Density of a material does not change with size or thickness. Cut the cymbal into 1000 pieces and those pieces still have the same density as the whole cymbal.
Why not just hit it with a stick and see if you like the sound?
Correct that’s why diameter and profile are equally important MIP.
Im just stating my view on the subject. As a percussionist and a salesman, I’ve did nothing but read the literature(s) at the music store I worked, as I had to research, from then, I’ve continued to educate myself.
Sometimes other than Youtube or artist profiles, sounds in person are not applicable. I understand by definition a fast crash will be thin, low pitched, responsive, and short decay all properties of a low density cymbal. A medium crash will be by definition medium to profile, not responsive to opening, but projects once it’s open and sustained, a rock crash will be medium- heavy bright as expected and further down the road of the latter qualities.
The added physical processes add nuance. Brilliant finish gives additional brightness over traditional finish. Machine hammering gives darkness, and decay consistency as opposed to the same values but manual complexities of hand hammering. Lathing gives tonality and life, as opposed too the dry natural sounding raw or unlathed cymbal.
Then we can talk bell sizes, bow tapers, edge flanges, and now holes to dissipate sound adding decay complexities, etc...
I guess a general guide line is; low profile or less dense cymbals in relation to their size, will be low pitched, following medium with, medium- heavy which is higher pitched, and so forth.
Back in the day, catalogues just described them in diameter and density profiles as I’m describing them above, paper thin, thin, medium- thin, medium, medium- heavy, heavy, extra heavy, no need for cymbal titles, just understand cymbal nomenclature such as b8, b20, technique or process involves, and attributes such as grams will tell you what you want, if not in grams the profiles give you their an idea of their defining character.