Which notes does it make?

Because every cymbal is unique, and not tuned to the A440 chromatic scale, the notes entirely depend on the particular cymbal you’re playing. However, these notes usually have harmonious relationships to one another, such as the fifth, sixth and the major and minor thirds.

Most of the cymbals we’ve tested so far have a sweet spot note in the middle with a lower fifth below. Despite the limited note numbers (up to 5 per cymbal), the Cymbaloniq really excels at producing a rich sound! This is because in addition to the fundamental note, there can be a number of under and overtones which dance in and out, sometimes creating something like non repeating arpeggios.

Which cymbals work best?

Crash or ride cymbals 16 inches and larger work the best. It doesn’t work very well with China shaped cymbals or ones with lots of holes. Thicker cymbals need more excitement to get going, which means using a larger Lollipop and/or more pressure. Very thin cymbals can “crash out” much sooner and prefer a lighter touch.

What effects the tone?

Anything in physical contact with the Cymbal, Mount, Clutch or Z Bar will both receive and contribute vibrations to the system, changing it’s tone. We currently offer a tubular resonator (the tube it’s mailed in!) with the Plus REZO Cymbaloniq, but greatly encourage experimentation by attaching a Rezo Mount to anything hollow or resonant!

Do any parts wear out over time?

Yes, the ball on the end of the Lollipop will eventually start shedding and wear out. You can buy new Lollipops and bouncy balls from us, or try making your own.

With forceful sticking, sometimes the ball slides off the end of the Lollipop. You can slide the arm back into the slit it came out of, but be cautious not to poke it through to the other side.

Do you have any advice on learning to play?

Like any instrument, there is a learning curve.  If you want to make crazy sounds, then experiment away!  But, if you want to build the resonance into beautiful, cascading harmonics, it will take some practice.  With some time and focus, you can develop a soft touch and sensitivity to tiny changes. 

Different tones emerge with changes in the size of the Lollipop, the length of the Lollipop arm and the angle and pressure of the Slip Stick.  Be sure to experiment with all of these.

To start, try sticking near the edge of the cymbal to get it going, and then quickly come 3 to 5 inches (7 to 13 centimeters) from the edge. There are some notes that will ring out long after you stop sticking it, these are the “sweet spots”. To check if you’re making one of these tones, stop sticking and listen. Does the note you were playing continue? If not, it was a none ringing note, which can still have harmonics and sound great, but won’t have the resonance and volume of the sweet spots. Each cymbal has at least two sweet spots, and they’re usually a fifth apart.

Getting one pure note that hardly changes is possible, but difficult.  The vibrational patterns of the slip stick are irregular; and a cymbal, as an idiophone under tension, has a handful of resonant modes it strongly gravitates to. This chaos-versus-order dynamic defines the character of the Cymbaloniq:  A complex system which is always in conversation with itself.

My favorite way to play is to get a sustained tone going, and then sing in harmony with it. I have found this practice helpful in hearing all the possibilities when singing other “normal” songs.

All and all, playing the Cymbaloniq has been a vastly rewarding experiment for me, and I’m excited to share it with the world. In theory, its monophonic nature can inspire minimalism and collaboration; and regular engagement can help players develop a sensitive touch and sustained focus.  It’s all very new, so I look forward to being surprised!

Happy Spinning,

-Jon Glancy