Hi hat cymbals are arguably the most important cymbals on your kit. They are one of your main tools to keep time and hold the band together.
They come in all shapes and sizes, so we’ll discuss what qualities make them different, and I have compiled a roundup of some good pairs.
The Zildjian 15-inch K Zildjian Sweet Hi-hat is one of those cymbals that feels alive under your sticks. It doesn’t scream, it sings. From the moment you play it, you notice a rich, complex sound that has both warmth and definition, with a natural blend of stick articulation and a sweet “chick” when closed. For players who love musical expression and tonal nuance, this hat stands out.
The slightly larger 15-inch size gives it more body and a broader sonic footprint compared to standard 14s. That means more wash when open and a deeper, richer chick when closed, which is great for styles that need character, jazz, fusion, and even more musical rock, without feeling too harsh or thin.
What’s cool about this hat is how responsive it is. It reacts to subtle changes in dynamics effortlessly, softer strokes retain clarity while louder hits bloom without breaking up unpleasantly. If you’re using these in a live band, they cut through nicely without overpowering. In the studio, they translate beautifully on mic, thanks to that wide frequency range and musical complexity.
These aren’t beginner cymbals, but for drummers who care about tonal depth and expressiveness, the K Zildjian Sweet Hi-hat feels like the kind of piece that inspires new ideas every time you play it.
If you gig with a band, play rock regularly, or just want a hi-hat that commands presence, the Zildjian A Zildjian New Beat is one of those staples every drummer should consider.
This is the classic “workhorse” hi-hat that shows up on countless rock records and stages because it does exactly what you want without fuss, clear, crisp stick definition with enough body to fill the pocket.
Right off the sticks, the New Beat hats feel solid but responsive. They give you a bright chick when closed that cuts through distorted guitars and punchy bass, and when you open them up they don’t just wash, they sizzle in a musical way. If you’ve played standard 14-inch hats and thought something felt lacking in the midrange, this pair fills that gap beautifully.
These hi-hats don’t hide behind other instruments, they sit forward in the mix without being harsh or brittle. When you’re playing rock grooves, driving beats, or energetic fills, they bring clarity and attitude without sounding skinny or thin.
They’re also incredibly versatile for other styles that need a bit of bite, blues rock, pop, even funk if you dial back the open sound. But make no mistake, this is a rock drummer’s hi-hat: loud, articulate, and ready to be heard.
The Paiste 15-inch 2002 Sound Edge Hi-hat is one of those cymbals you notice the moment you close them behind the snare and not just because they sound good, but because they feel right. The unique bottom cymbal with its rippled edge isn’t just for looks, actually solves a real problem: keeping the hats articulate and defined even when they’re slightly open.
With normal hi-hats, once you crack them just a tad, that crisp chick starts to get muddy. The Sound Edge design helps maintain clarity, giving you a tight, clean “chick” when you close down and a full, sizzling wash when you open up.
That makes these hats really musical and very expressive, perfect for drummers who like to ride the hats open and closed during grooves or transitions.
The larger 15-inch size gives you a broader tonal palette compared to a standard 14, with strong presence in both live and recording contexts.
I’ve played them in band settings where they sliced through a full guitar stack without ever sounding brittle, but at the same time they respond beautifully to softer touches, something not every rock-oriented hat can do.
If you like hi-hats that give you a full voice without sacrificing clarity, the 2002 Sound Edge is a classic choice. They’re versatile, musical, and a joy to play whether you’re holding steady grooves or adding subtle accents.
The Meinl Byzance Dual hi-hat isn’t just another cymbal choice, it’s one of those hats that feels alive every time you play it. Meinl’s Byzance line is known for musical complexity and character, and the Dual model brings a really satisfying combination of dark warmth and cutting definition that works across a lot of styles.
At 15 inches, these hi-hats already have a bigger voice than the typical 14s, and that extra surface area gives you a fuller wash when open and a rich, articulate chick when closed.
What sets the Dual apart is how it blends two tonal personalities: the bottom has a slightly trashier, complex feel while the top stays sweet and controlled. That gives you a hat that’s expressive without getting messy, a real plus if you like opening and closing the hats for texture in your grooves.
I like these especially when playing with dynamics. Tap them lightly and you get a dark, warm character that sits behind the beat nicely; hit them harder and they respond with clarity that won’t get lost in a full band mix.
They aren’t the brightest cymbals ever, but that’s part of their charm, they sit in a cozy space between funk, fusion, and more musical rock where you want color and clarity.
This is one of those hi-hats that makes you think about your touch a bit more. You start to hear how small changes in stick angle and dynamics affect the sound, which can be fun and inspiring for practice and performance.
The Zildjian A Custom Mastersound Hi-hat is one of those cymbals that feels instantly familiar and fun under the sticks. It has that classic A-Series clarity, bright, articulate, and snappy but the Mastersound bottom brings just enough cut and attack to make every groove pop.
When you close them, that defined “chick” is crisp without being harsh, and when you open them up, you get a smooth, shimmering wash that sits comfortably in the mix.
These hats have long been a favorite among players who want versatility with personality. They sound great with a solid rock backbeat, but they’re also responsive enough for funkier patterns and crisp enough for grooves that need a little extra texture.
If you rely on your hi-hats to give energy and punctuation to your playing, whether you’re on stage or recording, these deliver that in spades.
What I personally love about the A Custom Mastersound is how forgiving they are. If your technique isn’t perfect, they still sound good and if your technique is dialed in, they reward you with clear stick definition and expressive nuance. They’re just one of those hats that make your playing feel good.
If you’ve ever wanted a hi-hat that feels like an extension of your musicality, the Zildjian K Constantinople Hi-hat is one of those cymbals that gets out of your way and lets you play.
These aren’t bright, cutting hats for rock beats, they’re dark, warm, and full of character. They respond beautifully to soft touches and nuanced stick work, which is exactly what you want from a jazz-oriented hat.
The sound is rich and complex, with a slightly darker top end and a deep, expressive chick when closed. Open, they give a smoky, shimmering wash that adds texture without overpowering the groove.
What makes Constantinople hats special is how musical they are,they speak clearly, but there’s a warmth and depth that invites subtlety rather than aggression.
In a small combo setting or studio session, these hats sit perfectly with brushes and sticks alike. They don’t jump in your face, but they feel right, like they understand what you’re trying to express.
For jazz players, fusion drummers, or anyone who leans into dynamics and tone nuance, these hats are a joy to play. They reward touch and really let you shape your sound with intention.
They’re not the brightest cymbals you’ll hear, but that’s exactly the point, this pair is all about feel, texture, and musical expression.
At first glance, the Meinl Classics Custom Dark might not look like the obvious choice for metal; its darker tone and musical character seem more at home in fusion or groove contexts.
But dig into how these hats actually respond, and you’ll see why they’re an underrated pick for heavy players who want something a bit more nuanced than bright and shrill.
What makes these hats work in metal is clarity with character. They don’t just cut, they speak with a thick, controlled wash that holds up under distortion without getting brittle.
That means when you’re blasting fast 16ths or keeping tight grooves alongside double bass, these hi-hats stay present and articulate without sounding harsh or glassy in the mix.
The 14-inch size keeps things tight and focused, perfect when precision matters and you don’t want your accents drowning in cymbal wash or guitar buzz. And because these hats retain warmth, they pair nicely with darker or heavier tom and kick tones, rounding out the overall kit sound instead of clashing with it.
Another nice bonus: these hats reward dynamic playing. Light touches give you a rich, smoky sizzle that adds texture to groove sections, while harder hits still cut through without sounding overly bright.
That makes them surprisingly versatile for metal drummers who mix power with finesse, think progressive metal, groove metal, or tracks that shift between clean and heavy sections.
If you’re after hi-hats that give you definition and depth together, the Classics Custom Dark are worth a serious look, especially if you don’t want your hats to just cling to brightness but actually contribute to the tone and feel of your heavier grooves.
If you’re just getting started on the drums and want a hi-hat that’s friendly on the budget without feeling like a total compromise, the Meinl 13-inch HCS is one of the best places to begin.
These hats are built with beginners in mind: they’re easy to play, responsive, and they have a musical tone that isn’t harsh or confusing when you’re still learning dynamics and control.
At 13 inches, they’re slightly smaller than the typical 14-inch size, which gives them a faster response, nice for young players, students, or anyone still developing stick control.
Light touches come through clearly, and they don’t wash out too quickly when opened, which can help beginners hear what they’re actually playing instead of just a big cymbal mess.
These aren’t pro-level cymbals by any means, but for early lessons, practice pad transitions, or your first kit upgrade, they give you usable sound without begging for frequent replacement.
They’re a step up from ultra-budget options because they actually respond like real hi-hats, meaning you can start learning control, foot technique, and timing without fighting a buzzy or brittle sound.
If you’re saving for nicer cymbals down the road, these will serve you well while you build fundamentals. Just don’t expect them to have the complexity or cutting power of higher-tier hats, they’re made to teach, not to wow seasoned players.
A good pair of hi hats will be ones that fit your sound. Everyone has specific tastes and plays different types of music. So, your hi hats should help you fit in with that.
Some hi hats will be great for metal, but they’ll be way too harsh for jazz. Cymbals have certain qualities such as being dark, bright, dry or washy. Certain qualities of cymbals lend better to certain styles of music.
Most mid to high tier cymbals sound really good. So, if you see a pair of hi hats that is pricey, it should have a pretty decent sound. Most cheap hi hats don’t sound too great, especially ones that are made with weaker metals. However, there are a few entry-level pairs of hi hats that sound pretty decent.
I have gone and picked out 6 pairs of hi hats that I think would be great in certain setups. Hopefully after seeing this list, you’ll have an idea of what hi hats will be good for you and what you need.
There are a few things you need to take into consideration. Your hi hats should fit the style of music you play. Heavy, bright hi hats work well in heavier styles of music such as metal and rock. Hi hats that are thin and dark work well for jazz. Hi hats that are clean and precise work well for funk, since you’ll be spending most of the time grooving on them.
Certain hi hats will have a mixture of qualities that will make them versatile and fit in with any style of music. Would it not make sense just to get those then? Well no, because they still won’t cater as well to the music as a dedicated hi hat will.
You should then decide how much you are willing to spend. Companies will sell hi hats in categories: entry-level, mid range and high tier. Each range will have a good selection of hi hats, obviously with the sound improving as the price increases. However, you will find some entry-level hi hats that sound really decent. You will also find some high tier hi hats that you just can’t stand the sound of. This all comes down to personal preference.
Lastly, it’s advised to commit to a brand. Brands will design cymbals in a way that makes them work well with each other. So, a pair of Zildjian hi hats will sound good when paired with a certain Zildjian crash. If you ever hope to get an endorsement by a cymbal company in the future, they will appreciate that you have been loyal to them.
Size really depends on personal taste. However, most hi hats are 14”, so that is a good place to start. Standard hi hats range from 13” to 16”. Any thing smaller than that would be considered as an effects cymbal, since it would add a unique sound and you wouldn’t play it all the time.
If you want a higher pitched sound, then a pair of 13” hi hats would be a good option. This size works well for styles like funk, gospel and fusion.
If you want a deep sound that sustains for longer, 15” or 16” hi hats would work well. These sizes work well for rock and jazz.
If you’re not too sure, then just get a pair of 14” hi hats and they will do the trick.
There are 3 main players in the cymbal world. They are Meinl, Zildjian and Sabian. None of them are better than the other, but these are the companies that constantly deliver high quality products. If you’re not too sure on what to get, then definitely pick from one of these.
There are a few well-established smaller brands that are reliable such as Istanbul, Paiste and Soultone.
With hi hats being the most important cymbal, it’s crucial that you choose a good pair for yourself. A pair that suits your style and adds to your voice.
A drummer is never limited to just one pair though. Most professional drummers have different cymbals for different situations. So, you could get one really expensive pair, or split that cash and get a few pairs. Or you can also consider buying a cymbal pack.You can also consider a Low Volume set if need to play low.
When you grow as a musician, your taste grows with you. Your hi hat taste will probably change over the years. Go out and buy yourself a good pair!
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“9 Powerful Tips To Get Faster On The Drums (And The Mistakes To Avoid!)”
