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The vibraphone (also known as the vibraharp or simply the vibes) is a musical instrument in the struck idiophone subfamily of thepercussion family.
The vibraphone is similar in appearance to the xylophone, marimba and glockenspiel. Each bar is paired with a resonator tube having a motor-driven butterfly valve at its upper end, mounted on a common shaft, which produces a tremolo or vibrato effect while spinning. The vibraphone also has a sustain pedal similar to that used on a piano; when the pedal is up, the bars are all damped and the sound of each bar is shortened; with the pedal down, they will sound for several seconds.
The most common uses of the vibraphone are within jazz music, where it often plays a featured role, and in the wind ensemble, as a standard component of the percussion section.This popularity led J. C. Deagan, Inc. in 1927 to ask its Chief Tuner, Henry Schluter, to develop a similar instrument. However, Schluter didn't just copy the Leedy design, he introduced several significant improvements: making the bars from aluminum instead of steel for a more "mellow" basic tone; adjustments to the dimensions and tuning of the bars to eliminate the dissonant harmonics in the Leedy design (further mellowing the tone); and the introduction of a damper bar controlled by a foot pedal, enabling it to be played with more expression.[1]Schluter's design was more popular than the Leedy design, and has become the template for all instruments called vibraphone today.
However, when Deagan began marketing Schluter's instrument in 1928, they called it the vibraharp. The name derived from similar aluminum bars that were mounted vertically and operated from the "harp" stop on a theatre organ. Since Deagan trademarked the name, others were obliged to use the earlier "vibraphone" for their instruments incorporating the newer design. As its popularity grew, other manufacturers began producing instruments based on Schluter's design, marketed under a variety of names, including Leedy, who marketed their new instrument as the vibraphone and abandoned their old design.[citation needed]
The name confusion continues, even to the present, but over time vibraphone became significantly more popular than vibraharp. By 1974, the Directory of the D.C. Federation of Musicians listed 39 vibraphone players and 3 vibraharp players.[1] As of 2008, the term vibraharp had disappeared except for anachronistic uses.[citation needed] Often, vibraphone is shortened to "vibes", and the two terms are used interchangeably.
The initial purpose of the vibraphone was to add to the large arsenal of percussion sounds used by vaudeville orchestras for novelty effects. This use was quickly overwhelmed in the 1930s by its development as a jazz instrument. As of 2008, it remained primarily, although not exclusively, a jazz instrument.[citation needed]
The use of the vibraphone in jazz was pioneered by Paul Barbarin, the drummer with Luis Russell's band. His playing can be heard on recordings by Henry "Red" Allen from July 1929 ("Biff'ly Blues" and "Feeling Drowsy"), and Barbarin played on the first recordings by Louis Armstrong to feature the instrument – "Rockin' Chair" (December 1929) and "Song of the Islands" (January 1930).
The DVD Lionel Hampton: Jazz Legend King of the Vibes chronicles the 73-year career of Lionel Hampton, the original jazz vibraphonist.
However, the popularity of the vibraphone as a jazz instrument can primarily be credited to one man, Lionel Hampton.[citation needed] The story, perhaps apocryphal, is that "Hamp", a drummer at the time, was playing at the NBC Radio studios, where he discovered a vibraharp that was kept on hand to play the musical motif identifying the NBC network, the "NBC Chimes". After the gig, he spent a considerable amount of time exploring the instrument, and fell in love with it.[citation needed]
Later (October 16, 1930), Hampton was recording with Louis Armstrong & His Sebastian New Cotton Club Orchestra, and the studio they were working in happened to have a Deagan model 145 vibraharp. Hampton showed Armstrong what he could do, and they decided to add vibes to one of the tunes they were scheduled to play, "Memories of You", creating the first well-known jazz recording using the vibes.[citation needed]
Manufacturers[edit]

The first manufacturer of vibraphones in the modern configuration was J. C. Deagan, Inc., of Chicago, Illinois, United States, who called their instruments vibraharps. As the market for vibraphones was proven, first as a vaudeville novelty instrument and then as a jazz instrument, several other manufacturers stepped in to supply the demand. These included the Leedy Manufacturing Company, of Indianapolis, Indiana, which retained the vibraphone name of its earlier product but abandoned that design in favor of the Henry Schluter innovations, and the Jenco Company (later became Decatur Instruments, Inc.), of Decatur, Illinois, which initially marketed their instruments as "vibrabells".[citation needed]
Outside of the United States, the Premier Drum Company of London, after experimenting with a variety of aluminum bar instruments more closely related to the glockenspiel that were called variations of “harpaphone”,[1] moved to the production of the Schluter vibraphone design. Bergerault, of Ligueil, France also began manufacturing vibraphones in the 1930s.
Throughout the 1930s and 1940s, each manufacturer attracted its own following in various specialties, but the Deagan vibraphones were the models preferred by many of the emerging class of specialist jazz players. Deagan struck endorsement deals with many of the leading players, including Lionel Hampton and Milt Jackson.
The Musser M-55 Pro Vibe, a middle level instrument in Musser's line, played by professionals and in schools around the United States.
In 1948, the Musser Company was founded by Claire Omar Musser.[2] Musser was an accomplished marimba and xylophone player famous for touring the United States and Europe leading "marimba symphony orchestras". He applied his experience and observations with the current designs of mallet instruments to his eponymous company and the result was a high-quality line of mallet instruments. His vibraphones emerged as comparable in quality to Deagan vibraphones and Musser was able to garner a share of the top-end market.[citation needed]
The 1960s and 1970s saw a shakeup in the vibraphone market. Leedy and Jenco ceased operations. The Deagan operation was purchased by Slingerland Drum, division of Conn, division of Mcmillan, and ultimately by the Yamaha Corporation. Although Yamaha used the Deagan knowledge to improve their own vibraphone designs they discontinued the Deagan name and model legacy; as of 2008, no visible trace of either remains, although Yamaha continues to use the Deagan name for a line of orchestra bells and chimes. The Musser Company was purchased first by Ludwig Drums, and then, through Ludwig, was purchased by Conn-Selmer, Inc. Unlike Deagan's fate, the Musser brand and model line were retained by the purchasing companies, and Musser vibraphones remain a major force in the vibraphone market.[citation needed]
This period also saw the emergence of new vibraphone manufacturers. Notable companies include Adams Musical Instruments of Ittervoort, The Netherlands and Ross Mallet Instruments, now owned by Jupiter Band Instruments of Austin, Texas, United States.[citation needed]
As of 2008, the vibraphone marketplace was remarkably active, considering the specialty nature of the instrument. The major companies include Musser, Malletech, Yamaha, Adams and Ross. Bergerault, Dynasty, Majestic, Premier, Studio 49 from Germany and the Saito Gakki Company of Japan continue in operation. In addition to the "mass" producers of vibraphones, custom manufacturers, notably vanderPlas Percussion of The Netherlands, are also active.[citation needed]
Range[edit]

The standard modern instrument has a range of three octaves, from the F below middle C (F3 to F6 in scientific pitch notation). Larger three-and-a-half or four octave models from the C below middle C are also becoming more common (C3 to F6 or C7). Unlike its cousin the xylophone, it is a non-transposing instrument, generally written at concert pitch. However, composers occasionally (for example, Olivier Messiaen) write parts to sound an octave higher.
In the 1930s several manufacturers made soprano-vibraphones with a range C4-C7, notably the Ludwig & Ludwig model B110 and the Deagan model 144. Deagan also made a portable model that had a 2½ octave range and resonators made of cardboard (model

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