Adams Alpha 5.0 octave Marimba Rental
The Adams Alpha 5.0 — a full five octaves of European-voiced rosewood with the dark, blended low end Adams is known for. A first-call concert instrument.
Delivery across the Bay Area & Northern California — nationwide shipping available.
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The Adams Alpha 5.0 — a full five octaves of European-voiced rosewood with the dark, blended low end Adams is known for. A first-call concert instrument.
The Adams Alpha vibraphone — three octaves of graduated bars with a whisper-quiet variable-speed motor. Warm when you want it, glassy when you don't.
Adams Philharmonic bass chimes — the thick-wall, endless-sustain voice taken down to F3. When the score wants real cathedral weight, this is the rack.Adams Bass Chimes Rental Features: 1.5" diameter tubes Height-adjustable...
The bottom of the chime world — Adams Symphonic bass chimes, F3 to B3, for the Mahler, Puccini, and Strauss passages that dive below the standard rack.Adams Bass Chimes Rental Features: 1.5"...
Adams Dresen Classic Timpani are today’s standard for professional symphony orchestras in the USA. Available in German and American configurations. Sizes available: 20" 23" 26" 29" 32"
The Adams 2.6-octave glockenspiel — a modern concert glock with brilliant, even steel bars. The dependable first call for Sorcerer's Apprentice and the standard book.
Adams Parsifal Bells — 3.3 octaves, C5–E8, the modern take on the Parsifal bell sound with extended top range for contemporary scores.
Church bells, distilled — the Adams Philharmonic chimes with thick-wall brass tubes and sustain that seems to never end. The 1812 sound.Adams Philharmonic Series Chimes successfully reproduce the unbelievable sound of church...
The bright ones — Adams Symphonic chimes cut through a full orchestra with clarity and balanced intonation from top to bottom.Our Adams Symphonic Series Chimes feature Adams’ exclusive Custom Brass Alloy for...
The Adams Soloist — a full four octaves, C to C, for the solo and contemporary repertoire that outruns a 3.5. Modern projection with rosewood warmth.
The Adams cannon — 40 by 22, all mahogany, the low end you feel in your sternum before you hear it. When the score says fff and means it, send this one.Features:...
The nimble one — 28 inches of maple that speaks fast and fits the pit. When the book wants bass drum color without the freight-train sustain, this is the drum.Features: Nuskyn Head...
A vintage 28 with the old, dry warmth new shells don't have — and the right drum when the part calls for a mounted cymbal, marching-band style.Features: 28" x 14" Shell Folding...
Yamaha's Grand Symphonic — an extra-deep 20-inch shell that gives the 32 a darker, rounder fundamental. The section drum for halls that want depth without going to a 36.Features: 9-ply maple shell...
Bell trees by LP, Meinl, and Toca — the upward shimmer-glissando that ends a thousand cues.
Bongos from Gon Bops, LP, Pearl, Remo, Sol, and Toca — including Giovanni and Alex Acuña signature models — each with an adjustable stand included.Bongo Rental San Francisco LP Giovanni Galaxy Bongos...
Brake drums in a range of sizes — the clanging found-metal voice of the American experimental book, from Cage to film-score industry.
Castanets by Black Swamp, Epstein, and Toca — handle castanets and machine castanets both. Carmen doesn't play itself.
A set of five Spanish cencerros — unpitched, clattering, and full of character for the Latin book and beyond.
These traditional China Cymbals have have a flanged edge and produce a very trashy, short, dark crash. Available size: 10", 12", 14", 16", 18", 20", 22", 24"
We have many sizes of traditional Chinese Jing Cymbals usually found in Peking Opera, but now widely composed for in solo percussion, percussion ensemble, and orchestral repertoire.
Inventory includes sets of single headed and double headed, tunable, authenic Chinese Tom Tom (Paigu). They are beautiful hand-painted drums that sounds as good as they look. Thick calf heads allows you...
Cimbalom Rental Our Jancso Istvan Bohak-style cimbalom is the finest cimbalom for rent on the West Coast. Features: Fully chromatic C2-A6 range Open bottom for maximum projection Full dampener system, including upper...
The classic Ludwig 36 — the size most of the standard repertoire assumes, with Evans Strata heads for a dark, calf-like response. Symphonie fantastique lives here.Features: 36" x 16" Maple Shell Folding...
Ludwig's 40 — the big-hall drum with maple's clarity at cannon size. The Verdi Requiem drum: enormous, focused, and never woolly.Features: 40" x 18" Maple Shell Folding stand included with rental
The everyday concert workhorse — a 32-inch Pearl that covers the standard orchestral book from Beethoven to Broadway without asking questions.Features: 32" x 16" Shell Nuskyn Head 6 ply - 100% aged...
A 36 with the full orchestral treatment — suspended in a ring stand so the shell floats free, with Fiberskyn heads for that warm, skin-like bloom under the hall.Features: 36" x 18"...
A vintage Rogers 34 — old-growth maple with the kind of broad, singing sustain that made these drums studio favorites. Between the 32s and 36s, it's the sleeper of the fleet.Features:34" x...
Ludwig Classic Maple concert toms — single-headed, open, and articulate in eight sizes. The classic American tom rack.Ludwig Classic Maple Concert Toms Available in 8 Sizes: 6", 8", 10", 12", 13", 14",...
Pearl's Philharmonic concert toms — double-headed African mahogany in eight graduated sizes, the pitched thunder of the film-score battery.Pearl's Philharmonic Series Concert Toms feature 100% 6-ply African Mahogany shells for a rich...
A conch shell that truly speaks — the call in John Cage's Third Construction and Revueltas' La Noche de los Mayas.
Gon Bops Alex Acuña series — ash-shell congas with the dry, woody bark of the classic California sound. Quinto, conga, and tumba.Gong Bops Conga Rental Gon Bops Alex Acuna series ashwood conga...
The complete LP Giovanni Galaxy line with multiples of every drum — build tumba/tumba/conga, tumba/conga/conga, or whatever the date calls for.LP Conga Rental We offer the complete line of LP Giovanni Galaxy...
LP Giovanni Palladium congas — Giovanni Hidalgo's wood-shell line from requinto to super tumba.LP Conga Rental LP Giovanni Galaxy Congas Sizes: Quinto Conga Tumba Super Tumba
Toca Custom Deluxe fiberglass congas in red sparkle — bright, cutting, and stage-proof. Quinto, conga, and tumba.Toca Conga Rental Toca Custom Deluxe Fiberglass Congas in Red Sparkle Finish. Sizes: Quinto Conga Tumba...
Original developed by Pete Engelhart, we have a variety of crashers and other short, dry, metallic sounds effects including the Sabian Chopper in several sizes.
The Deagan No. 101 Celeste Song Bells — aluminum bars that split the difference between glockenspiel and vibraphone. Film composers have never stopped writing for this sound.Celeste Song Bells sound an octave...
Deagan Parsifal Bells — three octaves, C5–C8, of the rounder, organ-like bell color Wagner's Parsifal wants. A rare vintage voice most rental houses have never seen.
The Deagan No. 100 — the classic 2.5-octave song bells, rounder and warmer than a glock. The scoring-stage secret weapon.Our Deagan Song Bells sound an octave lower than a Glockenspiel or a...
The Deagan No. 102 — three full octaves of steel-bar song bells, the mellow older cousin of the glockenspiel that studios ask for by name.Our Deagan Song Bells sound an octave lower...
The Deagan 870 — 3.5 octaves from the maker that defined the American xylophone. Bright, articulate, and unmistakably vintage.
We have a selection of Deagan and Leedy Xylorimbas in our rental collection. Xylorimbas sound more like a xylophone in the middle to upper register and more like a marimba in the...
The Fall Creek K100 — the modern glockenspiel built to chase the legendary Leedy sound, and the choice of artist-percussionists worldwide.Since their inception in 1985, the Fall Creek K-100 Glockenspiels have become...
Fall Creek's Round Tops — the legendary Deagan round-top sound rebuilt by hand, with even more brilliance and carry.Offering the sound of the renowned Deagan Round Top Glockenspiels—but with even more brilliance,...
Black Swamp's 15x12 maple field drum — the modern boutique take on the deep military drum. Bolero at the bottom of its dynamic, Lieutenant Kijé at the top.
Crockett Tubs — a hand-built 16x16 mahogany field drum with wood hoops and a gut-adjacent growl no factory drum quite makes.Features: 16" x 16" Mahogany Shell Wood Maple Hoops w/claw hooks Pearl...
The Pearl Philharmonic 14x12 field drum — deep-shell weight and gut-snare growl for the marches, requiems, and film cues that want a military color.
The fight bell — one authoritative "ding" per round. Boxing scenes, quiz shows, and the odd Ives moment.
Select sizes
A set of five bells voiced for Lou Harrison's repertoire — the gamelan-tinged colors his scores ask for and general-purpose bell magic besides.
A jug — add a contact mic and it becomes a surprisingly rich bass resonator, cousin to the udu. Americana dates and experimental sessions both leave happy.
The Leedy Solo-Tone — a vintage American glockenspiel with crystal top-end sparkle that cuts through any orchestra.Leedy Glockenspiel Rental This Leedy glockenspiel has a crystal clear sound with sparkly high overtones that...
The Leedy No. 992 — a vintage American xylophone with the dry, woody crack that made the novelty-rag era. Perfect for period sessions and Golden Age scores.
We have a selection of Deagan and Leedy Xylorimbas in our rental collection. Xylorimbas sound more like a xylophone in the middle to upper register and more like a marimba in the...
Black Swamp log drums — soprano, alto, tenor, and bass, two pitches per drum. The warm, hollow woodsong of the contemporary percussion book.
Select sizes
Inventory includes a variety of plastic and rawhide maracas by LP, Meinl, Toca and Tycoon, as well as traditional Joropo and Llanera maracas.
The 4.3-octave Marimba One — the standard orchestral and chamber range, with the same hand-tuned bars as the big five. The right instrument when the part doesn't need the low C.
Marimba One's flagship five-octave — hand-tuned Honduran rosewood from Arcata, the instrument the concerto repertoire assumes. Creston, Séjourné, and every senior recital live on this range.
The M55 Pro-Vibe with a secret — vintage 1970s Musser bars on a modern frame. The old sound with none of the old-frame drama.Our Musser M55 "Pro-Vibe" is on a modern frame,...
The Musser M75 Century — the American vibraphone standard, here with two bar sets: one at A=440, one fitted with K&K pickups for amplified dates.We have two sets of bars for this...
The Musser M75 Century fitted with K&K pickups — plug the classic American vibe straight into the board for amplified dates, pit work, and sessions.
The Musser M150 — a compact four octaves, C to C, that covers band and orchestra books in a footprint that fits tight pits and small stages.
Musser's M250 — 4.3 octaves of classic American marimba sound. The instrument a generation of players grew up on, prepped and stage-ready.
Marimba One's One Vibe — the Arcata shop's take on the vibraphone, with a bloom that hangs in the air and a motor quiet enough for the recording stage.
This is most popular size Paiste Gong for Yoga and Sound Therapy. It's also a great medium size gong/tam tam for orchestral use.
Incredible fast responding gong with a huge swell. Great for the quick, short rolls in Stravinsky's Rite of Spring.
Select sizes
Martin's acoustic-electric bass — woody unplugged tone with stage-ready electronics.
The workhorse Gibson flat-top, fitted with a K&K pickup for natural amplified tone.
The stage nylon-string — Godin's Multiac runs straight to the board with no feedback fight.
The Ibanez AEG10NE — a thin-body nylon-string acoustic-electric in Transparent Orange, built to be played plugged in.A Fishman pickup system and onboard preamp take it straight to the board with no feedback...
A genuine Martin flat-top — the American acoustic sound, set up and ready to record.
The Tone Hammer 500 — boutique tone in a bag-sized head. Three in the fleet.
The SVT — 300 tube watts, the sound of every big stage since 1969. Five in the fleet.
The B-15 flip-top — the Motown studio bass sound, and still the one engineers request.
The Super Bassman — 300 tube watts of Fender low end. Two in the fleet.
The legendary 800RB — the punchy, reliable head that toured for decades. Three in the fleet.
The Marcus Miller signature 800 — sculpted for slap and fingerstyle alike.
The Little Mark Tube 800 — Italian warmth at two pounds per hundred watts.
The DB410 at 4 ohms — full power from a single cab. Two in the fleet.
The featherweight SL112 — serious tone at carry-on weight. Two in the fleet.
The sealed 4x10 — classic Ampeg punch at half the lift. Two in the fleet.
The ported HLF — deeper lows for extended-range work. Three in the fleet.
The fridge — the 8x10 that moves the air the SVT was built for. Five in the fleet.
The Neo 1x12 — the small-room and doubling-gig cab. Two in the fleet.
The lightweight Neo 4x10 — full GK punch at neodymium weight. Two in the fleet.
The XL410 — the Hartke snap that cuts on loud stages. Four in the fleet.
The 4-string Jazz — growl at the bridge, warmth at the neck, the session standard.
The 5-string Jazz for charts that live below E — same feel, more floor.
A five-string Fender Jazz Bass with active electronics — the low B plus an onboard preamp for a hotter, more scoopable modern voice.The active circuit pushes more output and tone-shaping than a...
The P-Bass — the low end on more records than everything else combined. Set up and gig-ready.
The StingRay punch — that active bark that cuts through any mix.
The Hohner D6 — plucked strings through magnetic pickups, the sound of every funk record worth naming.All four pickup tabs and both filter rockers working, so the full range of the instrument...
The Hammond XB2 — Hammond's own digital drawbar organ, with nine real drawbars and percussion.Light enough for one person to carry, and it speaks Hammond.
The Hammond XK2 — a single-manual drawbar organ that handles the B3 parts without the freight.We keep two, so a two-manual stack or a second stage is covered.
The Korg CX3 — the modern reissue, with a rotary sim players consistently rate among the most convincing.Nine drawbars, percussion, and a fast-slow switch where your hand expects it.
The Nord C2D — dual manuals with real drawbars and the best digital Leslie simulation on the market.The default call when a B3 will not fit the stage, the truck, or the...
The Farfisa Compact — thin, reedy, and unmistakably 60s. The other combo organ sound.We keep two, so a production needing a matched pair is covered. Serviced, tuned, and voiced by Custom Vintage...
The free-standing five-panel acrylic drum shield for stage and broadcast mixes.
The Strat with a humbucker in the bridge — quack up front, punch when you dig in.
The three-single-coil Strat — the most recorded electric guitar shape on earth, set up and ready.
The Tele twang that works on every date — country, indie, R&B, and everything between.
The semi-hollow that covers jazz, blues, and rock without blinking — warm, woody, and feedback-controlled.
Mahogany weight and humbucker sustain — the Les Paul sound that anchors rock sessions.
A Gibson Les Paul loaded with P-90s — the single-coil bark that cuts through a mix where a humbucker would smooth it over.Brighter and grittier than a standard Les Paul, with that...
The '61 reissue SG — light, fast, and biting, with that unmistakable horned silhouette.
The Strat-style Kramer — a solid rock-and-roll spare that shows up ready to play.
A Dyno-My-Piano modified Rhodes 73 — the hi-fi, bell-forward voice heard across late-70s and 80s records.The Dyno treatment adds top end and attack a stock Rhodes does not have. Serviced, tuned, and...
The Mark I Stage — the same 73-note voice as the Suitcase, stripped to the instrument so you can run it into your own rig.The player's choice when the amp or the...
The Mark I Suitcase — the bark and bell tone that defined the 1970s, with its own stereo vibrato amp underneath.The Suitcase pairs the 73-note action with the powered cabinet, so it...
The Mark II Stage 88 — full range, flat top, and a slightly tighter tone than the Mark I.The flat top takes a second keyboard without a stand. Serviced, tuned, and voiced...
The Mark II Suitcase in the full 88 — the widest Rhodes range with the powered stereo cabinet under it.For parts that run below the 73's bottom E or above its top...
40 tube watts with Blackstar's ISF voicing — sweeps from American punch to British crunch.
The 100-watt red-knob Twin — massive clean headroom and a surprisingly mean drive channel. Two in the fleet.
The silverface-styled Deluxe with a modified Bassman tone stack — a little looser, a little friendlier to pedals.
The tweed that started it all — the '59 Bassman reissue with four 10s, as happy under a Strat as a harmonica mic. Two in the fleet.
40 tube watts of warm Fender clean with a usable drive channel. A session workhorse — two in the fleet.
The Blues Deluxe's bigger brother with a pair of 12s — more headroom, more air. Two in the fleet.
60 tube watts through four 10s — tweed-voiced punch that fills a room without a mic. Three in the fleet.
The refined Blues Junior — tighter low end, smoother reverb, still one-hand portable. Two in the fleet.
The most recorded amp in history, arguably — 22 watts of blackface chime that breaks up right where you want it. Six in the fleet, because every rider asks.
40 watts, one 12, three channels — the club standard that shows up on every backline list. Four in the fleet.
60 watts with two 12s — Hot Rod grind with extra headroom for bigger rooms. Four in the fleet.
The 4x10 DeVille — Fender punch with a tweed-style speaker complement. Four in the fleet.
12 watts of pure studio magic — the amp engineers ask for by name. Three in the fleet.
45 watts through four 10s — the blues bandstand classic with shimmering blackface top end. Two in the fleet.
The clean machine — 85 watts of blackface headroom that takes every pedal you throw at it. Seven in the fleet, and they still book out.
The vintage silverface Twin — the real deal for sessions chasing that era. Four in the fleet.
35 watts, two 10s — the middle ground between a Deluxe and a Super, with lush vibrato.
Two channels from glassy clean to full roar — the 100-watt DSL that covers whole set lists. Four in the fleet.
The triple-channel TSL — clean, crunch, and lead on tap at 100 watts. Two in the fleet.
The sound of the '80s stage — the 50-watt JCM800 head that defined British crunch. Two in the fleet.
The 100-watt 4100 dual reverb — the JCM900 that toured the world. Three in the fleet.
The 50-watt JCM900 — hot-rodded Marshall gain with master-volume control.
The high-gain SLX — extra preamp stage for saturated leads without losing the Marshall bark.
The modern Marshall — 50 watts, two channels, three modes each, from vintage crunch to contemporary high gain.
The modern high-gain benchmark — the Dual Rectifier chunk that defined a generation of heavy records.
150 watts of Rectifier — more headroom, more low end, for the biggest stages and the heaviest tunings.
30 class-A watts of British grind in a 2x12 combo — the Orange sound without the full stack.
50 tube watts with a tweed soul — the sleeper amp that covers blues, country, and rock dates.
The pedal steel standard — clean, loud, and voiced for steel. Country sessions know it on sight.
The updated Nashville — more power and refinement for steel and clean electric work.
The slant-front 4x12 under half the famous rigs in rock history. Pairs with any of our heads.
The straight-front 1960B — the bottom half of the full stack, tighter and punchier than the slant.
The oversized Mesa 4x12 — the tight, huge cabinet the Rectifiers were voiced through.
The Hammond B-3 — the real thing, tonewheels and all. Five in the fleet, each one gone through rather than merely stored.New key felts for the touch, EP connectors on the organs...
The Triton Extreme 76 — the Triton with valve drive on the way out. Two in the fleet.
The Triton Pro — 76 keys of the sound of every 2000s R&B record. Two in the fleet.
The PC88MX — the weighted Kurzweil that ran the '90s pit world. Two in the fleet.
The Keystation 88 — a full-size controller for rigs and rehearsal rooms.
The Allen & Heath ZED-12FX — twelve channels with onboard effects and preamps worth using.Delivered working, with the cables.
The Mackie 1402VLZ — fourteen channels of the small-format mixer that has been the studio and stage default for decades.Delivered working, with the cables.
The Mackie 1604VLZ — sixteen channels, the largest of the VLZ line, for a full band submix or a small front of house.Delivered working, with the cables.
APC battery backup — keeps workstations and consoles alive through a power hiccup.
The Hammond XP 100-F expression pedal — the swell control that makes an organ phrase instead of just sustain.Pairs with our Hammond clone organs.
The half-moon switch — the rotary fast/slow control mounted where an organist's left hand already reaches for it.Small part, and the difference between playing the organ and operating it.
The Nord Pedal Keys 27 — a full 27-note MIDI pedal board for players who walk the bass with their feet.Drives any of our clone organs, or your own rig.
The CH-1 — the clean stereo chorus that lives on session boards.
The FV-300L — low-impedance volume control for keys and line rigs.
The JBL EON15 G2 — a 15-inch powered box that covers a rehearsal room, a reception, or a small club.Delivered working, with the cables.
Multi-guitar boats by Hercules and Ultimate — five and six guitars, one footprint.
A fully carved 3/4 Czech upright — the real arco-and-pizz instrument, with Gage Realist pickup, adjustable bridge, and Spirocore strings.
Carved top, laminate back — the hybrid that balances tone and road-worthiness. Ships with Realist pickup, adjustable bridge, and Spirocores.
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California Percussion
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Tell me what you need and when, and I'll pull it together — instruments, backline, or a whole stage. For anything happening today, call 415-626-4606.
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