My first China was a Paiste 2002 20" China Type that I received as a high school graduation present. I asked for it because I loved the sound of Terry Bozzio's on "Honey, Don't You Want a man Like Me?" on "Zappa Live in New York." I had read enough Paiste literature to know that I would be getting something very close to that even if I had to special order it.
Mounted upside down, it was great for rock, even more so when I installed four rivets a few years later. The rivets added a bit of sustain for "Abacab"-style riding on the edge, but jazz riding was out of the question. I started playing more blues about 10 years ago and started mounting it bell up, which opened it up for jazz riding but hindered edge riding. Crashes were mellower, but still commanded attention. That cymbal, however, is currently retired.
In 2005, a Sabian Vault Tour came to Santa Barbara, and I picked up an exquisite 18" prototype of what would eventually become the HHX Chinese. I can't speak to the finished product, especially because Sabians and Zildjians vary even at the highest levels, but my cymbal is absolutely superb mounted upside down. First, it opens up immediately even by hand. Jazz riding is not bad with the tip along the downturned edge although I have to tighten it a bit before those songs to keep if from moving around too much. Accents with the shank along the bend are lethal and fade out immediately. Crashing the edge gives just the right bit of sustain. With a mallet, it's almost like a gong and a cymbal roll is a thing of beauty. The best thing I can say about this cymbal is that other musicians who usually don't like Chinas—drummers and non-drummers alike—have commented on how much they love this one.
I also have a 19" Sabian Paragon China that I enjoy, but it's not as versatile as the 18". Then again, I don't think it was meant to be: Neil Peart probably had only one use in mind when he collaborated in its design.
I have been intrigued by the Sabian O-Zone crashes. In testing and in playing on a friend's set, they have shorter sustain with none of the clankiness that can be associated with some Chinas. I'd recommend them for someone who is interested in dabbling in a China: You can get an idea of how one might fit in with your playing while still having a very serviceable crash.
Finally, and I don't mean to paint with too wide a brush, but I had a bad experience with an A Zildjian 20" China Boy Low. It sounded great with its brethren when I tested it (which is how I always audition cymbals), but it wound up being too abrasive for the music. I found it a good home, but it's the only time something like that has happened to me.
