Wynton Marsalis' horn
Obpheron
to come as close to a single block of metal as possible; you're right, the
mouthpiece is not separate from the leadpipe, another reason these horns cost
around $8000, I think. The more metal on the horn, the darker the sound and
the greater the response, supposedly.
Bach makes a MegaTone mouthpiece which incorporates the same idea. It looks
kind of like a French Horn mouthpiece more than a trumpet mouthpiece, and is
much heavier, again, to try to improve the response. I play one and can't
honestly tell any difference except in the notes below low C. It sure looks
cool, though, and any trumpet player will tell you that's the most important
feature. Bach also manufactures heavy bottom valve caps, much heavier than
the original. Of course, I bought some, but am not yet convinced of the
advantages, but at least I can say I own some!
Incidently, Monette makes a less expensive version of Wynton's horn which
looks a little more normal, yet still with unplated raw brass finish. Many
guys who are Wynton wannabees use this model. A friend of mine owns one and
it plays well.
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ooo /| |\ ----------------------
O========/ | O |\ James Kass
| III | \| O xeri...@delphi.com
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Brice Wightman
I'm just watching Wynton Marsalis, Live at Lincoln Center, on PBS. He has
a weird trumpet. There is a horizontal fin between the mouthpiece tube
and the bell tube. The valves are mounted in this fin. The tube to the
mouthpiece is the same diameter as the mouthpiece --- it looks like there
is no mouthpiece. What's the story on this instrument?
--
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Brice Wightman am...@freenet.carleton.ca
Ottawa, Canada VE3EDR
========================================================================
Ray Foster
Wynton plays a trumpet made by David Monette, a somewhat controversial
trumpet maker who is currently based in Seattle (I think). I believe that
one of Monette's big concerns is the effect of metal tension on the sound
of the horn, thus the unusually large braces. The unusual mouthpiece
holder is intended to control vibration of the mouthpiece (I think you
can only use a Monette mouthpiece with a Monette trumpet).
Judging from comments on the trumpet listserv, there are lots of
professional players who love these horns, and also quite a few who hate
them. I don't think that there's much middle ground. (I've never played
one myself, so I can't say.)
Ray
In article
<CtzL1...@freenet.carleton.ca>,
--
Raymond W. Foster Internet: fos...@indiana.edu
Indiana University, Bloomington IN USA
John Ewing
: Wynton plays a trumpet made by David Monette, a somewhat controversial
: trumpet maker who is currently based in Seattle (I think). I believe that
: one of Monette's big concerns is the effect of metal tension on the sound
: of the horn, thus the unusually large braces. The unusual mouthpiece
: holder is intended to control vibration of the mouthpiece (I think you
: can only use a Monette mouthpiece with a Monette trumpet).
Monette's factory is located in Portland, Oregon.
The horn that Wynton plays (also Terrance Blanchard and others) has the
mouthpiece integrated into the leadpipe (i.e. permenantly attached), hench
the unusual appearance.
I hesitate to make claims about why Monette horns are designed the way they
are, but I love the way my STC7 plays! It has more conventional looking
braces and a removable mouthpiece. His horns are very heavy. Mine weighs
in around 5 pounds ...
BTW, you can use the lighter weight Monette mouthpieces on other horns; I use
one on my 'lightweight' Bach.
: Judging from comments on the trumpet listserv, there are lots of
: professional players who love these horns, and also quite a few who hate
: them. I don't think that there's much middle ground. (I've never played
: one myself, so I can't say.)
The love/hate thing seems to be the only thing one can say about Monette
horns that is universally accepted!
--
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"Fate leads those who are willing. The unwilling it drags."
-- Antique Latin epigram
+-----------------------------------------------------------------------+
Jeff Beer
Ray Foster <fos...@nickel.ucs.indiana.edu> wrote:
>
>Wynton plays a trumpet made by David Monette, a somewhat controversial
>trumpet maker who is currently based in Seattle (I think). I believe that
>one of Monette's big concerns is the effect of metal tension on the sound
>of the horn, thus the unusually large braces. The unusual mouthpiece
>holder is intended to control vibration of the mouthpiece (I think you
>can only use a Monette mouthpiece with a Monette trumpet).
The horn with the moutpiece built in and fins is called the Raja.
Obviously, you can't use anything but a Monette moutpiece with that.
His other, more cheaper :), horns often use mouthpieces that are very
thick. Whether you can only use Monette moutpieces, that is what he
would have you believe. Perhaps on some of his middle range horns.
However, I have the budget Monette, and a standard moutpiece would work
fine. However, I have two Monette mouthpieces, one of them is the
flumpet model. ALthough when I first tried it out, I used a real
flumpet mouthpiece, and it was out of tune, but "I can fix that" said
Dave, and he fitted me with one for trumpet. Has a great sound, but I
can't get the attack I want, so I use another one which also has a
better upper register. His mouthpieces are great, I think that even if
you don't play a Monette, using one of his mouthpieces may be helpful.
>Judging from comments on the trumpet listserv, there are lots of
>professional players who love these horns, and also quite a few who hate
>them. I don't think that there's much middle ground. (I've never played
>one myself, so I can't say.)
What I would say is that they give you a very consistent tone throughout
the register. If it has a downside, that is sometimes at the expense of
response. I would have thought that to be just me, but I hear reports
that Adolph Herseth moved away from using the Monette horns, and he is
principle of the Chicago Symphony. When I saw Art Farmer on flumpet two
years ago, his sound seemed so distant, which would stem from a lack of
response and projection. But whatever was the problem, he
sure had it fixed the last time I saw him. Of course this is very
anecdotal and subjective information. But I still would put Schilke's
as more responsive, but again, at the expense of stability. Sometimes I
make notes that feel like I should have no business making, on the
Monette. I know on the Schilke, I wouldn't have been any where near
them.
Jeff
hl...@loc.gov
>
>
>I'm just watching Wynton Marsalis, Live at Lincoln Center, on PBS. He has
>a weird trumpet. There is a horizontal fin between the mouthpiece tube
>and the bell tube. The valves are mounted in this fin. The tube to the
>mouthpiece is the same diameter as the mouthpiece --- it looks like there
>is no mouthpiece. What's the story on this instrument?
I must say that I thought it was quite a weird trumpet, too!:)
Henry L. Lefkowitz
hl...@loc.gov
"If I am not for myself, who will be for me?
If I am only for myself, what am I?
And if not now, when?"
"All the world is a very narrow bridge,
And the main thing is not to be afraid!"
Amos Omondi
Obpheron <xeri...@delphi.com> wrote:
>I believe his horn is called a Monette, made in Chicago. The general idea is
>to come as close to a single block of metal as possible; you're right, the
>mouthpiece is not separate from the leadpipe, another reason these horns cost
>around $8000, I think. The more metal on the horn, the darker the sound and
>the greater the response, supposedly.
Marsalis gave a class at the music school here in March. On that
occasion, he was asked about his horn and its maker. He said that
it was custom-made for him by a fellow in Seattle, and he calls the
brand SC (for Stan's Cat) or something like that. He also added
that the main merit of the horn was its weight -- her prefers a
heavy one -- and just to prove that it is "the man, not the tool",
be borrowed a couple of horns (standard stuff) and played more or
less similar music.