A Musser marimba has narrower bars in the low register than a Malletech, but is set up to be equidistant to the Malletech from bar center to bar center.   
The glockenspiel can pose a particular problem for audition candidates.  The size of the instrument can be a real problem both psychologically and audibly.  As percussionists, we tend to rely very heavily on our kinesthetic senses.  That is to say, spatial relationships are more exaggerated on our keyboard instruments then say on a flute or trumpet where the right note is just a finger away.  It is a little more complicated than that, but the point is there is a big difference in the amount of muscle movement needed to get different intervals.  
The size of the glockenspiel might be drastically larger than the instrument practiced on, drastically smaller, or anywhere in between.  The important thing is to realize how the size difference is going to affect your sound, interval size, and tempo.  The easiest way to affect sound is by our mallet choice.  If confronted by a particularly small instrument, it might be a good idea to use smaller, lighter mallets.  An example can be seen in Dukas' "The Sorcerer's Apprentice.”  A mallet that is popularly used for the first excerpt is a medium-sized hard mallet.  This mallet sounds fine on most high quality "standard" size glockenspiels, but on smaller bars they tend to sound heavy and clunky, and increase the possibility of hitting two notes at once with the same mallet.  A possible solution is to use a smaller, lighter pair such as the small Vauncrafts or a comparable mallet.  The sound and feel of these mallets is going to be quite different than what has been practiced.  Choices as drastic as that are at the descretion of the candidate, but some time should be spent in the practice room preparing for such a possibility; practicing excerpts with different mallets every now and again might not be a bad idea.
Playing on an instrument with a different height than what has been practiced on can be very distracting and uncomfortable when taking an audition.  If a candidate has to contort his/her body into unnatural positions, it can be very unattractive to a committee and disruptive to the execution of the music.  Keyboard percussion tends to be on the short side.  This is partly because of the influence of Claire Omar Musser, who was a short man.  Also, short instruments can always be raised, while the reverse is a bit more difficult.  If the candidate is a tall person, having a set of lightweight lifts is a good idea.  Wood blocks can be made very easily at any hardware store with a lumber department.  Another more lightweight option is PCB pipe. 
The timpani audition is a bit of a different experience from a percussion audition.  Obviously not as much equipment is going to be needed, unless the candidate brings his or her own drums.  A piece of equipment that the candidate will want to bring is a stool.  If a timpanist chooses to sit while playing, he/she should not count on an audition site to have a stool that will be at the proper height for playing or for proper pedal technique.  Sometimes there is no stool available.
Executing excerpts or solos with pedaling can be one of the biggest challenges to overcome in a timpani audition.  Bringing the drums that have been practiced on to the audition is by far the biggest advantage a candidate can give him/herself.  Unfortunately this is not always an option.  Doing homework on the model and make of the instrument to be performed on is very important.  It is a good idea to find out what the pedal system at the audition will be.  
 

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