Skip to main content

The Flippin Stick Bag

No, I'm not swearing about my stick bag. Although trying to use a stick bag to hold mallets on a marimba would be cause for using a few choice words. I'm talking about a stick bag that literally flips when used to hold marimba mallets when mounted on a marimba.
First I need to clear up my definition of a 'mallet bag' as opposed to a 'stick bag'. A 'Mallet bag'  has pockets between 14"&15" deep and fairly narrow, about 4" wide. Both the depth and the width is important to keep the mallets from leaning over and flipping the bag. Even with these dimensions it is still important to have some tie or hook system along the top of the bag to support it vertically.
A 'stick bag' has shorter and wider pockets, 9"-10" and 4"-6" respectively.  Sometimes a stick bag has vertical supports.
Where they are mounted is the actual difference between the 2. The stick bag is usually placed on the floor tom of a drum set, alternatively on a snare drum for concert use. In either case the bag hooks onto the tension rods of the drum forming a semi-circle around the shell which keeps the sticks and mallets flush against the drum keeping it from flopping over. A mallet bag suspended from the rail or posts of the instrument has nothing to support the lower part, therefore it's important that the mallets stay in a much more vertical position. This explains the importance of the pocket dimensions and also the post/rail supports.
Same stick bag, same mallets mounted on a floor tom(left) and xylophone(right)

But what if you already have a 'stick bag' and you want to use it to hold mallets on a keyboard instrument. This is the problem that confronted me when I tried to mount stick bags on a marimba and xylophone for a community band that I perform with. Since the bags we already had were essentially useless as mallet bags I thought about adapting them.
To keep the mallets from leaning out so far I turned the two 6 inch pockets into four 3 inch pockets. Sewing a short vertical seam in each of the 2 pockets turned them into the 4 pockets (at this point I should mention that I enlisted my wife's sewing abilities since mine are less than stellar). This kept the mallets from excessive leaning. The bag still flopped forward from the top heavy mallets so I (she) added a nylon rod (the same rod I used for the Triangle beaters) sewn vertically into the bag. Finally a loop was sewn in the center top with a hook and cord attached. This gave it a third rail/post attachment along with the original 2 side cords.
1. Short seams to divide the pockets.
2. Connecting the nylon (yellow) rod 
to the bag.
3. Loop sewn into the top center        

The finished bag easily holds 4 pairs of mallets and more if I wanted to stuff them in. There is no danger of them falling out and since the rod was sewn into the center of the bag, it can still be closed and zipped for transport.
2 modified 'stick bags' containing 4 pair of mallets. Zipped closed for transport (left) and mounted on a xylophone (right). 

My conclusion:
Do this only if you already have a stick bag and are unable or unwilling to invest in a real mallet bag. The time and effort for this modification in pretty extensive. 

Comments

Popular posts from this blog

La Caverna del oro

 One of our first backpacking trips in Colorado was in the Sangre de Christo Mountains. One mountain in particular drew our attention. Marble Mountain was the location of a famous story of a Spanish cave of gold. There are many places on the web that tell this story better than I could, suffice it to say that we wanted to locate it and see the iconic 'Maltese Cross' located at it's entrance.  In 1974 after I got out of the Army we invited some friends to join us on this trip. We parked our car at the trailhead in the Wet Mountain Valley and backpacked up Marble Mountain to 12,000 feet. In one of the culverts we found the entrance to the cave. Maltese Cross at the Caverna del oro It turned out to be a real thing. The large red cross was still visible after 400 yrs. According to legend the Spanish put it there in the 1600's. I did have the courage to crawl into it but only a few feet. After about 10 feet there is a vertical shaft that drops about 750 feet!  The Cross is v...

The Deagan Project: Part II

Escutcheon Pins, Washers and Isolators Most of the pins were bent but easily straightened. Just tapping them on a bench vise did the job. I replaced the one wood screw with a sheet metal screw for the lost pin. For the washers I used silicon caulking compound. Earlier this year I tried making sheets of silicon by applying caulk onto a plastic sheet protector. I placed another sheet on top and rolled it out to the desired thickness. After it cured I took a hole punch for the outside diameter of the size that I needed. The smallest punch was used for the center hole for the pin. In the past I used catheter material for the isolators but when I went to a medical supply store to find the size that I needed I was asked for my doctor's prescription. A prescription?.....Are they afraid that I'm going to insert a piece of plastic into parts of my body just for the...….never mind. OK, so nix the catheter tubes. Since I was working with silicon I tried a di...

The Amadinda

  The Amadinda is an African xylophone originally made from slabs of wood or even large sticks, with or without gourds for resonators. There was no reason for this project other than to see if I could make a simple mallet instrument. The box was made from plywood (which also acted as the resonators) and the bars were made from maple.  Since this was to be a true xylophone, the bars were all of equal width. Tuning was done by cutting the bars to different lengths and removing material from the bottom. Using a router I created a sort of 'stepped pyramid' instead of the traditional arc cut found on marimba or xylophone bars.  Cutting the underside is not only for tuning but it focuses the pitch and creates the characteristic overtones of the instrument. Since I wanted to play this with other 'Western' instruments, I chose to use a pentatonic scale of 2 2/5 octaves (C#,D#,F#,G#,A#,C#,D#,F#,G#,A#,C#,D#). Two people sit on either side of the instrument and strike the ends of ...