[1] They were developed as an alternative to classical timpani in Cuba in the early 20th century and later spread across Latin America and the United States.

Because of the historical overlap in the use of timpani and pailas (both called timbales) by danzón orchestras between 1900 and 1930, usage of the term in that period is ambiguous.

Timpani were replaced by pailas, which were made from the body of a commonly used metal pan (later, cans of lard were used to make timbalitos).

Unlike classical timpani, these are always hit with straight batons (thicker than standard drumsticks, and not shaped: they are of uniform thickness along the length) that have no additional head.

[1] Timbales became an integral part of a smaller type of orchestra that superseded the orquestas típicas in the early 20th century, the charanga.

[6] In the 1950s, timbalero Silvano "Chori" Shueg became a sensation in the nightclubs of Havana due to his skillful improvisations on timbales and other homemade percussion instruments, while Walfredo de los Reyes and Guillermo Barreto explored new idioms with the instrument in jam sessions known as descargas; they were influenced by American jazz drummers such as Max Roach and often doubled on the drum kit.

In the 1970s, innovations in timbales playing mostly came from songo groups such as Orquesta Revé, directed by timbalero Elio Revé, Orquesta Ritmo Oriental, featuring Daniel Díaz on timbales, and Los Van Van, whose timbaleros, first Blas Egües and later Changuito became masters of the instrument.

However, it was New York-born percussionist and bandleader Tito Puente who became the leading figure for the rest of the 20th century, often being referred to as the "king of the timbales".

Several other Puerto Rican timbaleros also rose to prominence during the 1950s, like Willie Rodríguez, Humberto Morales and Rafael Cortijo.

In the 1960s, the incipient New York salsa scene saw the emergence of Kako, Manny Oquendo, Jimmy Sabater, Orestes Vilató and Nicky Marrero.

Mexican-American percussionist Pete Escovedo, his brother Coke and his daughter Sheila all became accomplished timbaleros in rock, jazz and funk.

Manny Oquendo (1931–2009) played timbales solos famous for their tastefully sparse, straight forward típico phrasing.

[14] By the late 1940s and early 1950s, some timbaleros ('timbales players'), particularly Tito Puente, began incorporating the rhythmic vocabulary of rumba quinto into their solos.

Manteca, Papaíto, Félix Escobar "El Gallego" and Manny Oquendo were masters at playing the bongó part on timbalitos.

Meinl also produce a set of mini timbales of traditional depth but 8" and 10" diameter, also suitable for drum kit usage.