Story of Pantheon Steel
The Evolution of the Halo
Meet the Team
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Meet the Team

Meet Aaron Ximm

Kyle’s Introduction

Aaron is a muse. He was one of the first people to reach out to me upon hearing of our Halo project in 2007. His thoughtful, helpful and intriguing nature has been one of our most valuable assets for years.  He embodies caring creativity. 

Aaron’s love and respect for the art form drove him to help us achieve many milestones. For nearly 7 years he was the voice behind the keyboard of our company never leaving an email unanswered. Our customers and enthusiasts have enjoyed getting to know him and likewise. Aaron continues to advise me anytime it’s needed.


“I am a long-time Halo Helper, sound artist, and software engineer, living with my family in San Francisco.

My love for the handpan dates to my exposure to the Hang in the mid-2000s, which led to active participation in the nascent international players’ community based around enthusiast forums. It was on these that I first heard the exciting news that an American steelpan maker (Kyle) was developing a new instrument, in what what come to be called the ‘handpan’ space.

My obsessive enthusiasm led quickly and naturally into an opportunity to help Pantheon Steel, and even before the receipt of my first Halo, Kiavara No. 0007. For years I was the Help Desk, managing sales, and suggesting (and describing) new sound models, growing our first website, and representing the company, both formally and informally, in numerous forums. Doing so was a tremendous gift as I was exposed to an incredible diversity of both musical talents, and beautiful deeply present people. Those early days of the handpan community were not always peaceful, but they were filled with explosive creative energy and passion–not least because of what Pantheon Steel was able to offer.

Apart from a few treasured sound models I devised, especially Golden Gate and La Sirena, the contribution I am most proud of is the creation of Pantheon Steel’s unique sliding scale lottery system. Though complex, it was designed to ensure that instruments would always be available for players of all means–and to absorb pent-up market demand, reducing speculation and subsidizing below-cost sales.”