current retailer conditions on the listing you open.
- Decide what you will test: the quiet entry, a crescendo, the roll’s continuity, or the release. A vague promise of “better sound” cannot answer that question.
- If you have access to alternatives, compare them in the same passage and room before treating a manufacturer’s description as your own result.
Frequently asked questions
What is the difference between suspended and crash cymbals?
In this guide, a suspended cymbal is a single mounted instrument played in a fixed position. A crash-cymbal pair is brought together by the player. Check the actual notation and the required setup rather than assuming that a shared word, “cymbal”, means the same playing method.
Do I need a special mallet for a suspended-cymbal roll?
Choose a mallet documented for the instrument and test how its weight, head and covering interact with your cymbal and passage. Knight discusses medium-to-soft yarn mallets as a common starting point but also recommends experimenting; that is not proof that every cymbal requires one fixed model.
Which Dragonfly model is best?
There is no source-grounded universal answer. SC1, SC2 and SC3 have different documented constructions and intended uses. Match the decision to the passage and instrument, and separate the maker’s claims from your own listening.
How do I end a suspended-cymbal roll?
Start with what the score and ensemble need after the roll. Some sounds should continue; others need a deliberate end. Practise a controlled release with a teacher rather than applying one damping rule to every phrase.
Sources and scope
The Percussive Arts Society article and Vic Firth’s Percussion 101 suspended-cymbal module inform the general technique and teaching questions. The linked Zildjian, Sabian and Dragonfly maker pages document their respective product descriptions; the seven linked Thomann listings identify exact retailer references. These sources were checked on 21 October 2026. The listening exercise is my proposed practice framework; it does not report a controlled comparison, measured sound, ownership of the four cymbals or a universal recommendation. No retailer stock, price or commission attribution was tested for this guide.