Pin Peat Instruments

Roneat aik

A high-pitched, wooden xylophone with twenty-one bars, serving as the ensemble leader.

Image 04 (1949-29)

Chamnan (roneat aik only)


Kong thom

This semi-circle of sixteen low-pitched gongs works in tandem with the roneat aik as an ensemble leader

Image 07 (1950-08)

Chamnan (kong thom only)


Kong toech

This circle of sixteen high-pitched gongs shadows and embellishes the articulations of the roneat aik.

Image 09 (1950-17)

Chamnan (kong toech only)


Roneat thung

This low-pitched xylophone with sixteen bamboo bars adds an acoustic thread to the ensemble that lures listeners away from the easy-to-follow paths of the roneat aik, kong thom, and sralai. Chum employs techniques known asĀ tlok kamblaeng (joking around) which stretch and condense rhythmic patterns, slice and augment melodic phrases, and blend bright with muffled strokes.

Image 02 (1949-14)

Chamnan (roneat thung only)



This hardwood quadruple-reed oboe shuttles listeners between the leading voices of the roneat aik and kong thom.

Image 13 (1951-21)

Chamnan (sralai only)



This two-headed, barrel drum is considered the Krou (technical and spiritual teacher) of the ensemble and a sacred vehicle for linking human with supernatural worlds.

Image 25 (1951-03)

Chamnan (sampho only)


Skor thom

This set of two, large, double-headed barrel drums responds (chhlary) to the call (hao) of the sampho.

Image 14 (1952-11)

Chamnan (skor thom only)



This set of bronze hand-cymbals provides a steady pulse for the ensemble, preventing musicians from getting lost amidst diverse renditions of a tune.

Image 11 (1950-25)

Chamnan (chhing only)