Your Cymbals Don't Need to Match
Walk into any drum shop and the cymbals are racked by brand, and within brand, by finish: all the brilliant ones together, all the traditional ones together, matching logos catching the light in a neat row. Or, look at your favorite drummer who has a complete set of all one line of cymbals (Carter Beauford with A Customs for instance). It's easy to assume that's how a kit is supposed to look, and that a "real" setup means picking one manufacturer and one finish and building outward from there. It isn't, and it doesn't.
Where the matching idea comes from
Cymbal packs exist because they're easy to sell, not because they're easy to play. A boxed set of hats, crash, and ride from one line is a single SKU, a single price point, and a display that looks good in a case. That's a retail decision, made by people optimizing for a purchase, not a stage or a studio. It has nothing to do with how those three pieces will actually sit together once they're mounted on a kit next to a snare, in a room, under a mic. Also, there's a high probability that your favorite drummer is getting paid to play the matching set of cymbals on their kit because cymbal manufacturers know that's one of the most effective marketing techniques.
What actually makes cymbals work together
Every cymbal on a kit has a job. Hi-hats keep time and sit low in the mix without smearing into the snare. A ride carries the pulse of the song and needs to cut through without washing out. Crashes are punctuation, there to accent, not sustain. None of those jobs care what badge is stamped on the bell.
What actually matters is weight, alloy, hammering, and lathing, because those are the things that determine pitch, decay, and how much stick definition survives before the wash takes over. A thin, dark crash from one maker and a bright, fast-decaying ride from another can complement each other far better than two pieces from the same "matched" line, because a matched line is often voiced to sound similar to itself, not necessarily to sound good in combination. Homogeneity within a set is sometimes the opposite of what a kit needs.
How working drummers actually build kits
Look at almost any touring or session rig up close and the mismatch is obvious. A K-style ride sitting next to A-style crashes. A vintage hi-hat top paired with a modern bottom because that's the combination that stopped choking on the backbeat. Maybe there's also an effects stack or an auxiliary crash with a bunch of holes in it! They're all tools and cymbal picked up secondhand because it did one specific thing the rest of the kit couldn't but doesn't match the set doesn't make it less viable or appropriate. Nobody assembled that setup from a catalog page. They assembled it by hitting cymbals in a room, one at a time, and keeping the ones that did the job.
That process is slower than buying a set, and it means a kit take shape over years instead of arriving in one box. But it's also the only way to end up with a cymbal stack that actually serves the music instead of serving a photo of the kit.
Where I've landed
Buy pieces one at a time. Play them before you buy them if you can. Ignore whether the logos match, and ignore the finish entirely unless you're mixing it with the lighting on stage. The only test that matters is whether the stack sounds right together when you play through it, and that test has never once cared what's stamped on the bell.