Besides being a drummer, I am a high end audio enthusiast where the identification and acceptance of subtle subjective differences in the sound is the norm, I would think there could be something to this theory. However, any subtle affect the stands might have on the sound, assuming there is one. would likely be masked by the drums, the other musicians, the miking and sound system, and mostly by the acoustic signature of the room, club, hall, theater, or concert hall. This does not even take into account the sticks used and the players technique. The existence of too many variables and too many cymbals would probably make a definitive statement on the question impossible.

My stands have the plastic, screw-on insulators with the large flats (discussed in another thread), that hold the bottom felt. Even with those, the stand will be affected and of course, resonate. The surface the stand is on will also affect the magnitude of said resonance. And, to what noticeable, audible means these combinations offer, is entirely something else. Will it be noticed in a bar? An outdoor venue? A studio? Your drum room? Doubt it. Additionally, most any studio engineer is going to compress/choke the cymbals anyway, so speculating over the value of the cymbal's decay seems moot, but interesting.

I dunno', just me. Maybe I'm way off.

B

PS - The thought of hanging each cymbal from a specifically tensioned spring, for minimal dampening, is a fun thought.

PPS - Just noticed BosLover got me by a post. Wasn't trying to be a copycat.

Which, ironically, is a nice definitive statement on the issue. Succinct. ;)

I'll play moderator -

So can it be concluded that the degree to which cymbal stands vibrate (thus theoretically be related and interact with the vibration of the cymbal) - is too miniscule to have a significant effect causing the end user to strategically select a cymbal stand (when aiming to achieve a particular sound from said cymbal)?

John

I have read that Peter Erskine likes the flat based stands because he notices a difference in the sound. I think it is up to the player, if you can hear it behind the kit then it must be so!

I am currently using a 14tt,16ft,18ft(phonics) set up like Bonham only i hug my 14 from a double cymbal/tom stand. All of my cymbals i used(mainly thin 18" and 20") picked up a nasty humming frequency that annoyed the daylights out of me. I switch the double stand out for a snare stand for the tom and a boom stand for my cymbal, positioned in about the same spot as before and problem solved.

Equipment before the switch was a sonor double stand(f3k). New equipment f3k snare, f5k boom. The double stand was translating cymbal tones through to my tom which is tuned about a medium tight. Even the tom would sound funny with certain cymbals on that stand.

I guess the problem had more than one factor but i definatly feel the stand had something to do with the noise.

Gary.

Many of the points raised here I have noticed-my boom on the tom stand makes the tom vibrate slightly,felts on top kill high ping overtones.I noticed a big difference between normally mounting and boom/hanging my china cymbal-much better tone when hanging.Seems like no matter what you do,the entire device becomes the instrument.Drum and mounts-cymbal and stand,snare and stand,espacially if you clamp it to the stand tightly.This is a good forum!

About a decade ago I was messing around with some older cymbal stands that I was using to mount wood blocks and cowbells.

I noticed that the cymbal stand vibrated audibly when I struck a woodblock. I spent about an hour goofing around with fabrics and foam trying to eliminate the sound. I gave up, assuming that nobody would notice.

So, I did find at least one cheapish cymbal stand ( not boom) that vibrated audibly. But that was with a short crack from a woodblock. Couldn't discern the same noise when I struck a cymbal on the stand--which doesn't surprise since the volume of the cymbal was so much louder than that of the stand.

For me the effect was not worth pursuing as something that might show up in a practice room, but would be lost in the noise on stage.

I am of the mind that you should become a master of your craft, at which point you will control the sounds you create. Being constantly concerned with equiptment, or constantly throwing money at gear, instead of practicing is counter productive. My "old school" prospective sees that most "modern" gear for drummers is way over the top and is NOT needed. That's my opinion, and I'm stickin' to it!:)

Totally depends on the room (acoustics)... in my small practice room/ if I remove all my cymbals the drums sound flat and dead (Vistalite unmuffled!) - add the cymbals and I get great sustain!... In a LIVE situation with same tuning (larger room) I have great sustain and presence. Remember percussive items create soundwaves- and those waves react differently wherever you put the item: concrete floor, carpet, acoustic tile overhead, paneling, upholstered furniture ALL affect sound waves. THAT is why a good drummer retunes at EVERY gig- then goes out into the venue to appraise that tuning. Every item- stand, rack, shell mount, suspend mount, felt, tightness- can make a difference.... but again, look back at clips like Big Brother and the Holding Company on Ovation this last weekend.... he had 4 different beat up painted shells, no bottom heads, warped cymbals with no felts at crazy angles... and recorded some of Janis Joplin's greatest hits.....everybody's EARS are different!