I owned my Paiste 2002 18" crash for a couple of years before sadly parting with it. I like the lower overtones and the deep wash it gave me, which were mostly due to its 18" size. I started to stray away from smaller crashes and splashes due to the weak wash or sustain and harsh high frequencies, and ended up playing only a 18" crash and 22" ride form Paiste's 2002 series. The two cymbals blended perfectly together for playing in an heavy hitting indie rock band.
I like the finish on the 2002, its not very brilliant but it held up really well for years even though I was constantly setting up and breaking down my set, and never even wiped the cymbals down from hand oils and fingerprints. This had ruined the finish and even dulled the sound on a Sabian AAX crash I had previously.
Another thing I liked about this cymbal, was that it was fairly loud, not in a harsh way like the RUDE series but in a way that filled a room and still cut through a band. I would say that the entire 2002 series is probably sonically somewhere between the RUDE series and the ultra expensive Signature series. They have a bit of the power, projection, and volume of the RUDE series, though more musical and sensitive like the Signatures. They lack some of the complexity and refined tone of the Signatures though, to be a more powerful cymbal that would stand up better for heavier rock music.
My 18" crash proved very durable as it served me in playing heavy rock music. My technique involves setting the cymbals low and flat and being struck most on the edges instead of the face, so the edges received a lot of abuse from the sticks wihtout ever being dinged, dented, or warped. I think it has a lot to do with the thickness of the cymbal, and yet again is another reason why I was better off with 2002's than Signatures which can veer to the thinner side.
My Paiste cymbals were the most expensive cymbals I had ever bought, but I had become disatisfied with zildjians sound, and Sabian's quality of anything below the Hand-Hammered line which was too pricey for me. I believe I paid almost $170 for the 18" crash, more than I had ever paid for a crash, but still more affordable than had I bought Sabian Hand Hammered or Paiste Signature.
If I had to buy another setup all over again, I would try and buy Paiste Signatures if I could afford it because I would enjoy the complexity and brilliance, but for what I was playing when I owned the 2002's- they were perfect. I followed good adivce from fellow drummers in the same style of music, and played a ton of cymbals before buying them, and they stood up to the abuse I gave them.

This is a great cymbal with a very balanced sound. I've been playing one of these for about 6 years now- I actually won it as a door prize at a convention and couldn't have been more pleased.

This is a great splash cymbal- it has a very fast attack and gets right out of the way- perfect for a 10 inch cymbal. Its not as bright as a Zildjian A series but comes very close to the darkness of K series Zildjian cymbals.

This cymbal is very thin, which is perfect for a splash cymbal in my eyes. You can really play into it and get a real nice pop at the ictus (attack) of a note- very warm and particularly dark- and then it just gets right out of the way.

I'd recommend pairing this cymbal with any other cymbals from the HHX line or even a thinner ride cymbal. Also, pairing it with another, brighter cymbal would make for a really great effect. I would try an eight inch Zildjian A custom or maybe an eight inch (or possibly six inch?) Sabian AAX.

This splash fits nicely into a jazz fusion context, most any pop context and definitely into most any Funk or R&B setting. Because the attack on this cymbal is so dark, I wouldn't suggest it for louder rock and roll settings, nor would I suggest if for metal or anything heavy, as the warmth of the cymbal blends very well and would not cut through a bunch of heavy distorted guitars.

For the price, this cymbal is unbeatable and sounds as good as, if not better than any of its Zildjian cousins. If you're looking for a general, all purpose splash cymbal then you can't go wrong with a ten inch Sabian HHX splash cymbal.

These are really nice hi hats- especially for the price. I've owned a pair of thirteen inch Zildjian K's for about four years now and really enjoy playing them.

These hi hats have a very versitile sound- suitable for most all pop music situations, some jazz and some heavier situations. They have a stick attach that has a nice chick to it without being too bright that fits nicely into a lot of funk playing, although they aren't as tight sounding as some funk and R&B situations call for.

The open sound of the cymbals is very middle of the road and a nice balanced sound- not too bright, not too dark. These fit very nicely into louder, less acoustic jazz situations as they have a warmth that blends well with ensembles and other cymbals. That same sound however is not quite sensitive and warm enough to fit optimumly in a completely acoustic jazz situation- they are a little heavy and leave a bit to be desired in the sensitivity area when played with the foot. These cymbals sound best when played in a moderate dynamic setting. The stick sound isn't quite bright enough to cut through very loud rock bands and the open sound is a little too dark. Like I said before, these cymbals fit into a lot of situations well, but aren't IDEAL for many situations except for louder jazz situations and some funk and R&B settings.

Always listen to your cymbals before you buy them however. Even though these cymbals are mass produced they don't always sound identical, cymbal to cymbal (even the same size and line). I tried two other pairs of thirteen inch K Zildjians before settling on these. One pair, when played open to half open had a very 'gong-y' sound to them, and the other had a brighter stick sound.

This is a truly amazing cymbal. I've been playing this cymbal for about 4 years now and absolutely love it. This cymbal has a low and dark cushion while maintaining a bright and defined stick attack- not only perfect or ideal, but quintessential for small group jazz ensemble playing. This is a very 'ringy' cymbal and can be very hard to play, but when played effectively gives the aura of the great jazz drummers of an era gone by- mine sounds remarkably similar to the ride cymbal Tony Williams used on the 60's Miles Davis Quintet recordings (Miles Smiles, Sorcerer, etc.).

One of my favorite aspects of this cymbal is that it is unlike most any other ride cymbal I have ever played in that it is very thin (unlike say a K or A Zildjian). This gives it the ability to really be played into and gives it a very warm supportive cushion of sound.

Because of this cymbals propensity to 'wash out' and it is a very difficult cymbal to control- but in the hands of a true jazz musician it has an authentic sound few can match. One can actually play different levels of the cymbals cushion simultaneously- giving the illusion that you are playing more than one instrument.

I would in no way recommend this cymbal for rock, but could see it fitting nicely in some R&B settings.

When struck with the shank of the stick this cymbal gives a very different characteristic than when struck with the bead of the stick. Likewise since the cymbal is hand hammered there are many inconsistencies that lend to slightly different sounds in different places on the cymbal that one can exploit in many different musical situations.

The bell on this cymbal is not as clear as on most ride cymbals I was used to, but gives a smoky and more focused version of the fundamental sound of the cymbal.

These cymbals are expensive, but there is no substituting that classic jazz sound. This cymbal is a much better match (in my opinion) to that sound than even the new Zildjian K Constantinoples.