Test of the Sabian Stratus Dry cymbal set: dark, dry and ultra defined!

Hey everyone! Today, I’m checking out a new release from Sabian that really caught my interest: the Sabian Stratus Dry Performance Set. Three cymbals: a 15-inch hi-hat, a 19-inch crash, and a 22-inch ride, with a simple promise: a dark, dry sound with short sustain and plenty of definition. Since I spend a lot of time in the studio, this is exactly the kind of set I wanted to hear.

A quick note before we start: the Stratus line took about 24 months at Sabian’s research and development department. With this Dry version, the brand is going after a sound you hear more and more these days, and that you find across all the Sabian cymbals in the series, from hi-hat to ride.

The Sabian Stratus Dry sound: dark, dry, and short sustain

From the first groove with the full set, you get the idea behind the word “dry.” There’s lots of attack, quite little wash (the sound halo that follows the hit and lingers in the air), and cymbals that die out quickly. Each hit says what it needs to say, then clears the way.

This type of sound is really sought after right now. More and more, people want cymbals that have character but stay generally controlled within the overall drum sound. It’s super interesting for studio, for live, and it’s also simply a very current sound aesthetic.

To sum up what I hear from these dry cymbals:

• a dark tone, without overflowing brightness;
• a clear attack and a quick response under the stick;
• a short sustain that avoids frequency buildup;
• lots of definition: every hit stays readable.

Why dry cymbals change everything in studio and live

Beyond the tone, the dry aspect has very concrete advantages. And since I do a lot of studio work, those were the first things I noticed.

In the studio, less bleed into the mics

The big advantage of the Stratus Dry when recording is that there are far fewer harmonics and much less sustain. So much less bleed (the cymbal sound leaking into other mics). Considering you have drum mics on every drum and in the room, that makes a real difference at mixing time.

Live, more room for the sound engineer and your ears

On stage, that’s a significant advantage. The sound engineer has fewer conflicts to manage with guitars and keyboards, since the cymbals don’t spread across the whole spectrum. And if you play with in-ears, you get much less ear fatigue.

But above all, beyond the practical side, it’s a real sound color. You don’t pick this set just because it makes life easier, you pick it because it sounds good.

This is the Performance Set I played in the video: the 15-inch hi-hat, the 19-inch crash, and the 22-inch ride, all hammered B20 bronze.

The pack also includes 90 days of Drumeo trial, the online drum lesson platform. Handy for working on your grooves with your new cymbals.

The three cymbals in the set, one by one

The 15-inch hi-hat: width and precision

We start with the 15-inch hi-hat. I really like this diameter choice because you keep a certain width and substance under the stick, with a precise, articulated side. The product sheet says it pairs a light top cymbal with a medium-light bottom cymbal, with a slightly polished raw surface: you can feel that in the foot chick, which is quick and tight.

The 15-inch also goes a bit deeper than a 14-inch without losing clarity. For sixteenth-note grooves or ghost notes, I find it a very good compromise.

The 19-inch crash: a rare size that responds quickly

Next, the Stratus Dry 19-inch crash. A 19-inch crash is not common, and that’s very welcome. It’s quite dark, responds very quickly, and especially has a short sustain that really fits the spirit of the line.

It’s thin, with a wide bell, and it goes off at the slightest hit. You can mark a transition or punctuate a chorus without triggering a long trail behind it: the accent comes out, then the cymbal withdraws cleanly.

The 22-inch ride: every stick hit is audible

Finally, the Stratus Dry 22-inch ride. Honestly, it’s a real pleasure to play on 22 inches. If you’ve never tried it, go for it. Here too, you find tons of definition: you really hear every stick hit, with a wash behind that stays very controlled.

It's thin, with a hammered bell that really pops when you hit the pulse on it. And according to the product sheet, its light profile also lets you open it as a crash when you press the attack.

The verdict: a Sabian Stratus Dry set with real coherence

What I really find successful about this Stratus Dry Performance Set is the coherence between the three cymbals. You find the same identity throughout the set: a dark and dry sound, quick response, little sustain and a lot of definition. Nothing stands out, everything answers each other.

If you like this dry aesthetic, or if you’re simply looking for cymbals that will naturally leave space for your drums, I find this set very interesting. And for use in the studio as well as live, all this control really makes sense.

The final groove, in music

To finish, I played one last pattern with music behind it, to hear how the set fits into a track. That’s where it all makes sense: the cymbals stay present, but they don’t overpower the snare or the toms. I’ll let you listen to it in the video, it speaks better than any words.

Tell me in the comments if you liked it, if you want us to talk more about cymbals, or if you’ve already fallen for the dry sound. I’ll say see you soon. Ciao!