Can controlled vibration help a new cymbal develop the rich, complex character of a mature, played-in instrument? Independent cymbalsmith Timothy Roberts put the Cymbal Vivo to the test for nearly 30 days. His findings offer a fascinating look at the potential of vibratory stress relief for cymbals.
Can You Accelerate the Process of Breaking In a Cymbal?
For generations, drummers and cymbalsmiths have recognized that cymbals can change in character through years of playing. A new cymbal may sound relatively tight, focused, or restrained, while a well-played instrument can develop greater complexity, responsiveness, and tonal depth.
Traditionally, achieving that played-in character takes time and repeated use.
The Cymbal Vivo was developed to explore a different approach: using controlled mechanical vibration to encourage the tonal maturation of cymbals without requiring hours of continuous playing.
But does it actually work?
Acclaimed independent cymbalsmith Timothy Roberts recently conducted an extended, hands-on evaluation of the Cymbal Vivo, testing two of his own handmade cymbals over approximately one month.
His reaction to the results was revealing.
"There was genuinely a difference between before and after the Cymbal Vivo."
From Skepticism to Curiosity
When Cymbal Vivo creator Ray Byrne first approached Roberts about the device, Roberts was intrigued but skeptical.
The concept was straightforward: mount a cymbal on a vibrating mechanism that attaches to a standard cymbal stand, then adjust the vibration until it activates the cymbal's natural resonance.
The Cymbal Vivo uses an adjustable control to help users find a setting at which the cymbal begins to resonate or "sing."
The underlying inspiration comes from vibratory stress relief (VSR), a process used in certain industrial metalworking applications. The Cymbal Vivo adapts the concept of controlled vibration to the much more delicate and acoustically complex world of musical instruments.
Roberts immediately recognized its potential, particularly for drummers interested in developing the sound of newly manufactured cymbals.
Rather than relying on an initial impression, however, he decided to put the device through a longer test.
The Test: Two Handmade Cymbals, Nearly 30 Days
Roberts selected two contrasting cymbals to evaluate whether the Cymbal Vivo could produce audible changes under different finishing conditions.
Cymbal 1: An Old K-Style Ride with Patina
The first was a 2,667-gram, old K-inspired ride cymbal, modeled after the classic heavier jazz ride sound associated with Tony Williams.
The cymbal had already undergone Roberts' proprietary patina and finishing process, which contributes to its controlled, relatively dry tonal character.
It was newly made but had rested for approximately one week before testing.
Cymbal 2: A Raw, Unfinished 20-Inch Ride
The second was a 20-inch handmade ride cymbal created by Roberts alongside Nicky Moon and Paul Francis as a tribute to their friend Kevin Feeney.
Unlike the first cymbal, this instrument had no applied patina, wax, or protective finish. It was raw bronze, straight from the lathe.
This contrast provided an opportunity to observe whether the device affected two very different starting tonal characteristics.
Both cymbals spent nearly a full month undergoing vibration treatment. Roberts deliberately avoided playing them during the test so that his first reaction afterward could be compared with recordings made before treatment.
The Results: More Highs, Greater Spread, and a Bigger Sound
When the month was complete, Roberts removed the cymbals and listened to their original recordings before playing them again.
He immediately noticed changes.
First Cymbal: A Wider, More Developed Tonal Range
The old K-style ride had originally possessed a controlled, focused sound. After treatment, Roberts described a noticeably broader frequency range and greater openness.
"Instantly there's more highs. Definitely. More high frequency spread, a bigger kind of sound."
As he continued playing and comparing the before-and-after recordings, he described the cymbal as more developed and less narrowly focused than it had been originally.
His assessment was particularly significant because the cymbal had already received a finishing treatment intended to influence its tonal character.
After nearly a month on the Cymbal Vivo, Roberts heard greater spread, increased high-frequency activity, and a more expansive overall voice.
He summarized the difference as a wider frequency range, with higher highs, lower lows, and a bigger sound.
Second Cymbal: The Raw Bronze Comes Alive
The untreated 20-inch ride produced another notable result.
Without patina or other surface treatments influencing its sound, Roberts was particularly interested in how the raw instrument would respond.
Once again, increased high-frequency presence was among the first changes he noticed.
He compared the new top-end character to the distinctive brittle shimmer sometimes heard in much older K Zildjian cymbals.
To Roberts, the original recordings almost sounded as though some of the high frequencies had been reduced compared with the post-treatment sound.
Perhaps most notably, he said both cymbals had become more open and active.
"Honestly, both of these have, like, come alive in a way that they weren't before."
An Unexpected Discovery: The Cymbals' Resonance Changed During Treatment
One of the most intriguing observations came during the month-long test itself.
Roberts periodically checked the cymbals while they were mounted on the devices. He noticed that their response to the vibration settings seemed to change over time.
At certain points, the cymbals resonated strongly and audibly. A few days later, the same settings might produce much less audible resonance.
By adjusting the Cymbal Vivo's control, he could find a new setting that brought the cymbal back into strong resonance.
He estimated that he needed to make these adjustments approximately every three days.
Roberts interpreted this as a possible indication that the cymbals' vibrational behavior was changing during the process.
Although the observations do not establish precisely what was happening within the bronze, they raised interesting questions about how cymbal resonance may evolve under sustained mechanical excitation.
They also highlight one of the Cymbal Vivo's distinctive features: the user can adjust the vibration to find a setting that produces an audible response from the cymbal.
Why Not Just Play the Cymbal?
One obvious question is whether a device like the Cymbal Vivo is necessary when a drummer can simply play the instrument.
Roberts offered a practical answer:
"The answer is, do both."
The Cymbal Vivo is not intended to replace playing. Instead, it gives drummers another way to expose their cymbals to vibration during the hours when they aren't being used.
A cymbal can be mounted on the device overnight, removed for rehearsal or a performance, and returned afterward.
The concept is especially appealing for musicians who own multiple cymbals, have limited playing time, or want to explore how the character of a new instrument might develop.
Roberts also noted a difference between vibration generated by striking a cymbal and vibration introduced through the Cymbal Vivo.
A drumstick activates the cymbal through a localized impact. The Cymbal Vivo, by contrast, introduces mechanical vibration through the mounting point, allowing the entire cymbal to respond according to its natural vibrational behavior.
For Roberts, that distinction was an important part of the device's appeal.
What Matters More: Patina or Playing In?
Roberts' evaluation also explored a longstanding topic among cymbal enthusiasts: what actually gives vintage cymbals their characteristic sound?
Many drummers associate older instruments with decades of oxidation and patina. While surface treatments can certainly influence a cymbal's sound, Roberts emphasized that patina is only part of the story.
He suggested that a cymbal's construction and its history of vibration and playing can be more influential than ordinary surface oxidation.
His findings with the Cymbal Vivo reinforced his interest in the relationship between mechanical vibration and the tonal development of bronze cymbals.
The test did not isolate every possible cause of the observed tonal changes, but it offered a compelling practical demonstration of the differences Roberts heard before and after treatment.
An Independent Evaluation, Not a Paid Endorsement
Roberts was transparent about his relationship with the Cymbal Vivo and its creator.
Ray Byrne is a friend and fellow cymbalsmith, and Roberts received two units to evaluate. However, Roberts explicitly stated that he was not paid to produce the review.
He also admitted that he was nervous about conducting the before-and-after reaction on camera.
He did not want to manufacture enthusiasm if the results were unconvincing.
Instead, he found himself hearing differences substantial enough to discuss openly in his evaluation.
His conclusions were grounded in firsthand listening, comparisons with his original recordings, and his experience as a professional cymbalsmith.
The Verdict: A Promising New Approach to Cymbal Maturation
After nearly 30 days of continuous treatment, Timothy Roberts reported meaningful tonal changes in both cymbals.
The most consistent observations were:
Greater high-frequency presence, making both cymbals sound more active and open.
Broader tonal spread, particularly in the old K-inspired ride.
A larger, more developed overall sound, with characteristics Roberts associated with more mature cymbals.
Changes in resonance during treatment, requiring periodic adjustments to maintain strong audible vibration.
A clear difference between before and after, even though the two cymbals had very different finishes.
For drummers interested in the tonal evolution of their instruments, the evaluation provides an encouraging first look at what the Cymbal Vivo may make possible.
Roberts concluded that the device offers a way to help newer cymbals reach a more mature-sounding state more quickly than playing alone might allow.
As with any process that changes an instrument's character, individual results and preferences will vary. But for those who love the complex, expressive voices of played-in cymbals, the Cymbal Vivo introduces a fascinating new tool.
Timothy Roberts full, independent review of the Cymbal Vivo.
Experience the Cymbal Vivo
The Cymbal Vivo is designed for drummers, cymbalsmiths, and collectors who want to explore the tonal potential of their instruments through controlled vibration.
Whether you're working with a newly made jazz ride, an unfinished bronze cymbal, or an instrument that you believe has more character waiting to emerge, the Cymbal Vivo offers a new approach to the traditional break-in process.
This article summarizes Timothy Roberts' independent video review. Quotations are drawn from his original commentary. Roberts was provided evaluation units but stated that he received no payment for the review.
