New Topic: Ten Favorite Bb trumpets you have played or owned
Dr. Trumpet
new topic and see where it goes.....
What are the ten best/ten favorite/ten best you've played or owned Bb
trumpets in your lifetime?
Since I started it:
1. Monette 149 XL Bb trumpet in gold.
2. Bach 37 ML Bb trumpet, vintage 1980, in gold
3. Hybrid horn made with a vintage 1970 Bach cluster, vintage 1983
Monette leadpipe, and Monette bell, with a Blackburn rounded tuning
crook, raw brass.
4. Conn Vintage One prototype. Great Bb trumpet. Would buy a new one
if I could find one that was as good as this particular prototype.
5. Bach 25 large bore in silver
6. Bach Strad, recent horn in silver, ML 37. Great trumpet-dealer let
me pick out three for my students and sold the one I picked out for
myself out from under me. I don't do business there any more.
7. Monette presentation horn-Ron Miles' trumpet-probably ranks higher,
but I only got to play it a short time.
8. Olds Opera vintage 1966.
9. Yamaha 6335 standard weight Bb trumpet-belonged to Dominic Spera.
Great trumpet...what a sound!
10. Getzen Eterna from early-mid 60's. Had odd looking Amados with
cones on them, and was a wonderful, bright, sizzling horn. Owner would
not sell.
There have been others, and are others in my current collection, but
these are the ten best I think I've ever played.
Yours?
AL
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Michael Bell
What about C trumpets?
"Dr. Trumpet" <dr_trpt-...@hotmail.com> wrote in message
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Gordon Hudson
> new topic and see where it goes.....
>
> What are the ten best/ten favorite/ten best you've played or owned Bb
> trumpets in your lifetime?
I haven't owned that many ......
But in order of liking:
1. Taylor Chicago Custom (recently aquired but beats #2 in many ways)
2. Yamaha 6335HS (still a great lighter weight horn)
3. Selmer 25 (old French model)
4. Yamaha 6310Z (a bit tight for me)
5. Bach Strad 37 (not enough projection)
6. Blessing ML1 lightweight (never really felat at one with it)
I tried a vintage one recently and felt it was very like a Bach 37 with the
same projection problems.
Thats the sum total of all the Bb trumpets I have owned over the years and I
really only played on two of them for any length of time.
Gordon
Dave Lee
Bach 37, 1973 year
King Silver Flair, 1972 year
Bach 43, 1981 year
Blessing Artist, 1944
Olds Studio, 1955
Olds Super, 1953
Yamaha 734, 1979
Callet, SLB early model 1986 (surprising huh?)
King Liberty, 1928
Conn 22B, 1955
The order for a couple of these is not that accurate, since this is a fairly
fluid kind of thing, depending on what I play. I think a couple of these are up
there because of the circumstance in which I play the horn, lending to a more
favorable memory. The King Liberty, well, I just love the horn, and maybe I'm
not that objective about the sound. Notice no big ticket items up there, I just
don't get that kind of exposure to those horns.
Dr. Trumpet
"Michael Bell" <be...@otelco.net> wrote:
> Were these in order?
Yes.
>
> What about C trumpets?
I guess labeling the thread Bb trumpet is only marginally defining, eh?
:-))
William D. Rowe
projection, great upper reg.
2. Calicchio large bore 1S-9RL, mid-nineties vintage. Silver valve cluster,
raw brass bell and lead pipe
3. Calicchio large bore 1S-2, mid-nineties vintage
4. Bach large bore 43/72, mid-seventies
5. Calicchio large bore 1SZ3RL - played one at the 2003 ITG conference,
great horn, marvelous bright, sizzling sound
6. Monette 149XL, also tried at ITG conference
7. Mount Vernon Bach 37 - owned by my wife's cousin, couldn't get him to
sell
8. Schilke B3L
9. Calicchio R37
10. Bach large bore 25/72
.
"Dr. Trumpet" <dr_trpt-...@hotmail.com> wrote in message
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Carl Dershem
@news.iquest.net:
Well, I haven't owned nearly as many horns as you have, but a few of them
have been "keepers."
1: Olds Ambassador. My folks got it for me in 1965, and I still have it
- it got me through a successful navy band audition, before my nephew ...
well, I won't say "trashed it," but it's no longer pristine.
2: Schilke B1L. I bought it while in the navy band, and it was a great
horn. Stolen out of my car between gigs about 13 years ago.
3: Martin "Mic Gillette" trumpet. Bought it in 1982, and still play it
regularly.
I've had a few other horns, but none that I feel as attached to as these.
cd
--
The difference between immorality and immortality is "T". I like Earl
Grey.
jon_norstog
#1 King Silvertone, about 1936 vintage - by far! Blow in it and out
comes jazz!
#2 King Silver Sonic, late 1950s
I've tried a lot of others and decided they were all about the same.
But I haven't tried the Selmer 25a or the getzen Doc, both of which
are supoposed to be pretty good.
I tried a Monette demo at Dave's shop and it was above and beyond
anything, but if I am gonna spend that kind of $, I'll spend it on my
kids' education, not on my miserable self.
jn
Carl Dershem <der...@cox.net> wrote in message news:<Xns9468B7F6F68...@68.6.19.6>...
Spencer Hager
years since my comeback and have played/sampled approx. 75 trumpets in that
time period. Of those 75 horns, I have owned 17 trumpets. Currently, I own
(7) Bb trumpets. They are WT Bb, Fullerton Olds Mendez, LA Olds Studio, LA
Olds Recording, Bach LB 25, Reynolds Contempora LB, & Reynolds MB model
unknown (XXXX) s/n.
There are only a few horns left I'd like to get my hand's on to play and
they are made by Flip Oakes, Lawler and Monette. Someday, I will own a Wild
Thing American style cornet (definitely!) and I'd like to play Monette's
whole line of horn's thinking I'd end up liking the LT series the best. Who
know's until you play them. Lawler's line also interest me because of the
quality of his horns and an experience I had with (1) of his screw bell
models. I only played it for 5 minutes but, it was the only horn I have ever
played that came anywhere close to my Wild Thing Bb to play. With that in
mind and after telling of my sample experience, there will not be (10)
trumpets listed. Sorry, my WT Bb silver plays so much easier and better than
anything I've played so far. With the exception of that screw bell Lawler,
the Bach's (all kinds of models and combo's - including NY and Mt. Vernon
lineage), Conn, Yamaha, King, Olds, etc., etc., etc., I find they vary in
playing charachteristics and are different but don't come close to the Wt
Bb. Except for
1. Wild Thing Bb silver (many thank's to a fellow r.m.m.t. Mr. Hill for
finding this used in a shop in San Diego - Flip has had it twice in his shop
over the years and it is tweaked to perfection). I love this
horn!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Easiest horn I
ever played - so far anyway ;-)
2. nothing so far comes close to #1 (really);
3. Lawler - screw on bell - silver - model number unknown;
4. nothing so far comes close to #3, let alone #1;
5. Olds Mendez 1957 MLB silver - kind of worn and has been re-done but plays
really well - quircky intonation but worth dealing with;
6. Reynold Contempora LB 1957 - free blowing and great intonation - took me
a long time to find this one;
7. Bach LB 25 bell - plays a little tighter than my Mendez but blends in
great with other players.
Spencer
Richie Bee
(the V1 is 4 horns in one for me)
5. Wild Thing - Gold
6. Yamaha Xeno - Silver
Didn't like any of the others.
R.
"Dr. Trumpet" <dr_trpt-...@hotmail.com> wrote in message
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Catzz66
special), Schilke B1, beat up Olds Mendez, LA Olds Ambassador, Olds Studio,
Lawler C.
Wish I still had: 70s Calicchio. The valves were not that great, but it had a
pretty sound, though it is nothing I can't duplicate with a Bach. It has a
good home now.
John L. Worley Jr
2. Bach Limited Edition 2002 vintage silver w/ gold highlights
3. Bach NY medium bore 1947 vintage laquer
4. Yamaha YTR 6335S 1985 vintage silver
5. Conn V1 w/#50 leadpipe 2001 vintage silver
6. Yamaha Custom YTR 9335S mid 80's vintage silver
7. Bach 43/43 large bore Elkhart 1976 vintage silver
8. King 2070L Legend 1999 vintage silver
9. Calicchio 1S bell/#7 leadpipe late 60's-early 70's vintage laquer
10. last but not least.....B&S Post Horn (in Bb) laquer. I bought it
last month and man is it fun to play. I'm using a Benge Mello #6 mpc
on it and it really has a cool sound. It sounds like a cross between
a cornet and a flugel. I like the rotary valves and how flexible it
is to play. If you haven't tried one, check it out.
Out of all the horns I listed, I still own 7 of them. I'm currently
playing the 72/43 lightweight but really love the Limited Edition
horn's sound. It works great for everything except playing lead in a
big band. So I switch off between the two depending on my mood and
gig.
John L. Worley Jr
johnworley.com
PS. What about a thread on one's 10 favorite mouthpieces????
Catzz66
Jon, I think this model (72*) is a real "sleeper" and will get more and more
popular as people get exposed to it. It is a good compliment to a regular
weight 37 if you are fortunate enough to have both.
Guess who?
My ten favorites, because they play great, were great deals, or just
because they struck my fancy. Not in any particular order
King Silvertone 1937
King Silvertone 1936
Conn gold 1922
King Liberty 1928 gold
King Liberty circa 1911 (there is some debate on these serial #s as to
year)
French Besson gold 1898, YES 1898! (not mine)
Benge # 10xx (not mine,)
Bach 50xxx
French Besson from the 30s # somewhere between 86000-89,000 (not mine
DAGNABIT)
My all time favorite is:
Bb miniature King Liberty (qualifies as Bb, eh?!) owned by an Italian
guy who uses it in a circus act. Best piccolo I ever played. He
wouldn't sell.
It plays way, way, WAY better than the one that was at the former
Trumpet Museum in Pottstown. Needless to say; it smokes any Schitke.
Guess who?
> King Liberty, 1928
Dave Lee
G or C Elliott *
Wild Thing (gold)
Glenn
* Re: Our address...From a Scot ballad, circa 1350:
"Oh, my name is Little Jock Elliot, an' ( wha daur meddle wi' me?")
Tommy T.
periods ranging from a couple of weeks to ten years and I've done quick
demos of many, many more, the only ones that really stand out from the pack
are:
1. Wild Thing with tweaks and #1 tuning slide.
2. Same Wild Thing with tweaks and #J-1 tuning slide.
3. Early Callet (Allied) .470 bore with no model name -- sometimes called
the "New York Callet" because those were the only words on the bell.
4. Schilke B-2 from the mid-'60s.
"Dr. Trumpet" <dr_trpt-...@hotmail.com> wrote in message
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Greg Evans
> 1. Wild Thing with tweaks and #1 tuning slide.
> 2. Same Wild Thing with tweaks and #J-1 tuning slide.
Tommy -
How about a review of the two slides? What are the differences? Do you
like the regular #1 better, and why?
I've considered getting a local tech to unsolder the brace on my #1 tuning
slide and getting an adjustable brace to replace it so that I can
experiment, but by that time I've probably spent as much money as it would
take to just buy a J-1 outright...
Tommy T.
"Greg Evans" <mis...@larkbooks.com> wrote
> > "2. Same Wild Thing with tweaks and #J-1 tuning slide."
>
> Tommy -
>
> How about a review of the two slides?
OKay. I guess to understand my review, you need to know something about me
first. I've been playing without any substantial layoff for a little more
than 50 years. I had one year of music school fresh out of high school but
clearly didn't have what it takes to sustain a performance career and wasn't
interested in teaching. I currently play first cornet or trumpet in three
Massachusetts adult
concert bands (Concord Band, Lexington Bicentennial Band, Charles River Wind
Ensemble), each with weekly rehearsals and a year round concert schedule. I
do one or two pits each year, usually community theater or community Gilbert
and Sullivan, although I have done some professional summer stock and,
rarely,
have subbed in Boston. I play first trumpet with a community orchestra and
chorus that
does an important mass or other large vocal work twice a year. After being
away from the jazz scene for a while, I've started rehearsing with a "dance
band" that was in need of a "lead" trumpet.
I play reliably and with good technique to a third ledger line E, by which I
mean that at the end of a band rehearsal I can play an extension of Clarke
Technical Study No. 1 starting with reps on low Bb (chormatic to E and back)
and working up with reps on Bb in the staff and then reps on high Bb and
back down all in one breath and at quiet volume. The fourth ledger line G
is the highest that I play in public and that I use only when the use is
optional and the consequences of a miss are negligible -- such as a spiked
ending on a Dixieland feature when I can go for it only if I feel up and
when a miss on the low side is a 7th and a miss on the high side is a 9th,
either of which will work for a "jazz" ending. Above that G, my tone
rapidly becomes thinner and while I can usually run a scale to double C, I
very rarely do so in front of anyone else.
I am playing on a Yamaha 14A4a -GP mouthpiece, reamed out to a #20 drill
size throat.
So, Compared to the #1 tuning slide which has been my sole choice since
acquiring the horn about six years ago, I found that the J-1 tuning slide
produces a more "brassy" tone, noticable to me from the top of the staff G
on up. Above the C two ledger lines up, the J-1 is distinctly more secure
in the slots, especially for the F to A range which is the top of what I
play as musical notes. It seems to me that those notes must be played more
strongly with the J-1, but that they then have a lot more tonal quality.
The A is as good as my G normally is. My scales on up to the "dubba" still
get thin quickly and the dubba itself is as weak as ever. Based on this, I
would say that the J-1 is a better slide for high, lead style playing where
the performer wants a tone that cuts over a loud band and a feel that is
secure and a sound that is "fat and brassy" in the above high C range.
However, I am not that kind of player. I like the dark tone that I get with
the #1 and, as WT owners will know, have no real problem making myself heard
when I need to. I played the J-1 for two complete weeks of band rehearsals
and found that I was always more tired at the end of the evening with it
than with the #1. Especially with my reamed out mouthpiece, I find that the
WT with the #1 doesn't take a lot of effort to play -- just relax and let
the air flow. I feel a little more resistence with the J-1 any place above
the staff and in the course of an evening that takes its toll.
The J-1 is an interesting option. I expect to use it occassionally when I
have a solo that goes above high C in a program that is not otherwise that
taxing.
Nota bene: None of this is very extreme. I am probably overstating the
differences in order to convey my very subtle impressions.
Tommy T.
Greg Evans
Thanks for the review. That's the opposite of what I was expecting from the
J-slides. I had assumed that less bracing would result in (a) a more
resonant tone, not more brassy, and (b) easier slurs rather than more secure
slotting. So I'm glad I asked! I think I'll wait until my range improves
and I can reap the "in the stratosphere" benefits you mentioned before I
plunk down any money for a J-slide.
What I find with the stock #1 and #2 slides is that the #1 gives the
biggest, most open and fat tone with the easier "upper" range (I haven't
broken the 4th-ledger line G barrier yet) while the #2 has a slightly
smaller and more intimate tone and more restricted feel above the staff but
smoother, more fluid slurs. I wouldn't mind getting smoother slurs on the
#1 slide, but as you say the differences aren't exactly glaring anyway.
Greg
Spencer Hager
I'd be interested in your thoughts with the J-1 slide. I also use the #1
slide and have a J-1 on backorder and would like to have more to fantasize
before it get;s here. :-0
Thnaks in advance,
Spencer
"Greg Evans" <mis...@larkbooks.com> wrote in message
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Tommy T.
"Greg Evans" <gregIGN...@charter.BLATHER.net> wrote I had assumed
that less bracing would result in (a) a more
> resonant tone, not more brassy, and (b) easier slurs rather than more
secure
> slotting.
My results with the WT slide choices are consistent with an afternoon I
spent playing with a MAX with a removeable brace.
I think this is also consistent with the observations of R. Schilke that
annealed bells (softer) were "brassier" that tempered bells (hard).
Schilke's theory was that the softer bell (or unbraced slide) could absorb
parts of the complex sound waves leaving more of a pure sine wave, while the
hard bell (or braced slide) was unable so to interact leaving a more complex
tone. The complex tone is perceived as "darker" while without all that
complexity the tone becomes "harsh" or "brassy".
Tommy T.
Greg Evans
> Greg,
> I'd be interested in your thoughts with the J-1 slide.
I'd be happy to accomodate you, except that I haven't tried the J-1!
Probably by now you've read Tommy's review of the J-1, and my earlier post
about my own impression of the difference between the regularly-braced #1
and #2 slides...
Mike TERRY
played. Picked
it out of dozens on display.
2. WT Bb.
3. Selmer DeVille. Just picked up another
like it, plays just as good.
4. Olds Studio and Special models, circa early fifties.
5. Leblanc (Paris) 1955 circa.
6. Yamaha 6310Z.
7. Conn 60B
8. Olds Super
9. Selmer, early 50's 25 series.
10. Schilke, tuneable bell, can't remember the model number.
Mark Bradley
Committee. Truly a super horn, I just love this rascal.
2. Kanstul Chicago-- I've played and owned a bunch of Kanstuls but
this rascal is a real sleeper. A little tank of a horn, a copy of the
old Benges I guess (never played them). This is my new all purpose
horn-- I'm in love! This horn is a little monster.
3. Conn Vintage One-- gold plated, standard model. I played this for
over two years before selling it for no good reason. An excellent all
round trumpet. I'm not selling the V1 flugel...
4. Kanstul 1500-- the copper bell. I actually liked this horn better
than the V1 but it wasn't quite as versatile.
5. Stomvi Elite 330-- A wonderful, warm sounding horn-- much nicer
than any heavy weight Yamaha I've ever played (similar though). A
little stuffy. I'd like to try the reverse lead pipe model someday
(too many horns, too little money).
6. Calicchio 1s/7-- a little bright but a very fine horn. I'd love to
try one of the new John Duda Tulsa models.
7. Kanstul 900-- A great all purpose trumpet, I played this model for
a year or so-- no regrets.
8. Yamaha "Vax" 6335HSMV-- the best of all the pro Yammies, IMO. For
the life of me I don't know why the Shew and Zeno horns get all the
press. This is a very nice player (soon to be discontinued I've
heard).
9. Kantul 1503-- sort of like a Bach 72. Great tone but it just
proved to be too much for me over the long haul.
9. Besson lightweight 462-- Kanstul made. The Najoom leadpipe is NOT
for me-- like trying to blow a tennis ball through a garden hose.
10. King Silver Sonic-- from the early 90s I think, anniversary
edition. I loved the sterling bell but the rest of the clunky
workmanship unfortunatley put this baby on the bottom of this list.
There have been others I could mention-- most notably a Blessing ML-1
I was crazy about for 15 minutes or so. I'm such a cheapskate I tried
to convince myself this was a good horn-- it just wasn't so (well, I
take that back-- it was an "OK" horn). There are others I'm too
embarressed to admit I've owned...
TimR
I think the differences Schilke noticed are greatly exaggerated, but
assume there is some discernable difference and that softer bells
actually sound brighter/brassier.
The explanation cited does not make sense. Sine waves are pure
rounded sounding. Flutes at less than forte and trombones in the very
high register put out nearly pure sine waves, and their tones are
anything but bright and brassy or edgy. Nor could softer bells really
absorb anything - they might possibly resonate at lower frequencies,
subtracting a tiny amount of energy, but that's it. We do not have
good agreement on terminology for timbre, but clearly brightness is
related to having more overtones, not less.
Here is another plausible but unproven explanation for the effect.
Softer bells do not vibrate as much when driven by the air column.
Therefore what reaches the player's ear is more air column sound than
the secondary vibrations coming off the bell. (This is a good thing
as it is the air column sound which reaches the audience, though the
player can hear the bell as well.) With bell materials that tend to
"ring" more, the player is getting feedback from the bell as well.
This feedback causes the players brain to think the sound is too
bright. In the feedback loop where the player is constantly striving
to make the horn sound match his internal concept of tone, this
registers as an error. The brain compensates by making the tone
duller through physical changes to embouchure and airstream. Without
that feedback the air column sound would remain identical, but you
can't avoid that feedback, hence harder bells contribute indirectly to
darker sound.
Dr. Trumpet
mtbr...@sbcglobal.net (Mark Bradley) wrote:
> There are others I'm too
> embarressed to admit I've owned...
Truer words were never spoke. I think we all can identify with this one!
Trent Austin
Agh...
Here it goes.
1. Eclipse Large Red. It's my Money horn, the most amazing match
for me. Something's wrong when I stop blaming my equipment. (NEVER
FOR SALE!)
2. (tie) Monette B937 in Gold and Taylor Custom gold (recently sold)
... I had to sell both of these due to financial crunches but these
horns were automatic. Amazing HEAVY HEAVY HEAVY horns. They almost
played themselves!
4. Bach L Bore Mt. Vernon Gold plated supposedly owned by Wendell
Culley of Basie's band. The horn was absolutely nutty too. I wish I
hadn't sold this one.
5. Monette Chicago 149XL in Silver plate. Nice example of the
Chicago Monettes. It was a little worn but still played great!
6. Bach L Bore 25 in silver. Geez... I still own this one and use
this when I need a brighter sound than my L red like on salsa bands,
etc.
7. Olds Mendez trumpet. i bought this one Used for 300 bucks and
this was a sweet playing horn!
8. Edwards L Bore Gold Plated... I lucked out with this one, the
guys at the Edwards shop really made a great one here.
9. Olds Clark Terry Bb. I bought this to match my Olds CT flugel
because CT is my big idol. This horn is excellent and plays great
with a big core.
10. All the 100's of other Bb's I've owned. I'm terrible.
Great thread AL!
Best,
Trent
Guess who?
lists. I am now tyhinkiing that mine was made in 1929. Though it
was probably still pre-crash.
Do you have documentation on the year yours was built or are you just
guessing, like me?
Dave Lee
CHEZ
I love it.
ALAN CHEZ
John L. Worley Jr
The 72/43* ml was very popular in LA in the mid 70's. It was
considered a lead trumpet. It's pretty open for a ML bore and has a
nice sizzle to the sound when you put some air through it. It also
worked pretty well when I played it for a weding ceremony.
In regards to #37.... They always felt too tight to me and stuffy in
the upper register, especially with a 25 leadpipe. I'd rather have a
65* bell on a 43 or 25O leadpipe, * model. JMHO.
My NY Bach (#7475) med. bore has a 37B bell. It's has a two piece
bell but still has a beautiful sound.
John
Zoot
> well,
>
> Bach 37, 1973 year
> King Silver Flair, 1972 year
> Bach 43, 1981 year
> Blessing Artist, 1944
> Olds Studio, 1955
> Olds Super, 1953
> Yamaha 734, 1979
> Callet, SLB early model 1986 (surprising huh?)
> King Liberty, 1928
> Conn 22B, 1955
i also have a 72 silver flair. what a sleeper. i love this horn.
my liberty is a 27 i think. its kind of rough. never been able to move
that X section. still fun to have.
JoeGuy
martin committee
olds mendez
1974 getzen eterna
bach strad
king tempo
conn constellation
1972 baldwyn
buescher
yamaha
"Greg Evans" <mis...@larkbooks.com> wrote in message
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