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TO PERFORM AT THE HIGHEST LEVEL OF MUSICAL ACHIEVEMENT, YOU NEED STICKS MADE TO PERFECTION.

The sound emanates from the brain, to the hand, through the stick to the

instrument. The quality of the sticks is responsible for sound, response, feel andthe ability to change color and dynamics with ease. Since day one, quality andinnovation have ruled our priorities.

Amazing as it may seem, it has been almost 50 years since I began designingand manufacturing drumsticks. We’ve come from the smallest kid on the blockto the largest in the world. I believe there are two reasons for this success. Thefirst is that everyone here is dedicated to the philosophy of creating the finest

product possible and guaranteeing it against all defects. No matter what level ofachievement we have reached, we always strive to get even better. It is a formulathat has worked—persistence being the key word.

The second reason is that you, the drummer, have accepted and appreciatedwhat we’ve tried to do. One of the biggest kicks for me has been getting to knowall the drummers who use the sticks, listening to your needs and concerns, andtrying to produce things that satisfy your musical requirements. You have come

forward with great ideas and suggestions that have pushed us even further. Youhave supported us with your friendship and loyalty. There have been so manygreat musicians through these years, and without all of your artistic abilities andcontributions to great music making, this industry wouldn’t be what it is today.

My heartfelt thanks, gratitude and warmth go out to all drummers andpercussionists worldwide. Thanks for all the memories—past, present and future.

3



For almost 50 years, Vic Firth has made it his priority indesign and manufacturing to elevate and then continue toimprove the status quo for drummers’ tools. Throughout

the years as he has raised the bar, other brands haveimproved as well. This gives the drummer many optionsfrom which to choose, but also creates confusionwith so many claims and opposing opinions on how tomanufacture the best drumstick.

At Vic Firth the company, we are all committed to upholding the values that havemade us the #1 stick and mallet company in the world. And we are so proud ofwhat we do that we want to prove how good our sticks are by asking you totake the Vic Firth challenge.

So what is this challenge? It’s quite simple, really. Instead of just reading aboutwhat makes Vic Firth #1, we want your hands and your eyes and your ears to dothe quality comparison between ours and the other sticks on the market.



ROLL ‘EM! Find a place on the counter and roll our sticks. Roll some thicker modelsand roll some thin ones, too. Then do the same with the other brands. You may bestartled by what you see wobbling across the counter...as well as be amazed athow straight the Vic Firth sticks are. Remember—bananas belong in a fruit basket,not your stick bag. Straight sticks play and feel better!

TAP TAP TAP the sticks that make up a pair one at a time on the counter. You willhear that the two sticks within the Vic Firth pairs have the same pitch. Again, test

some thin sticks and some thick sticks. What you’ll find is that we pitch pair all ofour sticks—no matter the size—to the strictest of tolerances. So even if you hit thehardest, we will still gently tap every pair of your sticks before they leave our factory.

Then...play a few LICKS, preferably on a pad and please not on one of the store’sdrum sets. Pay attention to how they feel in your hands. You will find that the VicFirth sticks that were so nicely matched for pitch will also be matched for weight.Repeat with the other brands and ask yourself this—are the other pairs matched

as closely for weight and for pitch? We think you’ll find that Vic Firth offers pairsthat are weight sorted and pitch paired to the closest tolerances. And when yoursticks feel this good, your groove will feel good too!

One final note on FEEL. All the quality control in the world won’t make a poorlydesigned stick feel good. A great-feeling stick must combine the obvious variablesof length and diameter, but also more subtle things like the location of the shoulder,

the taper, the thickness of the neck, to perfection. Vic Firth designs have becomeindustry standards in all genres of music because they FEEL good. It’s not an easything to put into words…but a pair of 5A says it all.

You’ll have to try the NYLON TIPS test on your own kit, and what you will find is nomatter how hard you hit, your tips will stay put—no chipping, breaking or flyingoff—because we injection mold them right onto the wood. After all...it’s your sound,not your tips, that should project into the crowd!

Finally, after you’re done testing our sticks, take www.vicfirth.com for a test drivetoo. But be prepared to stay for a while and plan to revisit often because like oursticks, what we offer on our website is the best as well. While you’re there, takea moment to email us your thoughts. And if at any time you are not satisfied bythe quality or workmanship of Vic Firth products, please send them back to us forreplacement—because bottom line, the Perfect Pair™ is also 100% guaranteed.

Remember—bananas

belong in a fruit basket,not your stick bag.

5

Next time you’re in your favoritedrum shop, HERE’S WHAT YOU DO:



“For over twenty years, I’veonly had American Classic ® Rock sticks in my hands.They are the perfect

extension of my arms—and my attitude.” Shannon Larkin : Godsmack



7

P h o t o : C h r

i s B r a d s h a w



Quite possibly the most durable sticks ever! Designedwith a revolutionary technology to maximize durabilityand playability, the Titan series of sticks are made from

an advanced aerospace-grade carbon fiber composite.Each stick is remarkably consistent in weight and pitch andprovides superior durability without sacrificing the feel andfamiliarity of a wood stick.

The Titan line features the designs of the American Classic® 5A and 5B, the world’s most popular models! Aggressivelytested by professional drummers in practice, recording

and performance, these sticks last significantly longer thantraditional wood models. This 100% green product is alsocompletely recyclable.

TI5A L = 16”, Dia. = .565”

TI5B

L = 16”, Dia. = .595”



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Made from Japanese white oak, the SHoGUN line ismanufactured to the level of perfection you havecome to expect from Vic Firth. A denser wood with a

more rigid response than hickory, Japanese white oakprovides added weight and power for a full drum soundand strong rhythmic projection. The hardness of thewood tip creates a brighter cymbal sound and providesexcellent definition during intricate ride patterns. Thisunique wood also produces an incredible cross-sticktone that really cuts through.

SHO5A L = 16”, Dia. = .565”

SHO5BL = 16”, Dia. = .595”



KIDSTICKS (KIDS)Engineered to make playing easy for thevery young drum set player—ages 3 to 8.Produces a quality sound.

L = 13”, Dia. = .520”

KIDSTICKS PINK (KIDSPINK)The KIDSTICK with a fun pink finish.L = 13”, Dia. = .520”

HD4Vic’s original SD4 design, but in hickory.

For a light touch and great feel around thedrums. L = 15 7 / 8”, Dia. =.530”

7ATear drop tip. Perfect for light jazzand combo. L = 15 1 / 2”, Dia. = .540”

8DLike the 7A, with a bit more reach.

L = 16”, Dia. = .540”

85A Combines the dimensions of an 8Dand 5A. A great jazz stick.L = 16”, Dia. = .550”

5ATear drop tip for rich cymbal sounds. The

#1 stick in the world—great for every styleof music! L = 16”, Dia. = .565”

5A BLACK (5AB)The 5A, with a distinctive black finish.L = 16”, Dia. = .565”

5A PINK (5AP)The 5A, with a fun pink finish.L = 16”, Dia. = .565”

5A WHITE (5AW)The 5A, with a bright white finish.L = 16”, Dia. = .565”



EXTREME 5A (X5A)Like the 5A, with more power and reach.L = 16 1 / 2”, Dia. = .565”

55A Combines the dimensions of a 5A and5B. A great choice when a 5B is just alittle more stick than required.L = 16”, Dia. = .580”

5BTear drop tip. Ideal for rock, band andpractice. L = 16”, Dia. = .595”

5B BLACK (5BB)The 5B, with a distinctive black finish.L = 16”, Dia. = .595”

5B WHITE (5BW)The 5B, with a bright white finish.L = 16”, Dia. = .595”

EXTREME 5B (X5B)Like the 5B, with more power and reach.L = 16 1 / 2”, Dia. = .595”

F1Medium round tip with a short taperedneck. Great for fusion or electric jazz.L = 16 3 / 16”, Dia. = .580”

3ABarrel tip produces bright, articulatecymbal sounds. Great for light rock andfusion. L = 16 3 / 16”, Dia. = .580”

1A Extra long with a “Taj Mahal” tip.Powerful, fast and responsive.L = 16 13 / 16”, Dia. = .580”

HD9The SD9, in hickory. A favorite ofplayers who love the 5B but want alittle more weight and length.L = 16 1 / 4”, Dia. =.610”

2BTear drop tip. Ideal for heavy rock, band

and practice. L = 161

/ 4”, Dia. = .630”

ROCKOval tip for a full sound. Great for rockand band. L = 16 5 / 8”, Dia. = .630”

METAL (CM)Oval tip. Offers extra reach and power.L = 17”, Dia. = .635”

ESTICKA one of a kind design specifically fortoday’s electronic drums. Long taperalso provides a great touch and soundon acoustic drums and cymbals.L = 16 1 / 2”, Dia. =.563”

The American Classic® line combines tradition and Vic Firth style. With bold designs, the Classics are turnedfrom select hickory—a dense wood with little flex for a more

pronounced sound. Hickory is also capable of withstandinga great deal of shock, making it highly durable. The tips aredeeply back-cut for intensified cymbal response.

H i c k o r y

11



For over 30 years, the American Classics® have beenthe popular choice of countless drummers worldwide.

Wood tips were the originals, followed by nylon for a more

durable and brighter sounding option. Vic Firth was the firstmanufacturer to offer nylon tips designed to mirror theirwood tip counterparts, allowing drummers to switch fromthe richness of a wood tip to the brilliance of nylon withoutsacrificing feel and balance. And with our injection moldingprocess, they won’t chip or fly off—guaranteed!

7AN

Tear drop tip. Perfect for light jazzand combo. L = 15 1 / 2”, Dia. = .540”

8DNLike the 7AN, with a bit more reach.L = 16”, Dia. = .540”

5ANTear drop tip. Light and fast—great

for every style of music!L = 16”, Dia. = .565”

EXTREME 5AN (X5AN)

For the 5AN player who wants morepower and reach.L = 16 1 / 2”, Dia. = .565”

5BNTear drop tip. Ideal for rock, band andpractice. L = 16”, Dia. = .595”

EXTREME 5BN (X5BN)

Like the 5BN, with more power andreach. L = 16 1 / 2”, Dia. = .595”

3ANBarrel tip produces bright, articulatecymbal sounds. Great for light rock andfusion. L = 16 3 / 16”, Dia. = .580”

2BNTear drop tip. Ideal for heavy rock, bandand practice. L = 16 1 / 4”, Dia. = .630”

ROCK NOval tip. Great for rock and band.L = 16 5 / 8”, Dia. = .630”

METAL N (CMN)Oval tip. Offers extra reach and power.L = 17”, Dia. = .635”



KINETIC FORCE (5AKF & 5BKF)

Kinetic energy is a function of mass andspeed. By adding a more dense materialto the butt end, these sticks can be playedlonger and harder with less fatigue. Theycan also help you play faster! Available in5A (5AKF) and 5B (5BKF).

5B “CHOP-OUT” PRACTICE STICK(5BCO)Rubber tip with an elongated taper tosimulate the balance of the 5B.L = 16 1 / 4”, Dia. = .595”

5A DUAL-TONE (5ADT)5A wood tip with a durable synthetic feltmallet head attached to the butt end.L = 16 1 / 8”, Dia. = .565”

H i c k o r y

13

As part of our commitment to offering drummers everexpanding possibilities with their playing, Vic Firth hasadded these revolutionary options for practice andsound production.

SILVER BULLETThe aluminum tipped Silver Bulletmodels provide the brightest option

yet, producing cymbal sounds that cutand carry with amazing brilliance andclarity. Using our “tip-locking” process,we guarantee the tips will remainattached. Available in 5A (5ASB) and5B (5BSB).

SOFT TOUCHThe Soft Touch models feature a densefelt head for a moderately articulate

sound that is on the warmer side of aconventional wood tip. New musicalpossibilities emerge when exploringthe colors these Soft Touch sticks canproduce! Available in 5A (5AST) and5B (5BST).



The American Sound® drumsticks are

a take off on our most popular AmericanClassic® models, featuring the shaft andneck specifications of the 7A, 8D, 5A and 5B, butwith a full round tip. This tip change creates a completelydifferent sound for each model, bringing increased focusand clarity to the drums and cymbals. This line furthersour effort to offer drummers the ability to change theirsound and color without sacrificing feel and balance.

AS7APerfect for light jazz and combo.L = 15 1 / 2”, Dia. = .540”

AS8DLike the 7A, with a bit more reach.L = 16”, Dia. = .540”

AS5A Light and fast—great for every styleof music! L = 16”, Dia. = .565”

AS5BIdeal for rock, band and practice.L = 16 3 / 16”, Dia. = .595”



Vic Grip is an anti-slip drumstick coating made from

an eco-friendly, water based urethane. It provides acomfortable and slip resistant grip to our top selling

American Classic® models. This specially formulatedmaterial is extremely durable and an ideal choice forplayers who prefer an enhanced grip on their sticks.Look for the red coating and put a stop to slippage!

V i c G r i p

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“During the pressure of alive show, Vic Grip gives methe confidence to use my

Tomahawk Chop stylewithout hesitation!” BUD GAUGHSublime with Rome

5ANVG





Developed for the player who is looking for ultimaterebound on the drum and ride cymbal, the American Jazz® line is comprised of six models which feature a long taper

in the shaft for that great feel! The neck specifications aresizeable enough to create dark cymbal sounds, and thesmall tear drop tip keeps everything in focus.

AJ1A 5B shaft that feels full-sized yet plays“lightning fast”. L = 16”, Dia. = .595”

AJ2

A 5A shaft for a light touch.L = 16”, Dia. = .565”

AJ3An 8D shaft that feels like it plays itself.L = 16”, Dia. = .545”

AJ4A thin stick that still produces great

cymbal sound. L = 16”, Dia. = .520”

AJ5The thinnest stick in the entire catalog!Built with great balance in mind, makingit light and easy to play.L = 16”, Dia. = .490”

AJ6A 7A-like shaft coupled with a very smallneck and tip for the sweetest cymbalsounds. No fear of “overplaying” withthis model! L = 15 1 / 2”, Dia. = .550”

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“My hands have never feltso comfortable—freedomin the groove! That’s whyI play Vic Firth!” DERICO WATSONVictor WootenAJ1





19

P h o t o : B i l l

Z u l e s

“I’ve been playing Vic’ssticks since my days inschool. Now they’re just

a part of me.” Steve Gadd : Signature Artist



CARMINE APPICE (SCA)A tip like a 5A at one end, a large heavytip at the butt end. Provides great backbeat power. L = 15 15 / 16”, Dia. = .595”

KENNY ARONOFF (PP)An Extreme 5B shaft with the neck andtip of a Rock. Plenty of weight for heavyhitting, yet thin enough to play withfinesse. L = 16 1 / 2”, Dia. = .595”

CHARLIE BENANTE (SBEN)

A Rock shaft and tip with aspecial taper for great feeland durability. With Vic Gripfor a slip resistant grip.L = 16 5 / 8”, Dia. = .625”

Each Vic Firth Signature Series model was conceived throughextensive research with the finest drummers from a variety ofmusical styles. The designs reflect their musical requirements

in terms of balance, feel, sound projection and cymbal color. All colored sticks feature a clear, natural tip. All sticks arehickory unless otherwise noted.

CARTER BEAUFORD (SBEA)A 5B shaft with an extended taper andelongated oval tip for great response,sound and versatility. With slip resistantVic Grip for superior hold.L = 16”, Dia. = .595”



21

GREGG BISSONETTE (SGB)A beefed-up 2B featuring a heavy shoulder and neck. L = 16 1 / 4”, Dia. = .620”

GREGG BISSONETTE “BACKBEAT” (SGB2)A 5B shaft with a front-end loaded neck and tip for a full sound on the bell of the ride.Vic Grip for a confident backbeat and big drum sounds. A great all-around stick choice.L = 16”, Dia. = .590”

CINDY BLACKMAN (SCB)Designed with a 5A shaft, enlargedneck and full taper. A rounded arrowshaped tip creates a phat sound on

drums and is full and clear on cymbals.L = 16”, Dia. = .565”

TERRY BOZZIO “PHASE 1” (STB1)Long and thin for speed andresponse. Helmet shaped tip

provides boldness on toms,brilliance on cymbals.L = 16 1 / 4”, Dia. = .550”

MATT CAMERON (SMC)A 5B style shaft with an elongatedtaper. Barrel tip produces a full andsatisfying cymbal sound.

L = 163

/ 16”, Dia. = .585”

V i c

F I r t h



DANNY CAREY (SDC, SDCN)A truly unique stick! Features acut-in design at the gripping area for

comfort and a tapered butt end forimproved balance. In wood or nylon tip.L = 16 1 / 2”, Dia. = .695” at butt,.630” at shaft

BILLY COBHAM (SBC)Full round tip for excellent rebound.

Unique finger groove for grippingand control. L = 16 1 / 4”, Dia. = .605”

JACK DEJOHNETTE (SJD, SJDN)A stretch 5A for extra reach. Great for jazz and fusion. In wood or nylon tip.L = 16 5 / 16”, Dia. = .565”

JOHN DOLMAYAN (SDOL)A 55A shaft with a barrel tip fora beefy stick that’s easy to play.Designed for comfort, balance,durability and speed.

L = 16”, Dia. = .580”



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PETER ERSKINE ORIGINAL (SPE)Light and fast with a piccolo tip forpinpoint articulation on cymbals.L = 16”, Dia. = .525”

PETER ERSKINE “RIDE STICK” (SPE2)An extra long taper and tear drop tip forenhanced cymbal response. Beefed upshaft for extra power.L = 16”, Dia. = .575”

PETER ERSKINE “BIG BAND” (SPE3)Combines the shaft dimensions of a 5Aand 5B with a long taper for effortlessrebound. L = 16”, Dia. = .585”

STEVE GADD (SSG, SSGN)Barrel tip for a great recording

sound. In wood or nylon tip.L = 15 3 / 4”, Dia. = .550”

DAVID GARIBALDI (JM)Barrel tip and extra long taperfor great cymbal and rimshot response.L = 16 7 / 16”, Dia. = .560”

V i c F I r t h



ALEX GONZÁLEZ (SAG)Features a barrel shaped nylon tip ona 5B shaft. Powerful and articulate.L = 16 1 / 2”, Dia. = .600”

TOMAS HAAKE (SHAA)

Olive tip produces clearly defined drumand cymbal sounds. A compact, yetpowerful stick. L = 16 7 / 16”, Dia. = .645”

OMAR HAKIM (SOH)Round nylon tip for a brilliant cymbalsound. In honey hickory.L = 16”, Dia. = .585”

JOEY HEREDIA (SJH)

Unique extended tip can achieveboth bright and dark cymbalsounds. In maple.L = 16 3 / 16”, Dia. = .580”

GAVIN HARRISON (SHAR)An elongated ROCK shaft with a blendedtaper and tip, delivering an idealcombination of power and playability.Featuring slip-resistant Vic Grip.L = 16 7 / 8”, Dia. = .630”



25

GERALD HEYWARD (SGH)Features a barrel tip and plenty oflength with a short taper for reallylaying into a groove.L = 16 5 / 16”, Dia. = .570”

STEVE JORDAN (SJOR)Light and long for great touch andsound around the drums and cymbals.

L = 16 1 / 2”, Dia. = .525”

AKIRA JIMBO (SAJ)Tear drop tip for cymbal definition

and tapered butt for unique balance.L = 16”, Dia. = .565”

TOMMY IGOE“GROOVE ESSENTIALS” (STI)The length and extended taper addleverage for great feel and power.“Taj Mahal” tip is ideal for sensitivecymbal work. L = 16 1 / 8”, Dia. = .555”

V i c F I r t h



ABE LABORIEL JR. (SAL)Long and thick for plenty of power.

Gradual taper delivers great reboundand overall feel. L = 17”, Dia. = .630”

THOMAS LANG (STL)A large shaft and oversized tear droptip speak loudly and clearly. Designedto produce a thunderous sound!L = 16 1 / 8”, Dia. = .650”

PAUL LEIM (SPL)An 8DN with a slightly beefed up neckand oval nylon tip. A thin stick with a fullsound and a clear attack.L = 16”, Dia. = .545”

HARVEY MASON (SHM)A versatile stick that covers a widedynamic range. Round tip producesclean, crisp cymbal sounds.L = 15 7 / 8”, Dia. = .605”

HARVEY MASON“THE CHAMELEON” (SHM3)Subtle barrel bead creates extremelyarticulate cymbal quality and full,clean sound on drums. Versatile withgreat feel and musical expression.L = 16 3 / 8”, Dia. = .540”

GEORGE KOLLIAS (SGK)Blends elements of the popular 5A &5B models. A classic barrel-shaped tipdelivers a clear cymbal sound and fulldrum tone. L = 16”, Dia. = .585”



27

JOJO MAYER (SJM)Designed to offer a big sound andfeel without a lot of weight.L = 15 21 / 64”, Dia. = .577”

RUSS MILLER “HI-DEF” (SMIL)Special “half acorn” tip for incrediblecymbal clarity. Logo at the nodal point

for perfect cross-stick tone, every time!L = 16”, Dia. = .535

STANTON MOORE (SSM)A slightly elongated tear drop tipcreates a great cymbal sound. Aversatile stick that is excellent for jazzand funk. L = 16 1 / 4”, Dia. = .550”

NICKO MCBRAIN (SNM)A 5B shaft with a beefed up neckand tip. A medium sized stick thatproduces a big sound.L = 16”, Dia. = .595”

V i c F I r t h



ROD MORGENSTEIN (SRM)Combines a 5B and a 2B. Fullshoulder for endurance.L = 16 1 / 8”, Dia. = .610”

VINNIE PAUL (SVP)A full sized shaft and enlarged tear droptip provide plenty of power.L = 16 7 / 8”, Dia. = .630”

JOE PORCARO (JPH5A)Exclusive diamond shaped tip providesincreased articulation and a clean,bright sound in any playing situation.L = 16”, Dia. = .565”

MARKY RAMONE (SMR)A medium-thick stick with a shorttaper and a barrel tip. Has plenty of

reach and “plays big” without beingtoo much to handle.L = 16 3 / 8”, Dia. = .580”



29

BUDDY RICH (SBR, SBRN)A modified 5A with a larger tip,neck and shoulder. In wood ornylon tip. L = 16 5 / 16”, Dia. = .590”

CHRISTOPH SCHNEIDER (SCS)A thick stick with a short taperand a tear drop tip . Packs plentyof punch! L = 16 1 / 4”, Dia. = .645”

STEVE SMITH (SSS)Elongated tip with a long shoulderand short taper. Provides the feel

of a 5A with the beef of a 5B.L = 16”, Dia. = .555”

TONY ROYSTER JR. (STR)Barrel tip for sensitive drum andcymbal sounds. A great choice for jazz, rock, latin and funk.L = 16 1 / 8”, Dia. = .547”

V i c

F I r t h



AARON SPEARS (SAS)Features a unique taper that blendssmoothly into the neck and then tothe tip. Very well balanced, with greatleverage. L = 16 1 / 2”, Dia. = .580”

MIKE TERRANA (SMT)Produces a big sound, even atbreathtaking speed. With a barrel tip forclear and concise cymbal sound.L = 16 1 / 4”, Dia. = .560”

AHMIR ?UESTLOVETHOMPSON (SAT)A very long and thin stick for theperfect lightweight feel. With 17” of

length and an extended taper, this stickcan really crack! Vic Grip provides ananti-slip finish. L = 17”, Dia. = .520”

CHARLIE WATTS (SCW)Elongated oval tip for darkcymbal sounds. Creates a bigsound without a lot of weight.L = 16”, Dia. = .585”



31

DAVE WECKL ORIGINAL(SDW, SDWN)Barrel tip for broad cymbal sound. Fast,with great leverage. In wood or nylontip. L = 16 1 / 4”, Dia. = .560”

DAVE WECKL “EVOLUTION”(SDW2, SDW2N)A short tear drop tip on a 5A shaft.Provides superior cymbal definition withexcellent rebound. In wood or nylon tip.L = 16”, Dia. = .563”

STEVE WHITE (SSW)A medium sized stick with a shorttaper makes it ideal to ride and

accent with the shoulder. Thebalance provides excellent control,and a short rounded tear drop tipcreates a compact sound.L = 16 1 / 4”, Dia. = .585”

ZORO (SZ)An enlarged SD4 with abarrel tip for great tone while

grooving on the cymbals andhi-hat. In honey hickory.L = 16 3 / 8”, Dia. =.555”

LENNY WHITE (SLW)A combination of the 5A and 5B withan oval tip for a great feel and full ridecymbal sound. L = 16”, Dia. = .580”

V i c

F I r t h



“My sticks are what everytimbalero is looking for— the perfect weight,size and balance forexpressing latin flavor.” Alex Acuña : Signature Artist



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P h o t o : R o b

S h a n a h a n





TMB1Our biggest and boldest timbale stick.Designed for the player looking for extrareach and power. L = 17”, Dia. = .500”

TMB2A unique option for the player lookingfor slightly more than the standard sizedtimbale stick. L = 16 1 / 2”, Dia. = .470”

Alex AcuñaAlex Acuña’s timbale sticks are designed

to provide optimum response ontimbales and cymbals. In hickory.

CONQUISTADOR (SAA)L = 16”, Dia. = .440”

CLEAR CONQUISTADOR (SAAC)L = 16”, Dia. = .440”

EL PALO (SAA2)L = 16 1 / 2”, Dia. = .500”

Airto Designed by Airto for use onSurdos, the Brazilian Street Beat1 and 2 feature tapered ash shafts and

foam cores covered with synthetic felt.Light and easy to hold, they produce aclear and solid sound.

BRAZILIAN STREET BEAT 1 (ABSB1)For small Surdos. Light in weight withgreat balance.L = 14 3 / 4”, Head size = 2 1 / 4” x 1 3 / 4”

BRAZILIAN STREET BEAT 2 (ABSB2)For large Surdos. Produces a big soundwithout being overbearing!L = 14 3 / 4”, Head size = 2 1 / 4” x 2 5 / 8”

Vic Firth offers a selection of world music percussionproducts under the World Classic® banner. This line

combines Vic Firth’s attention to quality with the expertiseof two legendary artists.

35



CIRCLE STICKS (KDC2)Produce an excellent sound on smallhand held percussion instruments including

woodblock, cowbell, tone block, framedrum and more. Easy to control. Packsof 12 include 3 each of red, blue, greenand yellow sticks. In hickory.L = 9”, Dia. = .500”

HAND DRUMMING GLOVES (KDC3)Provide hand protection while producing a

musically pleasing result. Exposed fingertips produce crisp slap tones while paddedpalms produce open bass tones. Perfectfor all types of hand drums.Available in S, M, L, XL.

KALANI

“These sticks and malletsallow me to connect with the

instrument and go straight

to the music.”



KALANI’S DRUM CIRCLE SERIESKalani is well known throughout the world as a keynotespeaker, clinician, performer, author and educator.

His company, Kalani Music, is an approved continuingeducation provider for music educators, music therapistsand health care professionals and offers training in DrumCircle MusicTM facilitation.

Each product in Kalani’s Drum Circle Series reflectsyears of experience working with players, students andeducators. The line provides teachers and facilitatorswith high quality products developed for playing theinstruments most often used in recreational music.Designed to stand up to the demands of the activity,Kalani’s Drum Circle Series is affordable for largergroup settings.

DUNDUN STICK (KDC4)An authentic stick for full dynamic rangewithout added weight. For dundun,taiko drums and any other large double-headed bass drums with cowhide orsimilar heads. In ash. Sold singly.L = 16”, Dia. = .938”

CIRCLE MALLET 1 (KDC5)Soft rubber mallet that is perfect for8 – 12” frame drums. With maple shaft.

Sold singly. L = 11 5 / 8”, Head = 1 5 / 64”

CIRCLE MALLET 2 (KDC6)Soft rubber mallet for frame drums thatare 12” or larger. With maple shaft.Sold singly. L = 12”, Head = 1 11 / 32”

CIRCLE MALLET 3 (KDC7)Rubber mallet covered with fleece thatis perfect for soft playing on 8 – 12”frame drums. With maple shaft. Soldsingly. L = 11 5 / 8”, Head = 1 9 / 32”

CIRCLE MALLET 4 (KDC8)Rubber mallet covered with fleece forsoft playing on frame drums that are12” or larger. With maple shaft. Soldsingly. L = 12”, Head = 1 9 / 16”

37



Vic Firth offers a complete line of Rute, designed to providethe player with alternative sounds and feels across a variety ofmusical settings. Unless otherwise indicated, each Rute model

features premium birch dowels secured in a birch drumstickhandle. The handle provides a natural feel and can also beused for back beats, cross rim work and intricate patternson the cymbal bell. A moveable band adjusts the effect fromcrisp to splashy.

RUTEOur original. Designed for all-around

rock, jazz and combo playing.With 16 dowels (.125”).L = 16 3 / 8”, Handle thickness = .750”

RUTE 202Perfect for the player who wants to really

dig in while still retaining the classic Rutesound. Seven dowels (.188”) surrounda thicker center dowel (.250”) and arewrapped in a thin grip.L = 16 3 / 8”, Handle thickness = .665”

Foam centers of theSteve Smith Tala Wands



CHARLEY DRAYTONPaul Simon

“I reach for my Vic Firth

Rutes to conveymy percussiveexpressionand define

the soundand texturethat makes

the musicspeak.”

39

RUTE 303Designed for playing with a light touchwhile retaining the classic Rute sound.Great for medium and small group

playing. With seven dowels (.156”).L = 16 3 / 8”, Handle thickness = .630”

RUTE 505This model is a cross between our RockRake and the original Rute. A great choicefor light jazz and combo playing. Withthirty-one plastic bristles (.094”) secured

in a vinyl handle.L = 15”, Handle thickness = .690”

RUTE 606For the Rute player who prefers arubber handle and fixed position band.Designed for all-around playing.With 19 dowels (.125”).

L = 161 / 8

”, Handle thickness = .590”

STEVE SMITH TALA WANDSThese unique models were conceived whenSteve began playing with drummers fromIndia and needed a way to blend with their

sounds and be sensitive to lower volumelevels. Both with foam centers, they feelgreat and naturally help to play softer.

STEVE SMITH TALA WAND BAMBOO(TW11)A foam center is surrounded with elevenbamboo dowels. Great balance and

rebound, while naturally producing a lowervolume. L = 15 15 / 16”, Dia. =.585”

STEVE SMITH TALA WAND BIRCH(TW12)A foam center is surrounded with twelvebirch dowels. Outstanding rebound andsound. While the shaft is thicker than the

TW11, the weight of the birch dowelsactually helps create a lighter touch and

lower volume. L = 16 1 / 8”, Dia. =.625”



Vic Firth offers a variety of “brushes” designed to deliver atraditional sound or create bold new colors. Each model makesits own musical statement and provides the opportunity for anextensive range of effects.

JAZZ BRUSH (WB)A retractable wire brush with an infinitelyadjustable brush spread, capable ofmaintaining any playing position. Mediumgauge wire provides excellent coverageand sound. Dia. = .575”; Spread = 5”

HERITAGE BRUSH (HB)A retractable wire brush featuring lightgauge wire and a smooth rubber handle.Fast and easy to play.Dia. = .530”; Spread = 5”

STEVE GADD WIRE BRUSH (SGWB)Steve and Vic have solved the age-oldproblem of wire brushes snagging on newcoated drumheads by slightly angling the

wires in the playing end. The light gaugewires glide across the head‚ allowinga smoother sweep and a velvet swishsound. Dia. = .530”; Spread = 5”

ROCK RAKE (BRR)A retractable plastic brush with stiff thickbristles for greater projection.

Dia. = .605”; Spread = 4”

JAZZ RAKE (BJR)A retractable plastic brush that featuresthin flexible bristles for fusion and jazz.Dia. = .605”; Spread = 4”

DREADLOCKS (DLKS)Braided heavy gauge stainless-steel wiresproduce bold percussive sounds. Strike,scrape or let your imagination create avariety of effects. With hickory handles.L = 14”, Dia. = .575”, Spread = 5 1 / 2”

LEGACY BRUSH (LB)A retractable wire brush with a woodhandle provides a natural feel in the hand.With medium gauge wire and an infinitelyadjustable brush spread capable ofmaintaining any playing position.Dia. = .530”; Spread = 5”

RUSS MILLER WIRE BRUSHES (RMWB)A brush dedicated to each hand! Features

a “sweep” brush with medium gauge wirefor smooth sound, and a “ride” brush witha tight spread and heavy gauge wire forclear projection with incredible rebound.Dia. = .580”; “Sweep” Spread = 3 1 / 8”“Ride” Spread = 2 3 / 4”

LIVE WIRES (LW)

A retractable wire brush featuring heavygauge wire with a small, round bead onthe tip of each strand. For an added sharpsnap on cymbals and drums.Dia. = .530”; Spread = 5”

FLORIAN

ALEXANDRU-ZORNHeritage Brush



41



“From the tree to the artists’hands, compromise is not aword in our vocabulary.” Vic Firth : Boston Symphony Orchestra : Company Founder



43



American Heritage® drumsticks feature the dimensionalspecifications of our most popular American Classic® models, but are crafted in maple rather than hickory forgreater rebound and flex. This series allows drummersto have the feel of their favorite American Classic® modelbut with a lighter and more “airy” sound, especially on

cymbals. This approach is another extension of our effortto offer drummers the ability to change their sound andcolor without changing feel and balance.

AH7A Tear drop tip. Great for music thatrequires a light touch.L = 15 1 / 2”, Dia. = .540”

AH5A Tear drop tip combines with maple forrich cymbal sounds.L = 16”, Dia. = .565”

AH5BTear drop tip. A medium stick that stillproduces sweet cymbal sounds.

L = 16”, Dia. = .595”

M a p l e

SD1 GENERALRound tip. Ideal for orchestral work, rockand band. A legendary practice stick.L = 16 3 / 8”, Dia. = .635”

SD1 JR.A scaled down version of our SD1 General.Perfect for a young student’s hands.

L = 159

/ 16”, Dia. = .615”SD2 BOLERORound tip. Ideal for light orchestral and pitplaying. L = 15 3 / 4”, Dia. = .635”

SD4 COMBOBarrel tip. Light and fast for jazz quartet orchamber music. L = 15 7 / 8”, Dia. = .545”

SD5 ECHORound tip. Extra long taper for control.L = 15 3 / 4”, Dia. = .670”



The American Custom® line consists of a variety ofmodels conceived and engineered by Vic Firth—performer and educator. The first manufacturer to applythe concept of a round striking surface to drumstickdesign, Vic developed the other originals that completethe line with jazz players in mind. All eleven models areturned from select rock maple for a light, fast playing

stick with great flex and rebound. The Custom line isperfect for the artist who is playing lighter types ofmusic, or prefers a beefier stick without a lot of weight.

SD6 SWIZZLE BAn SD2 Bolero with a hard, spun felt ballattached to the butt end. Ideal for fastchanges on cymbals. L = 16 1 / 4”,Dia. = .635”, Felt ball = 1 1 / 4” x 1”

SD7 WHACKERFor jazz and small group. Nylon tip forgreat cutting power on the cymbals.L = 16”, Dia. = .590”

SD9 DRIVEROval tip. A favorite for jazz.

L = 161 /

4”, Dia. = .610”

SD10 SWINGEROval tip. Slightly lighter and faster thanthe SD9. L = 16 1 / 8”, Dia. = .610”

SD11 SLAMMER

Arrowhead tip cuts with minimum effort.L = 16 1 / 4”, Dia. = .610”

SD12 SWIZZLE GAn SD1 General with a hard, spun feltball attached to the butt end. Ideal forfast changes on cymbals. L = 16 5 / 8”,Dia. = .635”, Felt ball = 1 1 / 4” x 1”

M a p l e

45

CHAD SZELIGABreaking Benjamin

SD10





T1 GENERALFor all-around playing.Produces rich sound yet iscapable of rhythmic clarity.Head = 1 1 / 2”, L = 14 1 / 2”

T2 CARTWHEELVery soft. Ideal for soft rolls, legatostrokes and the richest sounds.Head = 1 3 / 4”, L = 14 1 / 2”

T3 STACCATO

Medium hard for rhythmic articulation.Head = 1 1 / 4”, L = 14 1 / 2”

T4 ULTRA STACCATOHard. Produces the clearest rhythmicprojection of the felt models.Head = 1 3 / 8”, L = 14 1 / 2”

T5 WOODVery hard. A special effects mallet.Head = 1 1 / 4”, L = 14 1 / 2”

T6 CUSTOM GENERALLarger and heavier than a T1.Produces an enormous sound.

Head = 13

/ 4”, L = 143

/ 4”

These six models reflect Vic’s fifty years of experienceas Solo Timpanist with the Boston Symphony Orchestra.Each mallet is turned from a single piece of rock maple,

which eliminates a core that could rattle and the needfor a screw-on washer to secure the head. Coupled withround seamless heads, they produce bigger andbrighter sounds.

“Open up your mind, your

ears and your imagination.The rewards musically andpersonally will take you to

new heights.”

A m e r i c a n C u s t o m ©

47





Vic Firth’s bass drum mallets combine seamless, roundfelt heads with tapered maple handles for deep, darksound without excessive weight. The exception is the

BD8 with its extraordinary weight and contoured shaft.The gong mallets feature turned maple handles and areoffered with fleece covered (GB1-2) or yarn wound(GB3-4) heads. The chime hammer is designed fordurability, with a high impact head and a maple handle.

GB1For large gong, tam tam and nipple

gongs. Head = 4 1 / 4”, L = 21 1 / 4”

GB2For small gong, gamelon and tunedgongs. Head = 4 1 / 4” x 2 1 / 8”, L = 17”

GB3For a full sound at all dynamic levels.Perfect for large gongs and tam-tams.Head = 3 1 / 2”, L = 17”

GB4Medium heavy for all aroundplaying. Head = 3 11 / 32”, L = 17 1 / 4”

BD1 GENERALPerfect for all-purpose playing.

Head = 31

/ 4”, L = 17”BD2 LEGATOA soft mallet for dark sounds.Head = 3 3 / 4”, L = 17 1 / 2”

BD3 STACCATOHarder, for rhythmic clarity.

Head = 2 3 / 4”, L = 16 1 / 2”

BD7 ROLLING MALLETSSame hardness as BD1, fortwo-fisted rolls. Sold in pairs.Head = 2 3 / 4”, L = 16”

BD8 GRANDIOSOSpecially designed for increased weight.Creates a round, warm sound at lowerdynamics and the ultimate, full bodiedfortissimo when needed!Head = 3 3 / 8”; L = 17”

CHIME HAMMER (CH)For brilliant chime sounds. Head = 1 5 / 8”

BECKEN CYMBAL MALLETS Named after the German word for“cymbal”, these mallets are uniquelydesigned for playing suspendedcymbals. Crafted in maple.

BCS1Soft, large yarn wound heads for rolls

and long crescendi. For big cymbalswhere dark, low partials are desired.L = 15 1 / 2”

49





Tom Gauger developed his line of mallets during his 35+year career with the Boston Symphony and Boston Pops

Orchestras and as an educator at Boston University andthe Boston University Tanglewood Institute. Each productwas developed on the job and for the job, designed tosolve a technical problem or achieve a desired sound.

TG01 GENERALPerfect for all purpose playing.Articulate, but not too hard.Head = 2 3 / 4”, L = 16 3 / 16”

TG02 LEGATOSpecial felt core produces subtle, darksounds with good articulation.Head = 3”, L = 16 3 / 16”

TG03 MOLTOUnique oval design provides weight for

fullness of sound at all dynamic levels.Head = 2 3 / 4”, L = 16 1 / 2”

TG04 ROLLERSRolling mallets with felt cores offerplenty of weight for a full sound.Sold in pairs. Head = 2 1 / 2”, L = 15 3 / 4”

TG06 FORTISSIMO

Designed for the Verdi Requiem, an idealmallet for maximum volume.Head = 2 13 / 16”, L = 16 3 / 8”

TG07 ULTRA STACCATOWith a wood core and chamois coverfor maximum clarity.Head = 2 11 / 32”, L = 16 1 / 8”

TG08 STACCATOMedium head for a full but articulatesound. Head = 2 3 / 4”, L = 16 3 / 16”

TG21 CHAMOIS/WOODThis chamois/wood mallet is a must forThe Rite of Spring . Sold in pairs.

Head = 11 /

2” and 13 /

8”, L = 151 /

4”TG26 DOUBLE ENDDesigned for one handed rolls.Head = 2 3 / 4”, L = 15 1 / 2”

T o m G a

u g e r

51



Tim Genis, Principal Timpanist of the Boston Symphony

Orchestra, designed this versatile line of timpani malletsto be tonal in character and to create different colorsand qualities of articulation. Persimmon shafts provide adarker sound. The balance and weight of each model makearticulation effortless.

ROLLER (GEN1)Produces a beautiful roll quality withoutattack in the stroke. Felt core.L = 14 1 / 2”, Head = 1 3 / 4”

BEETHOVEN – SOFT (GEN2)Tonal, with enough up front attack forclarity. Felt core.L = 14 3 / 4”, Head = 1 5 / 8”

BEETHOVEN – HARD (GEN3)

Full bodied sound with excellent clarity.Felt core. L = 14 3 / 8”, Head = 11 / 2”

DOLCE ARTICULATE (GEN4)Outstanding clarity in softer passages.Felt core. L = 14 7 / 16”, Head = 1 3 / 4”

TONAL (GEN5)An excellent all-purpose mallet.Wood core. L = 14 1 / 2”, Head = 111 / 16”

HARD TONAL (GEN6)Retains a dark quality while achievingexcellent articulation. Wood core.L = 14 5 / 16”, Head = 11 / 2”

ARTICULATE (GEN7)Produces immediate attack at loud and

soft dynamic levels. Wood core.L = 14 5 / 16”, Head = 1 5 / 16”

MOLTO ARTICULATE (GEN8)Designed to produce the mostimmediate attack while retaining a darkquality of sound. Wood core.L = 14 1 / 4”, Head = 11 / 4”

Tim Genis Series



TIM GENIS GENERAL (STG)Designed with great balance to cover allaspects of concert snare drumming. Inpersimmon to produce a dark, full-bodiedsound. L = 16 7 / 8”, Dia. = .650”

TIM GENIS LEGGIERO (STG2)For playing fast musical passagessoftly. The added weight and density ofpersimmon help produce clean doublestrokes and clear articulation.L = 16 7 / 8”, Dia. = .650”

TED ATKATZ (SATK)Long taper for great control and clarity at

all dynamic levels. Persimmon providesthe ideal density and weight for a concertstick. L = 17”, Dia. = .660”

NEY ROSAURO (SNR)An elongated tip with increased surfacearea for enhanced sound quality. Longtaper provides excellent rebound, whilea slight taper towards the butt enhancesthe balance. In hickory.L = 16 1 / 2”, Dia. = .600”

TOM GAUGER (TG15)A general snare stick with a round tip.L = 16 9 / 16”, Dia. = .625”

TOM GAUGER SNARE/TIMPANI (TG25)A TG15 stick with a felt timpani mallethead attached to the butt end.

For general playing.Head = 11 / 8”, L = 16 3 / 4”, Dia. = .625”

Concert Snare Sticks

53



“Hands down, mallets up!

The new standard hasarrived.” Stefon Harris : Signature Artist



55



“My mallet series isa dream come true!” NEY ROSAURO

MARIMBA

M221Soft. For rich bass and well definedfundamental in the lower register.L = 16 3 / 4”

M222Medium soft. Produces a warm and roundsound while maintaining clear articulation.L = 16 3 / 4”

M223Medium hard. A versatile and generalmallet that produces full and natural sound

throughout the entire keyboard. L = 16 3 / 4”

M224Hard. Cuts well, but still maintains a purefundamental sound.L = 16 3 / 4”



Internationally renowned composer and percussionist,

Ney Rosauro, designed this special series of marimbaand vibraphone mallets to reflect the sound he desiresfor his award winning compositions.

All of the models feature rattan shafts and rubber corescoupled with special yarn and cord choices. This assuresthe player a pure and natural sound that projects thefull capabilities of the instrument. Unique to this series

are 2 “hybrid” models designed to cross-over betweenmarimba, vibraphone and xylophone.

VIBRAPHONE

M225Soft. Designed specifically for thelow register of the extended rangevibraphone. L = 15 3 / 4”

M226Medium. For full and extremely richsound throughout the keyboard.L = 15 3 / 4”

M227Hard. A heavier mallet that providesmore articulation and is ideal for largehalls. L = 15 3 / 4”

HYBRID

M228General. An all purpose mallet for rich,full sound on any keyboard. L = 16 1 / 4”

M229Very hard. A very articulate andextremely powerful mallet.L = 16 1 / 4”

N e y R o

s a u r o

57



Respected internationallyas a soloist and educator,

Robert van Sice designedthis series of yarn woundmarimba mallets with anexclusive hand-wrappingtechnique that virtuallyeliminates the sound of barcontact. Rubber core modelsare mono-tonal, while the

synthetic core models aremulti-tonal—allowing thesound to brighten and darkenas the dynamics increase anddecrease. 17” maple handlesprovide excellent feel andcontrol at extended intervals.

Robert van Sice Series

RUBBER CORE (mono-tonal)

M111Very soft. For a warm, round sound that isperfect for low register chorales.

M112Soft. Produces a broad sound with

tremendous projection that is dark, butnot muffled.

M113Medium soft. A general mallet that coversthe lower four octaves of the marimba.

M114Medium. The most popular model in the

series, this mallet covers the entire rangeof the marimba and produces a singingsound that is full of life.

M115Medium hard. Bright, but not to the pointof “xylophone-like” brilliance.

M116Hard. When extreme cutting power and asharp edge are required.

SYNTHETIC CORE (multi-tonal)

M121Very soft. Produces a heavy, dark sound.Perfect for use in the bass position.

M122Soft. An ideal mallet for pieces such as theBach Cello Suites.

M123Medium soft. A very versatile mallet thatcovers the entire instrument.

M124Medium. The most popular mallet in theseries. Extraordinary range of color, whichis easily manipulated by the performer.

M125Medium hard. This is the most expressivemallet of the series and is an ideal choicefor the modern marimba repertoire.

M126Hard. A wonderful choice for thosemoments where the player needs maximumcutting power and edge to the sound.



An active recitalist and educator, Gifford Howarthdesigned this line of marimba mallets to create thehighest quality of sound for the recital hall or within anensemble. Each model allows the specific characteristicsof each range of the instrument to shine through—adeep full bass, a full sounding mid-range and a cuttinghigh end. With long lasting yarn for durability and clear,

unfinished birch shafts for a natural feel.

M160Very soft. Huge sounding low-end mallets.For a full, overtone-rich bass sound.L = 17 5 / 8”

M161Soft. Deep open bass sound in the lowertwo-thirds of the instrument while stillspeaking through the mid-range.L = 17 1 / 2”

M162Medium. For a lush quality in the lowerrange with the attack needed throughmost of the upper range. L = 17 3 / 8”

M163Medium hard. For general playing on theentire instrument, with excellent clarityin the upper range and rich tones in thelower and mid-ranges. L = 17 1 / 4”

M164“Multi-tone”. Hard to medium. Providessharp clarity in the highest range of theinstrument without a harsh “core attack”sound in the lower range. L = 17 1 / 4”

Gifford Howarth Series

59



Designed for the solo marimba performer, the Virtuoso

Series features a rubber core wrapped with a wool blendyarn for an especially warm and full-bodied sound. The 17”handles are made of birch with a unique “slip-resistant”finish for excellent feel and enhanced control. A fine choicein ensemble settings, as well.

M210Soft. Creates a beautiful singing sound in

the low register.M211Medium soft. Produces a full-bodied soundthat still affords a degree of clarity.

M212Medium. The most versatile mallet of theseries. An all-purpose marimba mallet.

M213Medium hard. Provides excellent claritythroughout the full range of the marimba.

M214Hard. Designed for repertoire that requiressuperb articulation.

Virtuoso Series



The musical term “Pesante” means to “play with weightand emphasis”. With these extraordinary marimba/ vibraphone mallets, this is just what you can achieve!

The Pesante Series is designed to produce a darkand bold sound that projects with a beautiful sonority!M200-M204 feature a thick yarn which minimizes attackand produces a very lush quality. M205-M208 arewrapped in a high density cord for enhanced articulationwith a dark and pleasing sound. Rattan shafts provideideal feel with these weighted mallets.

Designed for the keyboard choir, these mallets are alsoan outstanding choice for marimba and vibraphone inevery conceivable ensemble!

M200Bass marimba. Produces a huge low-endsound with virtually no attack. L = 15 3 / 8”

M201Soft. Little attack, yet capable ofprojecting low register voicing. L = 16 3 / 8”

M202Medium soft. Great for all around playingin the lower two-thirds of the instrument.L = 16 3 / 8”

M203Medium hard. A great choice for allaround playing in the upper two-thirds ofthe instrument. L = 16 3 / 8”

M204Hard. Designed for articulate playing.Clarity with a full-bodied tone. L = 16 3 / 8”

M205Soft. Big low-end sound with articulationto help bring out the written line in the lowregister. L = 16 3 / 16”

M206Medium soft. A very versatile malletthroughout the entire range of the

instrument. L = 16 3 / 8”

M207Medium hard. Projects a very clear,broad presence within the ensemble.L = 16 1 / 8”

M208Hard. The most articulate mallet ofthe series. A bold sound, indeed!L = 16 1 / 8”

Pesante Series

61



The Ensemble Seriesmallets are crafted with a1 1/4” rubber core anda latex covering. Thiscombination of componentsgenerates a full-bodiedsound and a rich

fundamental. Each modelhas its own latex recipefor a true graduation oftimbre and tone production,and rattan shafts enhancerebound—making them veryeasy to play.

M150For bass marimba. Added weight createsgreat projection of the low-end voice andis ideal for bass line parts.Latex thickness = 3 / 16”, L = 15 3 / 4”

M151Soft. Excellent for use in the lower thirdof the instrument. Produces a fine low-endsound. Latex thickness = 3 / 16”, L = 15 3 / 4”

M152Medium soft. Produces a warm,full-bodied sound with excellent clarityfor the lower two-thirds register.Latex thickness = 1 / 8”, L = 15 3 / 4”

M153Medium. Great for the middle register.A very versatile mallet.Latex thickness = 1 / 16”, L = 15 3 / 4”

M154Medium hard. A fine choice for the topthird register. Also a fine choice for legato“lead line” playing. No latex cover.L = 15 3 / 4”

M155Hard. Designed for articulate “leadline” playing within the top third of theinstrument. With a thermal plastic core forplenty of clarity with this mallet! No latexcover. L = 15 3 / 4”

Ensemble Series



For the discriminating orchestral and symphonic bandperformer, the Orchestral Series offers an extraordinary

range of sound color possibilities for xylophone and bells. With rattan shafts, these mallets are also an outstandingchoice for marching band, drum corps, indoor marching,percussion ensemble and solo playing.

M130Soft plastic for a warm sound onxylophone. Also great on marimba.

Head = 11

/ 4”, L = 143

/ 8”M131Medium soft rubber. Full sound onxylophone. Head = 11 / 4”, L = 14 3 / 8”

M132Medium rubber. Dark sound with clarityon xylophone. Head = 11 / 8”, L = 14 1 / 4”

M133Medium poly. Light and clear forxylophone and bells. A great choice for“rags”. Head = 11 / 8”, L = 14 1 / 4”

M134Medium hard urethane. Dark and boldfor xylophone and bells.

Head = 11 / 4”, L = 14 3 / 8”

M135Hard PVC. Bright and cutting forxylophone and bells.Head = 11 / 8”, L = 14 1 / 4”

M136

Hard acetal produces a very full andlyrical sound on bells and xylophone.Head = 11 / 4”, L = 14 1 / 4”

M137Medium hard Teflon® produces a boldand dark sound. A very unique choicefor xylophone and bells.Head = 11 / 4”, L = 14 1 / 4”

M138Medium poly with an added brassweight creates a warm, dark sound onbells and xylophone.Head = 11 / 8”, L = 14 1 / 4”

M139Hard Lexan® with an added brass weightcreates a full, pure and clear tone on

bells and xylophone.Head = 11 / 4”, L = 14 1 / 4”

M140Medium nylon makes this a fullsounding, general mallet on xylophoneand bells. Head = 11 / 8”, L = 14 1 / 4”

M141

Medium hard nylon for a focused soundon xylophone and bells.Head = 1”, L = 14 3 / 16”

M142Very hard phenolic. Small head forbrilliant and pointed sounds on bells.Head = 7 / 8”, L = 14 1 / 4”

M143Hard acetal. Very small head for verythin texture on bells.Head = 3 / 4”, L = 14 1 / 8”

M144Round brass head creates a brightsound on bells. Head = 5 / 8”, L = 14 1 / 8”

M145Large oval brass head for a very big,bright and bold sound on bells.Head = 7 / 8”, L = 14 3 / 16”

M146 IMPROVEDMedium round aluminum head createsa full and shimmering sound on crotales

and bells. Also great on bell trees andother metallic effect instruments.Head = 7 / 8”, L = 14 3 / 8”

Orchestral Series

63



Each Vic Firth Signature Keyboard model was conceivedthrough extensive discussion and research with the finestkeyboard percussionists from a variety of musical styles.The designs are a reflection of their musical requirementsin terms of balance, feel, hardness and tone color.

Signature Keyboard Mallets

GARY BURTON (M25)Yarn wound heads and rattan handlesaccommodate Gary’s requirements onvibraphone. L = 15 1 / 2”

TERRY GIBBS

(M31, M32, M33)This line offers a rattan handled mallet forevery dynamic range on vibraphone ormarimba. Cord wound heads.L = 15 1 / 4”

VICTOR MENDOZA (M23)Medium hard cord wound mushroomheads produce a brilliant sound onvibraphone. With rattan handles.L = 15 1 / 2”

STEFON HARRIS (M36)Redesigned with a reducedhead size and increased overall lengthfor improved playability. Produces a fullfundamental and a beautiful, lyrical sound.

Articulate and full sounding in all registersof the vibraphone and marimba. Withrattan handles. L = 14 1 / 4”

ED SAINDON (M38)A weighted core and tightlywrapped thin cord create a full sound withexceptional clarity at all dynamic levels.Versatile on vibraphone and marimba. Withrattan handles. L = 16 1 / 4”



The American Custom® Keyboard Mallets are designedto address a range of instruments and all dynamic levels.The yarn models feature a 3-ply nylon yarn that is virtuallyindestructible yet provides excellent cushioning for a softersound. The cord model is wrapped with a harder finishedmaterial which produces a stronger percussive effect. Theunwound models deliver maximum sound. With birch shaftsfor rigidity and consistency, they are favored by playerswho prefer extra reach without the added flexibility of

rattan. All Custom mallets are 16” long.

American Custom® Keyboard Mallets

65

YARN WOUND(VIBRAPHONE AND MARIMBA)

M1Soft round head for soft playing.

M2

Medium hard round head forall-around playing.

M3Medium mushroom head forall-around playing.

M4Super-soft large round head wherepianissimo is required.

UNWOUND

M5Medium rubber. For practice onmarimba, xylophone and vibes.

M6Hard phenolic 1” ball. For all-aroundplaying on bells and xylophone.

M7Hard phenolic 11 / 8” ball. For aggressive

playing on bells and xylophone.

CORD WOUND(VIBRAPHONE AND MARIMBA)

M10Very hard round head foraggressive playing.

SPECIALTY

M11Brass-headed for bells and bell tree.

M14Soft poly 11 / 8” ball for xylophone.



“My parents used to ask

when I was going to get a‘real’ job. I play Vic Firthso I don’t have to.” Jeff Queen : Signature Artist



67



Field tested and field proven, the superior designs of theCorpsmaster® line reflect years of collaboration with theworld’s finest drum and bugle corps. The Signature sticksmeet the musical requirements of each artist in terms ofbalance, feel and projection.

Unless otherwise indicated, all the snare models areturned in hickory for strength and power.

TOM AUNGST (STA)A long, “reverse tear drop” tip and moderatelylong taper. Rebounds with ease and boldsound. L = 17”, Dia. = .697”

LEE BEDDIS (SLB)Medium tear drop tip and short taper forclarity and projection. L = 17”, Dia. = .700”

TOM FLOAT (STF)A full tear drop tip and medium tapercombine for durability and speed.L = 16 7 / 8”, Dia. = .695”



69

MURRAY GUSSECK (SMG)With a thick shaft and medium long taper forgreat balance from front to back. Slightly

elongated tip provides quick rebound with abright sound. L = 17”, Dia. = .715”

THOM HANNUM ORIGINAL (STH)

A round tip with a very long taper and thick neck for great control and response,especially at low dynamic levels. L = 16 5 / 8”, Dia. = .690”

THOM HANNUM PICCOLO (STH3)A full sized marching shaft with an exceptionally short taper and a very small tip.For clearly defined highs and unique timbre possibilities. L = 16 5 / 8”, Dia. = .690”

RALPH HARDIMON (SRH/SRHN)With a unique barrel tip and long taperfor quick rebound and added control.In wood or nylon tip.L = 17”, Dia. = .710”

RALPH HARDIMON “HAMMER”(SRH2)A scaled down Hardimon, made

in Sta-Pac® for added weight andsound production.L = 16 7 / 8”, Dia. = .695”

RALPH HARDIMON “CHOP-OUT”PRACTICE STICK (SRH2CO)The Hardimon “Hammer” with arubber tip. The ultimate workout stick!

L = 167 /

8”, Dia. = .695”

S

i g n a t u r e



MIKE JACKSON (SMJ)A thick shoulder and long taper provide

quick rebound and a great “ping-shot”.Long reverse taper pushes more massto the front of the stick. L = 17”,Dia. =.740” at shoulder, .710” at shaft

COLIN MCNUTT (SCM)Oval tip with a medium-long taperprovides great balance with quickresponse at all dynamic levels.L = 17”, Dia. =.690”

JEFF QUEEN SOLO STICK (SJQ)Full round tip for consistent sound quality. Long taperand reduced neck size for excellent speed. Slight tapertoward the butt improves back-sticking control.L = 17”, Dia. = .725” at butt, .675” at shaft

S i g n a t u r e



MS1Full oval tip and short taper bring outthe dark sounds on drums and cymbals.L = 16 1 / 2”, Dia. = .695”

MS2Like the MS1, but with extra length formore leverage and power.

L = 17”, Dia. = .695”MS3Very long taper for quick reboundand smooth action. Tip produces afull, yet crisp snare sound.L = 17”, Dia. = .715”

MS4 MAGNUM

In Sta-Pac® for maximum strength anddensity. Plays “through” Kevlar® headsfor maximum snare and batter headresponse. L = 16 1 / 4”, Dia. = .685”

MS5A medium taper and full round tipenhance the colors that are possible on

Kevlar®

heads. L = 17”, Dia. = .705”

MS6 “CHOP OUT” (MS6CO)Combines a rubber tip design and aspecial taper to simulate the authenticfeel of the MS5. Great for practice orfor special effects on snares and tenors.L = 17 1 / 8”, Dia. = .705”

HIGHLANDER SNARE (HS1)

In maple, with a full oval tip for perfectbalance, control and high pitch definitionon a pipe band snare.L = 15 7 / 8”; Dia. = .780”

71



MT1A A nylon head with a curved playingsurface for ultra-staccato sounds.

Head = 11 / 4” x 1 / 2”, L = 14 1 / 2”

MT1A-SExtra-heavy gauge aluminum for increasedpower and durability. Head is the same asthe MT1. Head = 11 / 4” x 1 / 2”, L = 14 1 / 2”

MT2A A super hard, round felt head for excellentrebound and articulation.

Head = 11 / 8” x 1”, L = 141 / 2”

MT3A A soft felt core covered with fleece forlush sounds. Head = 1 3 / 8”, L = 14 3 / 4”

MT4A A tapered nylon cartwheel style headprovides a comfortable playing angleand warm tones. Head = 119 / 32” x 1 / 4”,L = 14 1 / 4”

MTTTapered hickory shafts offer excellentbalance and control.Head = 11 / 4” x 1 / 2”, L = 14 5 / 8”

MALLETS The Corpsmaster® multi-tenor mallets are available withheavy gauge aluminum for excellent speed, response anddurability. Textured “anti-buzz” rubber handles eliminatevibration and enhance gripping.

BILL BACHMAN“Billy Club”



MTS1Unique nylon tip helps pull more soundfrom the drum. L = 16 1 / 4”, Dia. = .680”

RALPH HARDIMONTENOR STICK (SRHTS)

Full sized shaft with exceptionally largebarrel tip for a big sound with clarity.L = 15 15 / 16”, Dia. = .690”

THOM HANNUM “QUADBALÉ”TENOR STICK (STHTS)Full sized gripping area with smallershaft, neck and tip emphasize a high

pitch and timbre for imitating timbalestyle parts. L = 16 1 / 2”, Dia. =.690” atbutt, .640” at shaft

BILL BACHMAN “BILLY CLUB”(SBBTS)Creates a very focused and pronouncedsound. The short length makes it easierto move in and out of crosses all aroundthe drums. In Sta-Pac® for maximumdensity. L = 15 5 / 8”, Dia. = .685” at butt,.635” at shaft

RALPH HARDIMONTENOR SWIZZLE (SRHTSW)Ideal for fast changes between woodand felt sounds. L = 16 5 / 16”,Dia. = .690”, Felt ball = 11 / 4” x 1”

MTS1 SWIZZLE (MTS1SW)Ideal for fast changes between nylonand felt sounds. L = 16 5 / 8”,Dia. = .680”, Felt ball = 11 / 4” x 1”

STICKS The Corpsmaster® multi-tenor sticks produce a bold,articulate sound with plenty of projection. Swizzle

versions feature a hard, spun felt ball attached to thebutt end. In hickory.

TOM AUNGSTTENOR HYBRID (STATH)

The original. Blends the feel of atraditional tenor mallet with the sound ofa snare stick. Great for both indoor andoutdoor applications. Nylon head.L = 15 3 / 4“, Dia. = .700” at butt,.650” at shaft

TOM AUNGST

TENOR HYBRID FELT (STATHF)Combines the sound of a traditionalfelt tenor mallet with the feel of a snarestick. Round felt ball head.L = 15 31 / 32”; Dia. = .700” at butt,.650” at shaft

HYBRIDS The Corpsmaster® Tom Aungst Tenor Hybrid models

combine the sound and feel of a traditional tenor malletand a snare stick. With a “step-down” handlefor grip comfort and ideal weight, the hybridmodels also feature a pronounced taper forexcellent rebound. In hickory.

73



MB0HFor 14”– 18” bass drums.Head size = 1 1 / 4” x 1”

MB1 (H+S)For 18”– 22” bass drums.Head size = 1 1 / 2” x 1 3 / 16”

MB2 (H+S)For 22”– 26” bass drums.Head size = 13 / 4” x 15 / 16”

MB3 (H+S)For 26”– 28” bass drums.Head size = 2” x 11 / 2”

MB4 (H+S)For 28”– 30” bass drums.Head size = 2 1 / 4” x 13 / 4”

MB5HFor 30”– 32” bass drums.Head size = 2 1 / 2”

The Corpsmaster® marching bass mallets feature tapered

hickory shafts, which shift the weight of the stick towardsthe hand for improved balance and control. Sphericalheads provide a consistent striking surface. With superhard felt heads (H) or with soft felt cores covered withfleece (S). L = 14 1/2”

Bass Mallets



CT1 GENERALFor all around playing.Synthetic felt head = 11 / 2”, L = 15”

CT3 STACCATOMedium hard for rhythmic articulation.

Synthetic felt head = 13 / 8”, L = 15”

CT4 ULTRA STACCATOProduces exceptional rhythmic clarity.Hard spun felt head = 13 / 8”, L = 15”

Specifically designed to withstand the rigors of outdoorapplication, Corpsmaster® Timpani Mallets are also agreat choice for indoor marching and concert playing aswell—especially for the program looking for extended

durability from their timpani mallets! With maple shafts,the series provides a quality sound with ease.

75

Timpani Mallets





JOHNNY LEE LANE SIGNATURE STICK (SJLL)A snare stick with a large shaft and a medium long taper. The tip is designed with anincreased surface area for excellent sound quality. Creates a great carrying sound foroutdoor playing yet has an excellent feel. In hickory. L = 17”, Dia. = .715”

TENOR GROOVE (GSTE)For the single tenor, this mallet is made with heavy gauge aluminum for excellentspeed, response and durability. A small spherical felt ball provides a full, articulatesound. Textured rubber handles enhance the grip and feature a cord that can beattached to the wrist. Head = 11 / 2” x 13 / 16”, L = 12 1 / 4”

SCOTCH GROOVE (GSSC)

For the Scotch bass drum, this mallet is made with heavy gauge aluminum forexcellent speed, response and durability. A medium spherical felt ball provides a full,articulate sound. Textured rubber handles enhance the grip and feature a cord that canbe attached to the wrist. Head = 2” x 11 / 2”, L = 12 1 / 4”

THUNDER GROOVE (GSTH)For large tonal bass drums. Made with extra heavy gauge aluminum for seriousimpact and durability. A very large spherical felt ball provides a thunderous andarticulate sound. Textured rubber handles enhance the grip.

Head = 2 1 / 2” x 13 / 4”, L = 14 3 / 4”

The Corpsmaster® Groove Series is a line of sticksand mallets designed specifically for the musicalstyle reflected by the Historically Black Colleges and

Universities (HBCU) marching band activity. Developedwith some of the top HBCU bands, this series featuressticks and mallets for marching snare, single tenor,Scotch bass and large tonal bass.

77

“It has long been adream of mine to createsomething unique andspecial for this marchingtradition.” JOHNNY LEE LANE





A n d r e w

M a r k w o r t h

79

MARIMBA

M230Soft. Produces many overtones fromthe low register. Great combination ofwarmth and clarity. L = 16 3 / 4”

M231Medium. Warm sound with clarity in allregisters. L = 16 3 / 4”

M232Hard. Articulate and bold with greattone. L = 16 3 / 4”

VIBRAPHONE

M233Soft. Clear response with lots ofprojection and vibrant sound in thelow register. L = 16”

M234Medium. Full and clear sound in allranges of the instrument. L = 16”

M235Hard. Huge sound! Very cleararticulation without glassy sound.L = 16”

The new Corpsmaster® Andrew Markworth SignatureSeries features six models—three for marimba andthree for vibraphone. The marimba mallets feature large

birch shafts (

11/32

” diameter) for increased articulationand sound projection, while the vibe mallets are offeredwith thick rattan shafts. All the Markworth mallets arewrapped with 100% synthetic yarn with double-stitchingfor maximum durability and weather resistance.

“These mallets create abig, natural sound fromthe front ensemble thatwill carry all the way to

the press box!” ANDREW MARKWORTH



M170Soft yarn marimba mallet with very littleattack. Designed to provide a full-bodiedtone in the low register. Rubber core;birch shafts. L = 17”

M171Medium yarn marimba mallet that is idealacross the full range of the instrument.Rubber core; birch shafts. L = 17”

M172Very hard yarn marimba mallet thatprovides excellent clarity in the middle totop register. Rubber core; birch shafts.L = 17”

M180Soft yarn marimba mallet that provides

a warm sound while still offering somearticulation in the low register. Syntheticcore; birch shafts. L = 17”

M181Medium soft yarn marimba mallet thatprojects well in the lower half of theinstrument. Synthetic core; birch shafts.

L = 17”

M182Medium yarn marimba mallet that is idealin the lower two-thirds of the instrument.Synthetic core; birch shafts. L = 17”

M183Medium hard yarn marimba mallet with full

tone and excellent clarity throughout theentire range of the instrument. Syntheticcore; birch shafts. L = 17”

M184Hard yarn marimba mallet with mediumweight. An ideal choice for the middle totop register. Rubber core; birch shafts.

L = 17”

M185Soft yarn vibe mallet with a full, lushsound. Virtually no attack. Weightedrubber core; rattan shafts. L = 16”

M186Medium cord vibe mallet provides full tone

without a lot of attack. Weighted rubbercore; rattan shafts. L = 16”

Multi-Application Series says it all—a versatile line of malletsthat offers excellent choices for virtually any musicalsituation. Developed with some of the very best DCI corps,

these mallets are great for drum corps, marching band,indoor marching, concert and solo playing. This seriesfeatures 100% synthetic yarn and cord for maximumdurability and weather resistance.

Multi-Application Series



XYLOPHONE AND BELLS

M61Hard. 11 / 8” Lexan® ball offers excellentprojection for all around use. Two-stepdesign features rugged plastic handlesfor gripping and control, and fiberglassshafts for maximum rebound, responseand durability. L = 15”

M63

Medium. 11 / 2” poly ball on rattan shaftsproduces a warm sound on xylophonethat blends nicely within a keyboardensemble. L = 14 1 / 4”

MARIMBA AND VIBES

With medium-heavy heads for great

sound quality and projection, these cordwound models are specifically designedto withstand the demanding playing andenvironmental requirements of outdoorperformance applications.

M70Medium marimba—grey cord. L = 16 1 / 2”

M71Hard marimba—black cord. L = 16 1 / 4”

M75Medium vibe—grey cord. L = 15 3 / 4”

M76Hard vibe—black cord. L = 15 3 / 4”

Corpsmaster® keyboard mallets are specifically designedto withstand the demanding playing and environmentalrequirements of outdoor performance applications.

81

Marching Keyboard Series

M187Medium hard cord vibe mallet that isbig in sound without being overbearing.Weighted rubber core; rattan shafts.

L = 16”

M188Hard cord vibe mallet provides maximumprojection and clarity. Weighted rubbercore; rattan shafts. L = 16”

M189

Very hard cord vibe mallet that providesthe utmost in articulation. Weightedrubber core; rattan shafts. L = 16”



TOM AUNGST INDOOR (STA2)A reduced version of Tom Aungst’sSignature model. Modified to creategreat sounds for indoor snare.L = 16 5 / 8”, Dia. = .675”

RALPH HARDIMON INDOOR (SRHI)Quick taper and barrel tip provide greatsounds and articulation.L = 16 3 / 4”, Dia. = .675”

RALPHIE JR. (SRHJR)

Scaled down version of theSRH. Perfect for indoor marching andsmaller hands of young percussionists.L = 16 1 / 2”, Dia. = .635”

The Corpsmaster®

Indoor Marching Series featuresdrumsticks designed specifically for indoor applications.Each model is engineered to produce a clear attack and apure sound without unwanted and excessive overtones. Inhickory, for strength and durability.



LAUNCH PAD (LPAD)A starter kit that includes an SD1 Jr., a 6”practice pad and Vic Firth’s Snare DrumMethod—Book 1.

EP1

A Vic Firth stick bag equipped with anSD1, M5 and M14.

EP2A Vic Firth stick bag equipped with anSD1, SD2, M3, M6 and T3.

FRESH APPROACH STARTER PACK(FASP)

Includes an SD1, a 6” practice pad, aVic Firth Rudiment Poster and A FreshApproach to the Snare Drum by MarkWessels. Included with the book are2 audio accompaniment CD’s and aninstructional DVD.

Designed to include the correct tools for producingquality sound at the student level, Education Packs weredeveloped with a “step up” approach. As the student

advances from beginner to intermediate, he or she willacquire the essentials for band and orchestra literature.

83



Practice Pads Available with soft rubberfor quiet practice and with

hard rubber for intensifyingthe workout and hearingeach stroke. Single sidedpads feature a non-skidrubber base. All featuredense wooden bases for anauthentic feel.

PAD6 & PAD12In single sided with soft rubber(6” and 12”)

PAD6D & PAD12DIn double sided with soft and hard rubber(6” and 12”)

PAD12HIn single sided with a double surface(12” only)

Drum and CymbalMutes

Made of non-slip purerubber for real action,these mutes make quietpracticing an option onthe drum set. Availableindividually or as a prepackin the following sizes:

INDIVIDUALdrums: 10”, 12”, 13”, 14”, 16”, 22”cymbals: 16-18” and 20-22”hi-hats

PREPACKS

MUTEPP3Includes 12”, 13”, 14”, 16”, 22”,

hi-hat and cymbal (2)

MUTEPP4Includes 10”, 12”, 14”(2), 22”,hi-hat and cymbal (2)

MUTEPP5Includes 10”, 12”, 14”(2), 20”,hi-hat and cymbal (2)



QUADROPADS

For practicing quads. Spacing is to scalewith 1 / 4” rim to rim drums, and padsare laid out accurately for all playing

areas—both standard and scrape.Includes two spock pads made of thinnerrubber for an authentic feel.

QUADROPAD–SMALL (HHPQS)For quads with an 8” #1 drum.

QUADROPAD–LARGE (HHPQL)For quads with a 10” #1 drum.

BASSPAD (HHPBASS)Original steel “barbell” design mounts onany cymbal stand for vertical and quietpractice of the marching bass drum. Theplayer can see stick angles, stick heightsand “side-to-side line up” while practicingon a 14” wide set-up. 1 / 4” thick gum rubber

pads for a realistic feel.STOCKPAD (HHPST)Wooden base provides the supportof a full sized pad, but without theadded size and weight. Perfect tocarry in a backpack.

SLIMPAD (HHPSL)

Very thin rubber mounted ona sturdy wooden base givesthe feel of a contemporarymarching snare drum.

EXACTOPAD (HHPPE)A center playing area helps perfect tipplacement, while adjustable guide zonestrain the player to pull straight back forrim shots and insure symmetrical stick

angles. Can sit on a 14” drum.

LAMINATES

Heavy duty mylar laminates are nowincluded with Quadropadsand are alsoavailable

separatelyto simulatethe responseand feel of anactual drum.

The Heavy Hitter practice pads were designed to provide themost authentic feel possible. And with features that help theplayer maximize practice time and avoid developing baddrumming habits, the Heavy Hitter pads are a perfect choicefor players of all levels and musical styles!

85KENNY ARONOFFwith Stockpad



VICTAPEUltra-thin and absorbent, Victape reducesslippage and provides a comfortable feel. Sodurable it’s reusable.

DRUM KEY (VICKEY)Stylish, wearable tool of the trade.

STICK CADDY (CADDY)Easy access to your sticks when you needthem. Clamps to any stand or hardware.

With a stick or mallet for every musical situation, it’sonly natural that Vic Firth offers a line of accessoriesto solve certain challenges and make every drummer’sexperience more complete.

JOEY HEREDIAwith VICKEY



87

ISOLATION HEADPHONES (DB22)Non-electronic headphones which reduce overall noise levels by 25 decibels.Ideal for practice.

STEREO ISOLATION HEADPHONES (SIH1)High quality stereo headphones which reduce overallnoise levels by 24 decibels. For live situations orplaying along with recorded music

at safe sound levels.KIDPHONES (KIDP)From the start, caring for kids’hearing is important! These non-electricheadphones are specially sized forchildren and reduce overall noiselevels by 22 decibels.

ISOLATION HEADPHONESDeveloped with Rod Morgenstein, these isolationheadphones were designed to protect musicians from

the high sound levels associated with their instruments.Prolonged exposure to these excessive levels of noisecan have traumatic and lasting effects, includinghearing fatigue, tinnitus and permanent hearing loss.These specialty headphones drastically reduce levelsof external sound reaching a musician’s ears, offeringvaluable protection from potential damage.

DAVE WECKL with SIH1



VICPACKFor drummers with more to carry thansticks...a backpack with a detachablestick bag! The backpack features twofull-zip padded compartments, one witha removable laptop insert. The stick

bag holds 12 pairs of sticks. In a waterresistant nylon with heavy duty zippers.L = 21”; Width = 13 1 / 2”

ESSENTIALS STICK BAG (ESB)When less is more, this is the stick bagfor you. Designed to hold 4-5 implementssuch as sticks, brushes, Rutes and mallets

— the essentials! The bag features ahook-and-strap system, which allows forsecure suspension from the floor tom orsnare and fits neatly into the bag whennot in use. An internal pocket and elasticdrum key loop make the bag complete! Indurable‚ water resistant nylon.H = 19”, W (when open) = 8 1 / 4”

BASIC STICK BAG (BSB)Holds 12 pairs of sticks and a few smallaccessories…perfect for students! Inwater resistant nylon. H = 18 1 / 2”,Open width = 17 1 / 2”

MARCHING SNARE BAG (MSBAG)Attaches to marching snare drums andholds a spare pair of sticks. Provideseasy access during quick stick changes.Water resistant nylon. L = 15 1 / 4”

DOUBLE MARCHING SNARE BAG(MSBAG2)Attaches to marching snare drums ormulti-tenors and holds two pairs ofsticks, brushes or mallets. Provideseasy access during quick stickchanges. Water resistant nylon.L = 17”

DANNY CAREY

with VICPACK

Having the right tools is important, but having themclose at hand is crucial! No matter what you play orwhere you play, Vic Firth has what you need to keep

your sticks and mallets well protected and within reach.So, what’s your bag?



89

STICK BAG (SBAG2)Holds 24 pairs of sticks and mallets,small accessories and sheet music.Features a detachable, backpack-style

double strap. Elastic fasteners andretractable clips attach to the floortom. In water resistant leather-like vinyl.Available in black, camo and skulls.H = 19”, Open width = 23”

CONCERT KEYBOARD BAG (CKBAG)Suspend this bag from the bar post

of any keyboard instrument for easyaccess to mallets and sticks from top orbottom. Additional pockets hold music,accessories and pencils. A corduroylining and a flap protect mallet heads.In water resistant leather-like vinyl fordurability and good looks.L = 25”, Open width = 36 1 / 2”,

Closed width = 18 1 / 4”

KEYBOARD BAG (KBAG)Hangs from the bar post of anykeyboard instrument and holds a fullcomplement of mallets and sticks.

Designed to facilitate fast malletchanges. Features pockets for music,pencils and accessories. In waterresistant nylon.L = 24”, W = 27”



For over a decade, vicfirth.com has brought youunparalleled access to the world’s best performances,hottest artists, and most talked about events. Now, we’rebringing you closer than ever before. Artist interviews,podcasts, clinics, lessons and more. All shot in HD and allFREE. Don’t forget to follow us on Twitter and Facebookto get the latest buzz about new products, new webfeatures, HD downloads, contests, and anything elsehappening in the world of Vic!

vicfirth.com/latest

Our website contentis always fresh.

SCAN HERE TO WATCH OUR LATEST VIDEO FEATURE.





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