Freer Percussion products are well known around the world for being the most unique and creative designs, materials and covering techniques. It’s our goals to have FP remain first in its class and a clear leader in the orchestral percussion market.
There are lots of “Baroque” model timpani mallets mostly copied from museum pieces and I’ve tried virtually all of them. I came to this head shape design because I wanted something slightly wider and taller than the others I’ve tried yet still maintaining its authentic sound and feel. Hornwood™ is harder than either ebony or rosewood and gives you a similar feel and response with more consistent pitch. Try covering these with chamois or anything you want for variety. Excellent in the percussion section or ensemble for tom tom and other drum parts.
Head size: 11mm x 26mm
Weight: 45 – 48 grams (per stick + or -)
Soft German felt general stick with 1mm base felt on 1.5” x ½” cork core. Just hard enough for minimal articulation and soft enough to still roll with. A perfect stick for Beethoven 5 transition to the fourth movement. Also great for Strauss Burlesque.
Head size : 1.5” x ½” core
Weight: 30-35 grams (+ or -)
Hickory shaft, convex felt core extra hard felt cloth cover, staccato mallet. Also known as “Freer greens” these have now found their way into hundreds of timpani players cases and have become a standard for nearly 1000 customers.
Tonkin felt large cartwheel
Soft German felt thick covering soft stick with 1mm base felt on 1.5” x ½” felt core. This is basically the Tonkin version of my BCS stick. Has more weight in the front and even more bottom to the sound. Excellent roller and a must have for any Tchaikovsky, Mahler or Bruckner symphonies. Recommended for the intro to Wagner Funeral Music and Strauss Death and Transfiguration as well.
Tonkin felt double side hard soft
50/50 covering of soft German on one side and 3mm hard German on the other with no base felt on 1.5” x 3/8” convex felt core. First stick of its kind in the industry like the BD1F Mahler 3 mallets using my double seam technique. Gives you the ability to change from clear articulation to smooth rolls in a split second. A necessity for many Sibelius Symphonies and the ending of Brahms 1. Try this model for Mozart 39 as well to get you from the transition of long soft roll to rhythm.