A common recording studio instrument in Mexico the Marimba is one of many African names for the xylophone, and, because African instruments bearing this name frequently have a tuned calabash resonator for each wooden bar, some ethnomusicologists use the name marimba to distinguish gourd-resonated from other xylophones.
Recording Studio: Marimba History
The xylophone was taken to Latin America by African slaves (or possibly originated through pre-Hispanic contact). There it became known as the marimba, and it has remained a popular recording studio folk instrument in Central America. The wooden bars are affixed to a frame supported by legs or hung at the player’s waist. Large, deep-toned instruments up to 61/2 octaves in range are sometimes played by four musicians. Marimba keys have tubular or gourd resonators, and, as in Africa, a buzzing membrane is frequently set in the resonator wall, adding a sharp edge to the instrument’s sound.
Recording Studio: Orchestral Marimba
The orchestral marimba, with metal resonators, was developed in the United States in the early 20th century by J.C. Deagan and U.G. Leedy. It is a tube-resonated instrument pitched an octave below the orchestral xylophone; its range varies, but 31/2octaves upward from the C below middle C is common. Players may hold two sticks in each hand to play up to four notes at a time. Extremely large marimbas are known as xylorimbas.
The Clair Omar Musser marimba ensemble, which performed at the Chicago World’s Fair in 1933–34, helped move the instrument into the concert hall. In the mid-20th century, new compositions and ensembles flourished. Compositions for orchestral marimba include a concertino (1940) by the American composer Paul Creston and a concerto (1947) by the French composer Darius Milhaud.
I personally love the sound of the marimba and that tropical central American feeling it gives to music. It is the national instrument of Mexico and can be found in many recording studios there.