Mallet Pad - Ash Bars

Mallet Pad - Ash Bars

from 100.00

  • Modular practice system consisting of five individual pads sized to their respective octave on a 5.0 marimba

  • Two available playing surfaces. Recycled car tire rubber and beetle killed Ash.

  • Each pad is sold separately and the top three octaves come with detachable C bars to complete a scale.

  • When combined they snap together to make a 5.0 marimba.

  • Can also combine pads 4,5&5 or 4,5,5&5 to make a 3.0 or 4.0 octave xylophone

  • We also make a base that can accommodate all five pads on an x-stand. It also doubles as a snare line pad!

  • 100% American materials and 100% hand made

  • A reclaimed, environmentally helpful, green mallet pad :)

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Professional marimba performer and Beetle Artist Matthew Coley wanted to be able to silently and accurately warm up back stage as he waited to perform. Since the mallet pads conception, its potential and demand has grown exponentially. We have since developed it with as many options as possible to provide a practice implement that can assist mallet players on all levels for hundreds of uses. At its core, it is a practice pad for mallet players like a snare pad is for snare drummers. It is also a larger modular system that can be combined into a full sized marimba, making a normally extremely limited and expensive instrument more available to many. We make a long base that can accommodate all five pads on an x-stand as well. We also provide two playing surface options: Recycled car tire rubber for a harder, bouncier, audible surface usable with any stick or mallet, and beetle killed Ash bars that replicate the realistic feel of hardwood bars at a louder volume.

"It is of course very important that you play on a keyboard percussion instrument as much as possible for tone development, pitch understanding, and musicality. However, our approach with the pads is to give players more accessibility to tackling technical, kinetic, and memorization skills and issues. These components of playing can and sometimes should be practiced away from the instrument." - Matthew Coley