Tio Faustino was the competent omelê participant of Pixinguinha’s Guarda Velha group. In the orchestral recordings carried out by Pixinguinha, Afro-Brazilian percussion obtained importance for the very first time. As well as dish and blade (João da Baiana’s niche, combined with the pandeiro), snare drum, caixeta, reco-reco, and pandeiro, there’s a lower drum audio that’s Tio Faustino’s omelê. The omelê may be the revised African batá released by Brazilians. The batá can be somewhat visually intense, and doesn’t listen in rainy or elsewhere humid times or locations. The Brazilian omelê is a superb replacement for the snare drum, the surdo, the bombo, the tamborim, the cuíca, as well as the atabaque. Placed more than a tripod, the omelê assumes the features of embellishment, not really rhythmic reading.