We recently completed restoration work on a Bonkó sent to us by a customer in Japan. This unique drum required extensive care and craftsmanship to bring it back to performance condition.
Manito meticulously:
Repaired numerous cracks in the shell
Resurfaced the bearing edge
Stripped and refinished the shell
Fabricated a new crown
Crafted custom side plates
Built a bottom ring from scratch
Custom bent new tuning lugs
To complete the restoration, I mounted a new steer skin head and documented the full process.
This Bonkó is now ready to sing again — a beautiful blend of traditional craftsmanship and modern precision.
The Bonkó Enchemiyá originates from the spiritual and cultural traditions of the Cross River region of southeastern Nigeria and southwestern Cameroon. This area is home to the Efik, Efut, and Ibibio peoples, whose Ekpe (Leopard) societies played an essential role in governance, spirituality, and community cohesion. These societies used sacred drumming, masks, and initiatory rites to transmit moral teachings and ancestral knowledge.
In the early 1800s, enslaved people from this region were forcibly brought to Cuba, primarily to Havana and Matanzas. Despite the trauma of enslavement and displacement, they preserved the spiritual frameworks of their ancestors by forming the Abakuá society—a mutual-aid and religious fraternity rooted in the structure of Ekpe, adapted to the colonial Cuban context.
The Bonkó Enchemiyá became the central instrument of this transplanted tradition—a drum that carried not only sound but cultural memory, sacred communication, and collective resistance.
The Drum Ensemble (Biankomeko)
The Bonkó Enchemiyá is the largest and most sacred of four drums in the biankomeko ensemble used in Abakuá ceremonies. This set includes:
Bonkó Enchemiyá – the lead drum, responsible for improvising and “speaking” through complex rhythms.
Enkomó drums (played with the hands and held under the arm):
Obiapá – low pitch
Kuchi Yeremá – middle pitch
Binkomé – high pitch
These drums are hand-carved from wood, traditionally from sacred trees, and their heads are made from goat skin, tightened with ropes and wooden wedges. The drums are often marked with anaforuana, mystical symbols used within Abakuá cosmology.
Significance: A Sacred Language of the Drum
The rhythms played on the Bonkó Enchemiyá are not merely musical—they are a codified language, intelligible only to initiated Abakuá members. The drum “speaks” in phrases that convey:
Mythic stories and ancestral teachings
Moral codes and spiritual messages
Cues for ritual dance and invocation
To outsiders, the patterns may seem abstract, but to insiders, they carry profound meaning, reinforcing social bonds, spiritual continuity, and a sense of shared identity that has endured for over two centuries.
Ritual and Spiritual Use
The Bonkó Enchemiyá is used exclusively in Abakuá rituals, including:
Initiation ceremonies
Funeral rites
Public processions like Día de los Reyes (Three Kings Day)
Masked dance rituals, particularly those featuring the íreme, a masked and costumed figure representing spiritual forces
The drum is considered alive in a spiritual sense. Before it is ever played, it must be ritually consecrated, “fed” with offerings, and imbued with sacred energy by elders. Drums that were used in historical ceremonies are treated with reverence; some are now housed in museums as sacred artifacts, not mere instruments.
During colonial rule, Spanish authorities often confiscated Abakuá drums and regalia, fearing the power and secrecy of the society. Despite repression, the Abakuá remained resilient, preserving its traditions through oral memory, symbolic language, and ritual performance.
Impact on Cuban Music and Culture
While the Abakuá society remains closed to non-initiates and maintains a high level of secrecy, its musical influence has radiated outward, shaping major genres of Cuban music:
Rumba – especially the quinto drum style, which mirrors Bonkó’s improvisatory language
Afro-Cuban jazz – artists like Chano Pozo, Tata Güines, and Luciano “Chano” Díaz incorporated Abakuá-inspired rhythms into jazz contexts
Folkloric performance – state-supported ensembles in Cuba have adapted elements of Abakuá music and dance for stage, often with input from elder practitioners
The Bonkó Enchemiyá, through its sound and spirit, has helped preserve African identity in Cuba, even as it has adapted to a changing world. It stands as a symbol of resistance, resilience, and rootedness in African heritage.
Respectful Engagement and Cultural Sensitivity
It is essential to approach Abakuá culture—and the Bonkó Enchemiyá in particular—with respect, humility, and understanding. These are not just musical expressions but living spiritual systems, maintained under conditions of historical violence and survival.
Outsiders are generally not permitted to participate in core Abakuá rituals, and the drums are sacred, not to be played or handled without initiation and training. However, the public manifestations of Abakuá music offer a glimpse into a world of deep ancestral intelligence and spiritual continuity.
Summary Table
Aspect
Details
Origins
Derived from West African Ekpe societies (Efik, Ibibio) via enslavement
Drum Ensemble
Biankomeko: Bonkó (lead) + Enkomó drums (Obiapá, Kuchi Yeremá, Binkomé)
Function
Sacred instrument; plays a coded language understood by initiates
Ceremonial Role
Used in initiations, funerals, masked dances, and spiritual rituals
Colonial Suppression
Drums and rituals were outlawed or seized; now preserved in some museums
Influence
Inspired rumba, Afro-Cuban jazz, and folkloric music
Spiritual Significance
Treated as sacred beings; drums are consecrated and ritually maintained
We recently received this set of Gon Bops Mariano bongos from a customer for a custom upgrade — replacing the original heads with high-quality natural steer skin.
The setup: 7″ Macho: Mounted with 1mm steer skin 8.5″ Hembra: Mounted with 1.6mm steer skin
Each skin was soaked in cool water just until pliable to maintain integrity and achieve optimal tone. For the hembra, I used slightly longer mounting lugs to accommodate the thicker skin.
I used longer mounting lugs for the hembra to help draw the crown or rim down gradually, evenly and easily.
I also used a wooden jig to set the collar height at 3/16″. As the skin dried, I increased the collar height to 3/8″.
One interesting detail: these Gon Bops have relatively short crown ears, which makes for a tight fit between the flesh hoop, skin, and tuning hardware — something to keep in mind when reheading similar models.
Bongos—an iconic percussion instrument known for its bright, sharp tones and central role in Afro-Cuban and Latin American music—carries a rich history intertwined with cultural evolution, musical innovation, and craftsmanship. For those studying ethnomusicology and music, as well as master woodworkers interested in instrument construction, understanding the bongos’ origin, materials, and making process offers deeper insight into both its cultural and acoustic significance.
Origins and Cultural Context
Bongos originated in eastern Cuba during the late 19th century, rooted in Afro-Cuban traditions influenced by Bantu and Yoruba peoples brought through the transatlantic slave trade. Initially, bongos served as communal instruments used in son and rumba styles, enabling intricate rhythmic dialogues that fueled dance and storytelling.
The instrument consists of two small, open-bottomed drums—the larger hembra (female) and smaller macho (male)—tied together, often played by a single percussionist using fingers and palms. Its construction, playing technique, and rhythmic vocabulary evolved alongside Cuban music, later spreading throughout Latin America and globally via salsa, Latin jazz, and world music.
Bongo Shell Construction: Stave, Turned, and Fiberglass
Bongo drums are traditionally constructed using either stave or turned wood shell techniques, each offering distinct acoustic and aesthetic qualities.
Stave Construction involves assembling vertical wooden slats (staves) glued and pressed together to form the drum shell. This method allows for precise control over shell thickness and shape, contributing to a warm, resonant tone favored in traditional Latin percussion.
Turned Construction uses a solid block of wood that is lathed on a wood-turning lathe, resulting in a seamless, smooth shell with consistent thickness. This technique often enhances projection and sustain while maintaining the natural wood character.
Fiberglass Construction represents a modern approach, where shells are molded from composite fiberglass materials. Fiberglass bongos offer increased durability and resistance to environmental changes such as humidity and temperature fluctuations. Additionally, fiberglass shells tend to produce a brighter, more cutting tone with consistent sound quality over time. They are lighter than some wooden shells and can be designed in a variety of shapes and finishes.
For musicians and drum makers, understanding these construction methods is crucial in selecting or crafting bongos that meet desired tonal qualities, durability, and aesthetic preferences. Each material and method influences the instrument’s sound projection, sustain, timbre, and response to environmental factors.n in bongo making.
Wood Selection and Properties: Caribbean, South American, and North American Woods
Wood choice profoundly influences the bongo’s tonal character, durability, and workability. Caribbean, South American, and North American woods each contribute distinct acoustic and aesthetic qualities.
Wood Type
Region
Janka Hardness (lbs)
Density (g/cm³)
Tone Quality
Workability
Durability
Visual Characteristics
Cuban Mahogany
Caribbean (Cuba)
~800
~0.55
Warm, rich, mellow
Moderate (can be oily)
Moderate
Reddish-brown, fine grain, often with chatoyancy
Spanish Cedar
Caribbean
~900
~0.50
Warm, balanced, smooth
Easy to work, fragrant
Moderate
Reddish hue, aromatic, straight grain
Guayacan
Caribbean
~4000
~1.05
Bright, clear, articulate
Difficult due to hardness
Very durable
Dark brown with fine texture, oily finish
Kingwood
Caribbean
~2200
~0.90
Warm, resonant, complex
Difficult, brittle
Durable
Deep purples and browns, dense grain
Black Walnut
North America
~1010
~0.64
Warm, balanced, rich
Good, finishes well
Durable
Dark chocolate brown with purple undertones
Hard Maple
North America
~1450
~0.70
Bright, clear, focused tone
Hard but workable
Durable
Creamy white, sometimes with figured patterns
Ash
North America
~1320
~0.66
Bright, punchy, snappy
Easy to work
Durable
Pale with distinct grain, often straight
Poplar
North America
~540
~0.42
Balanced, warm, softer tone
Very easy to work
Moderate
Light brown with greenish or gray hues
Hickory
North America
~1820
~0.82
Bright, strong attack
Hard to work, tough
Very durable
Light to medium brown with prominent grain
Cherry
North America
~950
~0.60
Warm, mellow, rich
Good workability
Moderate
Reddish-brown, smooth grain
Santos Mahogany
South America
~2200
~0.95
Warm, rich, vibrant
Moderate to difficult
Durable
Deep reddish-brown with fine grain
Rosewood
South America
~2200
~0.85
Warm, complex, sustaining
Difficult, oily
Durable
Dark with rich streaking, oily finish
Note: Janka hardness measures resistance to denting; higher numbers indicate harder woods, which generally support brighter tones and durability but require more skill to work.
Drumheads: Materials and Tonal Impact
Drumheads are vital for sound production, affecting tone, attack, sustain, and tuning stability.
Head Type
Material
Tone Characteristics
Advantages
Drawbacks
Natural Hide (Cow, Steerskin, Muleskin, Horse)
Animal skins (various)
Warm, bright, rich; varies by thickness and species
Traditional, warm tone, expressive dynamics
Highly sensitive to humidity and temperature; requires manual maintenance (oiling, occasional re-tensioning); less consistent across batches
Synthetic (Mylar, Kevlar, Fiberskyn)
Plastic or composite
Bright, focused, consistent tone
Weather-resistant, durable, easy to tune
Less complex tone; can sound harsh or metallic to some players
Historically, natural hides were tensioned with tacks, heat, and later metal hardware. Today’s bongo makers often balance authenticity with practicality, selecting drumheads based on stylistic needs, climate, and maintenance considerations.
Influential and Popular Bongoceros
Understanding the players who shaped the bongo’s sound and cultural legacy deepens our appreciation of the instrument:
Name
Contribution and Context
Guillermo “Papi” Oviedo
Laid foundational groundwork in Cuban son and rumba, preserving authentic rhythms that continue to inform bongo technique.
Antolín Suárez “Papa Kila”
Longtime bongosero for Arsenio Rodríguez’s orchestra, key in defining Afro-Cuban conjunto style.
Pedro Mena
Played with Conjunto Matamoros, top figure in early bongo performance.
Cándido Requena
Innovated tunable bongos, modernizing construction while dazzling audiences.
Rogelio Iglesias “Yeyo”
Central in Havana’s 1950s descarga scene, pushing improvisational boundaries.
International ambassador blending bongo and conga mastery across jazz, Latin, and popular music.
Armando Peraza
Brought blazing speed and style to jazz collaborations with legends like Charlie Parker, Dizzy Gillespie, and Santana.
Willie Bobo
Primarily a timbalero, also a skilled bongocero, collaborated with Tito Puente.
Tito Puente
Integrated bongos into Latin ensembles worldwide, popularizing the instrument.
Johnny “Dandy” Rodríguez
Iconic salsa figure known as a “bongo player’s bongo player,” influential in groove and precision.
Jack Costanzo “Mr. Bongo”
Credited with introducing bongos to American jazz audiences.
Changuito (José Luis Quintana)
Revolutionized salsa and timba drumming with innovative techniques.
Cándido Camero
Bridged Afro-Cuban percussion and jazz with remarkable fluidity.
Miguel “Angá” Díaz
Expanded expressive boundaries via folkloric rhythms and jazz fusion.
Ray Barretto & Julio “Julito” Collazo
Masters of Latin jazz percussion, enriched the bongo tradition.
Horacio “El Negro” Hernández & Roberto Quintero
Contemporary innovators pushing rhythmic and stylistic boundaries.
Conclusion
Bongos embody a vibrant synthesis of Afro-Cuban culture, musical innovation, and skilled craftsmanship. Its journey—from Cuban barrios to global concert stages—reflects ongoing dialogues between tradition and modernity, musical expression and material mastery. For ethnomusicologists, musicians, and woodworkers alike, understanding the bongos’ cultural roots, construction techniques, wood properties, and influential players offers a rich, multidimensional perspective on this small but powerful instrument.
Whether crafting a set from carefully selected hardwoods or exploring its intricate rhythms, the bongo continues to inspire creativity and connection across cultures and generations.
Latin percussion bells are vital to genres such as Afro-Cuban rumba, salsa, samba, and beyond. Their journey—from traditional African rituals to contemporary global music—is a powerful testament to cultural adaptation, innovation, and enduring rhythm.
Cultural and Historical Origins
African Roots
The origins of Latin percussion bells lie in West Africa, where iron bells were central to both music and spirituality. Among the most significant are the agogô, gankogui, and klama (also known as kanganu), each rooted in the cultural practices of distinct ethnic groups.
The agogô, from the Yoruba people of Nigeria, typically consists of one or two conjoined bells producing contrasting pitches. It was used in religious ceremonies to provide rhythmic structure and carry spiritual significance. In Ghana and Togo, the Ewe people developed the gankogui, a double bell with high and low tones. It serves as a timekeeper in Ewe drumming ensembles, anchoring complex polyrhythms.
The Fon people of Benin use the klama or kanganu—a single handheld iron bell—in Vodun (Voodoo) ceremonies. Like the gankogui, it maintains rhythm but also plays a spiritual role, marking transitions, summoning deities, and reinforcing chants with its sharp, resonant tone. Though less widely known outside Africa, it holds similar ritual and musical functions.
These bells were more than instruments; they were spiritual tools and cultural anchors. Through the transatlantic slave trade, their rhythmic and symbolic roles were carried to the Americas, where they became foundational to Afro-Caribbean and Afro-Latin musical traditions such as rumba, samba, and son.
Transatlantic Migration and Transformation
Between the 16th and 19th centuries, the transatlantic slave trade forcibly uprooted millions of Africans, displacing them to various parts of the Americas. Along with them traveled a rich array of musical traditions, deeply embedded in communal life, spirituality, and cultural expression. Among these traditions, bell instruments—notably the agogô, gankogui, and various types of iron or wooden idiophones—played a crucial role in both rhythmic structure and spiritual signaling.
Cultural Adaptation and Musical Continuity
Despite the brutality and dehumanization of slavery, African musical practices proved resilient and adaptable, transforming and merging with local customs to form new syncretic genres and rituals across the Americas.
Structural Evolution of Bells
Early Forms
Early bells were typically hand-forged from iron or brass, often repurposed from recycled metals. Traditional designs included two bells connected by a handle, offering contrasting pitches used for timekeeping, polyrhythmic layering, and melodic phrasing.
Adaptations in the Americas
Over time, bell designs adapted to meet new musical needs. Some evolved into multi-bell instruments, providing greater melodic variety. Others were redesigned for mounting on percussion racks or drum kits. The cowbell, originally an agricultural tool, was transformed into a key percussion instrument—especially in Cuban and Puerto Rican dance music.
Timeline of Bell Evolution
Pre-1500s: Agogô bells are central to West African ritual, communication, and drumming traditions.
1500s–1800s: Bells arrive in the Americas via the slave trade.
1700s–1800s: Integration into Afro-Caribbean religious and folk music.
Early 1900s: Bells appear prominently in Afro-Cuban ensembles.
1940s–1950s: Mambo and Latin jazz popularize the use of cowbells.
1960s: Latin Percussion (LP) standardizes cowbell production.
1970s–1980s: Salsa incorporates multiple bell types, such as bongo and cha-cha bells.
1990s–2000s: Artisanal makers like JCR Percussion gain recognition.
2000s–Present: Bells expand into electronic, fusion, and world music styles.
Today: Innovations in craftsmanship, design, and technique keep bell traditions alive and evolving.
Craftsmanship: Artisanal and Industrial Traditions
Artisanal Makers
Many early bells were hand-crafted by local blacksmiths using recycled materials. This artisanal tradition endures today, with makers producing instruments prized for their unique tone and cultural authenticity.
One of the most celebrated is JCR Percussion, founded by Cali Rivera in the Bronx. Rivera, originally from Puerto Rico, crafted bells, timbales, and bongos beloved by salsa and Afro-Cuban musicians for their warmth, clarity, and build quality. JCR instruments became iconic and remain sought after by serious percussionists.
Artisan-made bells often reflect regional identity and heritage, with forging techniques passed down through generations. Each bell is valued not only for its sound but also for its cultural lineage.
Industrial Production
By the mid-20th century, companies like Latin Percussion (LP) began mass-producing bells. Founded in 1964 by Martin Cohen, LP made percussion bells accessible and consistent, crafting instruments from high-grade steel for performance and studio settings.
These industrial bells offered precise tuning, durable construction, and standardized sizing—ideal for professional musicians, touring acts, and schools.
Artisanal vs. Industrial Bells: A Comparison
Feature
Artisanal Bells
Industrial Bells
Craft Method
Hand-forged from recycled metals
Machine-made from high-grade steel
Sound
Organic, warm, resonant
Bright, cutting, consistent
Cultural Significance
Rooted in tradition and ritual
Designed for stage and studio
Tuning
Tuned by ear
Precisely tuned and standardized
Availability
Limited, often niche
Widely available worldwide
Sustainability
Often eco-friendly
Less environmentally specific
Types of Bells in Latin Percussion
Agogô Bell: Brazilian origin; typically two bells of different sizes. Used in samba, capoeira, and Afro-Brazilian religious music.
Cowbell: Single metal bell with a sharp tone, essential in salsa, mambo, and Latin jazz.
Mambo Bell: Larger cowbells used in mambo; played by timbaleros to emphasize clave and rhythmic accents.
Cha-Cha Bell: A small, high-pitched cowbell used for bright accents in cha-cha-cha and timbale setups.
Campana/Cencerro: Handheld cowbell played by bongo players, a staple in salsa and Latin jazz.
Comparsa Bells: A set of bells used in Cuban carnival street music (comparsa). Typically mounted and played with sticks, producing a syncopated, celebratory rhythm that drives the ensemble.
Tubular Bells/Chimes: Tuned metal tubes struck with mallets, used for melodic or textural effects in orchestral and fusion Latin music.
Bell Tree: A row of small tuned bells mounted vertically, producing shimmering cascades in modern and experimental music.
Timbale Bells: Bells mounted on timbales to enhance rhythmic interplay.
Musical Roles and Rhythmic Functions
Afro-Latin Foundations
Bells often align with or complement the clave—the rhythmic foundation of much Afro-Latin music. In both sacred and secular contexts, bells guide dancers, signal transitions, and anchor ensemble timing.
Ensemble Use
In salsa and mambo, cowbells help drive the rhythm section, with timbaleros using multiple bells for dynamic contrast. In Latin jazz, bells contribute to layered polyrhythms and improvisation. In modern fusion, bells are integrated into electronic and global setups, continuing to evolve with technology.
Notable Bell Players and Innovators
U.S. & Caribbean Artists
Tito Puente (Puerto Rico/U.S.): Master of timbales and mounted cowbells in mambo and Latin jazz.
Ray Barretto (U.S.): Conguero and bandleader who emphasized bell grooves in salsa.
Mongo Santamaría (Cuba): Fused Afro-Cuban rhythms with jazz using bells.
Chano Pozo (Cuba): Introduced batá and bell rhythms into bebop.
Cali Rivera (JCR): Master craftsman whose bells became legendary in Latin percussion.
Changuito (Cuba): Innovated modern Cuban styles with advanced bell techniques.
Global Innovators
Martinho da Vila (Brazil): Highlighted the agogô in samba and MPB (Música Popular Brasileira).
Babatunde Olatunji (Nigeria): Popularized African rhythms and bell work in the West.
Babá Ken Okulolo (Nigeria): Preserved and taught traditional West African bell techniques.
Pepeu Gomes (Brazil): Blended samba with rock, adding unique bell textures.
Totó Gutiérrez (Colombia): Integrated bells into folkloric and contemporary cumbia.
Ubaldo “Chimbero” Jiménez (Dominican Republic): Helped define the merengue rhythm with bells.
From African rituals to New York salsa clubs, the Latin percussion bell has evolved into a dynamic and expressive instrument. Whether handcrafted by artisans or mass-produced for global stages, bells continue to anchor, drive, and color the music of the world—resonating with deep history and boundless creativity.
The conga drum—celebrated for its vibrant tone and dynamic rhythmic power—boasts a rich, multi-layered history rooted in Afro-Cuban traditions and shaped by centuries of cultural exchange and musical evolution.
Origins in Africa and Cuba
The origins of the conga drum trace back to West and Central Africa, particularly among the Bantu and Yoruba peoples. Instruments such as the makuta, yuka, and bembé drums were central to both ceremonial and social life in African communities. Through the transatlantic slave trade, these drumming traditions were carried to the Caribbean—especially Cuba—where enslaved Africans preserved their musical heritage through rhythm and ritual.
In Cuba, African drumming merged with indigenous and Spanish colonial musical influences, giving rise to uniquely Afro-Cuban styles. Early conga drums—known locally as tumbadoras—were often handcrafted from rum barrels and topped with animal skin heads, tuned by fire or moisture. These instruments played a key role in Afro-Cuban religious ceremonies and became essential to rumba, a rich, rhythm-driven genre that emerged in urban neighborhoods in the late 19th and early 20th centuries.
Evolution and Popularization
As Cuban music continued to develop throughout the 20th century, so did the conga’s role. No longer confined to ceremonial use, the drum became a driving force in popular dance music genres such as son cubano, mambo, and salsa.
During the 1930s and ’40s, the conga drum gained broader exposure, particularly in the United States, as Latin music began to cross over into the mainstream. Entertainers like Desi Arnaz introduced the “conga line” and brought the instrument to American television audiences, helping solidify its place in popular culture.
At the same time, Afro-Cuban rhythms began fusing with American jazz, giving rise to new hybrid styles like Latin jazz, and launching the conga on its journey to becoming a globally recognized instrument.
Modernization and Global Reach
By the mid-20th century, innovations in drum construction—particularly the introduction of mechanical tuning systems with metal lugs and rims—allowed for far greater control over pitch and tone. These technological advancements expanded the conga’s expressive range and opened the door for more intricate and melodic playing styles.
Legendary percussionists such as Chano Pozo, Mongo Santamaría, Tata Güines, Carlos “Patato” Valdés, Armando Peraza, Ray Barretto, and Giovanni Hidalgo played key roles in this evolution. Their groundbreaking work not only elevated the conga to an art form but also helped it transcend genre boundaries, blending Afro-Cuban rhythms with jazz, funk, and popular music worldwide.
The Conga in Contemporary Music
Today, the conga drum is a truly global instrument, embraced by musicians across cultures and genres. You’ll find congas in:
Latin Music: Salsa, rumba, mambo, timba, merengue
Jazz: Latin jazz, Afro-Cuban jazz, fusion jazz
Rock & Pop: Artists like Santana, The Rolling Stones, and countless modern acts
World & Fusion: Reggae, Afrobeat, funk, electronic, and hybrid world music styles
Conclusion
From its spiritual and communal roots in Africa to its starring role on international stages, the conga drum is more than just an instrument—it’s a symbol of cultural resilience, rhythmic innovation, and global connection. Its evolution mirrors the broader story of music as a unifying force across time, traditions, and continents.
Still today, every beat of the conga carries centuries of history, emotion, and soul—inviting players and listeners alike to connect through rhythm.
We’re gearing up for restoration and conversion: repairing cracks in the shell, resurfacing the bearing edge, fabricating a bottom rim, converting it to mechanical tuning, and mounting a steer skin head.
It’s definitely not your typical project — but that’s what makes it exciting. Looking forward to bringing this unique instrument back to life and seeing how it all comes together.
For LP 11″, 11.75″ & 12.5″ Congas (EZ Curve Crowns Only)
The PreMounted™ Middle Eastern Steer Matched Set is expertly crafted with meticulous attention to tone, color, finish, and feel—offering a beautifully unified sound and look across your conga setup. Designed specifically to fit LP’s EZ Curve crown type, this set delivers premium performance for discerning players.
Specifications
Skin Type: Middle Eastern Steer
Skin Color: Amber
Crown Compatibility: EZ Curve
11″ Quinto Thickness: 1.8 mm
11.75″ Conga Thickness: 2.0 mm
12.5″ Tumba Thickness: 2.2 mm
Sound Characteristics
Crisp slaps
Round, open tones
Rich, full-bodied bass
Controlled overtones
Feel & Playability
Medium action
Smooth, responsive playing surface for both nuanced and powerful playing styles
Crown Compatibility Notice
This set is engineered specifically for LP’s EZ Curve crowns/rims, which feature a rim-radius curve and thinner gauge steel. It will not fit other LP crown styles, including:
We recently upgraded two quintos: an oak Valje 11″ and a cherry LP Valje 11″. Ryan fabricated custom 304 stainless steel flesh hoops, providing a precise and lasting fit. I mounted 1.8mm thick Middle Eastern steer hides, delivering a warm, articulate tone that suits these classic builds beautifully.
The 12″ oak conga from the same set was still in great condition, so no new skin was needed.
There’s always something to learn from vintage drums. Each project offers insight — from construction choices to tonal behavior — and deepens our appreciation for traditional craftsmanship.
We recently had the pleasure of working on a beautiful set of cherry wood LP Valje Armando Peraza Series bongos. These drums are not only visually striking—they carry a deep lineage tied to the evolution of Afro-Cuban percussion and the legacy of one of its most iconic figures.
As part of the restoration, Manito fabricated new 304 stainless steel flesh hoops, ensuring durability and precision fit. I then mounted new steer skins—using 1mm for the macho (the smaller drum) and 1.6mm for the hembra (the larger). The result is a set that not only looks stunning but plays with a rich, responsive tone worthy of its heritage.
The Valje drum tradition dates back to the 1950s, when Tom Flores began handcrafting congas and bongos in California. Known for their contoured shells, Cuban-style steel bottoms, and exceptional build quality, Valje drums quickly gained a loyal following among professional percussionists.
By 1999, LP had fully integrated the Valje line into its catalog, blending the original Valje aesthetic with new innovations. The Armando Peraza Series bongos reflect that evolution: North American cherry wood shells, chrome hardware, and a shorter center block for better ergonomics, especially for seated players.
These bongos are named for the late Armando Peraza (1924–2014), a towering figure in Latin jazz and Afro-Cuban percussion. Born in Havana, Peraza emigrated to the United States and went on to perform with legends such as George Shearing, Cal Tjader, and Carlos Santana.
Peraza was known not only for his virtuosity and stage presence but also for his role in bridging Afro-Cuban rhythms with American jazz, funk, and rock. His work helped shape the sound of Santana and left a lasting influence on generations of percussionists around the world.
This restoration project was more than a repair—it was a chance to reconnect with a powerful tradition. We’re proud to have contributed to keeping this legacy alive, one drum at a time.
