Brian's Objectives:

1) To provide a series of keyboard mallets that maximizes the resonant output of any keyboard in any given register. The projection of keyboard sound requires fundamental resonance of the bar; the stroke style and the mallet together allow or disallow this resonance. While we cannot package and sell stroke style, we can at least develop and provide the mallet!

2) To provide an attractive/performance enhancing mallet that gives the performer a more 'weighted' stroke (increasing resonance) with an eye-catching look that makes the player's involvement more readable. Comfort of grip and weight are essential, keeping in mind that the weight of the mallet must not be excessive.

3) To create a series of mallets that is designed specifically for producing the most/best characteristic sound in a particular range on a particular instrument, while having the flexibility to 'crossover' for use on other keyboard instruments -allowing the player/instructor/writer more creativity in the production of tonal colors.

An in-depth look at each mallet:

M80 - Medium Soft/Yarn Wound Primary Application - Low register marimba Provides the maximum sound output on a larger, extended range bar. The weight of the mallet excites the bar more than the typical low register mallet and helps provide the presence of sound needed in the outdoor setting (not the typical 'superball mallet' sound). Secondary Application - Vibraphone Provides an incredibly warm sound on the vibraphone. It should not replace the soft vibraphone mallet in standard use but is perfect for amplifying the vibraphone color in warm, rich passages (esp. in the lower register).

M81 - Soft/Yarn Wound Primary Application - Soft, low-end marimba Perfect for passages requiring a warmer sound. Great for roll passages as it helps the instrument resonate and diminishes the attack sound. Secondary Application - Softer passages played in the mid-to-upper register of the marimba Warms up the marimba sound and can be played very strongly, promoting the fundamental of the pitch, not the brighter, high overtones that most mallets produce.

M82 - Medium Hard/Yarn Wound Primary Application - General marimba applications This mallet works across the entire range of the instrument but is not recommended below the lowest 'C' of a 4.3 octave marimba (esp. rosewood). Can be played very strongly without damage to the bar (in the optimal range). Secondary Application - Soft xylophone passages When used on xylophone, the sound is warm enough to disguise the xylophone sound as a mid-to-upper marimba sound.

M84 - Soft/Cord Wound Primary Application - Soft vibraphone Provides a softer, more legato vibraphone texture when a smoother sound with less attack is required. Can be used across the entire range of the instrument. Secondary Application - Soft, legato marimba Use for softer, legato marimba passages requiring a bit more attack than what the M81 provides. Great for use in small group and jazz combo.

M85 - Medium Hard/Cord Wound Primary Application - Vibraphone For general and more aggressive vibraphone passages that require greater presence in stronger, thicker textures. Can be used across the entire range of the instrument. Secondary Application - Marimba Use for general, more aggressive marimba passages requiring a bit more 'bite' than what the M82 provides. Great for use in small group and jazz combo.

Brian's Perspectives:

1) The most powerful sound is created when the bar is excited, or resonates, as much as possible. The delivery and return of the mallet into and away from the instrument defines the style of the stroke. To use only the weight of the mallet in producing sound will always result in a thinner, weaker sound, projecting only high partials and a few midrange overtones. To incorporate the weight of the fingers, the hand and a slight bit of arm will darken the sound greatly; the use of the arm in the general stroke should be minimal, unless a very heavy sound is desired. Therefore the weight of the stroke is a key factor in sound production and projection.

2) It is important to know that the mallet alone will not solve any sonic issues that an individual or an ensemble might have. The mallet, the stroke style and the orchestration are all integral factors that determine the overall presence of any given passage. However, the mallet is the vehicle that the player and the writer must have in order to deliver the music to the listener.

3) This series of mallets is designed with this perspective in mind: to get the maximum sound and projection from the instrument, use a mallet that creates a good, characteristic sound on the instrument (in its optimum range) and play it strongly. Harder or brighter sounding mallets (used out of their optimum range) should not be substituted for a player's lack of strength; this only projects uncharacteristic sounds from the instrument. However, as the player's technique and sound quality increases, the mallet should not limit the player's sound output, it should enhance it. These mallets do that.

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