Cornets
Gordon Hudson
Looking for some pointers here.
This is the situation:
The only regular playing I get the chance of is bras band cornet (I am in
the UK).
I don't do as much as I could because I have real problems playing the
cornet.
I believe that this relates to the instruments themselves rather than me, as
my trumpet sound
is good and I have no intonation or embouchre problems.
I find every cornet I try to be woolly.
I think they make these short model cornets to achieve a sound
at the expense of intonation and playability.
Its very difficult to get my Yamaha Maestro to slot properly in the mid
register.
A Bach mouthpiece helps a bit but there is no real focus.
Its a struggle to get it to produce notes in the right place at the right
time.
I have had a sovereing cornet in the past and found it to be better but
not by much.
So, my project for the winter is to find a cornet which plays "properly" by
my definition.
The only cornet I have ever had that did play well was a long model by
Besson (London)
called a Stratford but for reasons of street credibility and brass band
unwritten rules
a long model is out of the question.
Here is a list of possibles from companies who claim to have addresses this
problem:
Taylor: I emailed them with some questions but have not had a reply yet.
Smith Watkins: I dont like interchangeable leadpipes and choosing one for
the fixed version may be a hit and miss affair.
Wedgewood: A very large bore free blowing instrument by the sounds of it.
Besson Prestige: Up market sovereign??
Anyway, apart from the Prestige which I can try locally the others mean a
trip
down to various parts of England and Wales..
As I am not able to visit all of them I want to try and narrow it down.
So, is there anyone on this list with direct experience of these
instruments?
Or, are there any other instruments which may be freer blowing and provide
better
centreing of notes (e.g Schilke?)
All of the web sites have glowing endorsements but I noticed one person
was endorsing Wedgewood AND Smith Watkins.
So, where do I start?
Gordon
Dr. Trumpet
"Gordon Hudson" <use...@hostroute.com> wrote:
Gordon,
I own a very nice Getzen Eterna. I bought it from Jim Klages, who used it as
one of his three cornets (the other two were the same model and bore) as the
solo cornet in the President's Own Band in Washington, DC. He had to have
three so that there were no problems, and this one was one that he had used
during that time. Upon retirement, he no longer needed three, so he sold me one.
If you get a chance, these are REALLY nice horns....large bore, great valve
action, well in tune. I use a deep V shaped Monette flumpet mouthpiece on mine.
Wonderful dark tone and beautiful sound.
AL
Gordon Hudson
"Dr. Trumpet" <dr_trpt-...@hotmail.com> wrote in message
news:dr_trpt-spamfree-3B...@news.iquest.net...
> I own a very nice Getzen Eterna.
Interesting.
I was put off Getzen for life by a real dog of a Soprano cornet I was forced
to play
for 6 months.
Not sure how accessible Getzens are round here now but I will have a look.
I fully expect to be making a trip to London for this anyway.
Gordon
Dr. Trumpet
"Gordon Hudson" <use...@hostroute.com> wrote:
> "Dr. Trumpet" <dr_trpt-...@hotmail.com> wrote in message
> news:dr_trpt-spamfree-3B...@news.iquest.net...
>
> > I own a very nice Getzen Eterna.
>
> Interesting.
> I was put off Getzen for life by a real dog of a Soprano cornet I was forced
> to play
> for 6 months.
Yes, they are awful. But, the Eterna 850 Large Bore Shepherd's Crook is great!
Greg Evans
> > > I own a very nice Getzen Eterna.
> > Interesting. I was put off Getzen for life by a real dog
> > of a Soprano cornet I was forced to play for 6 months.
>
> Yes, they are awful. But, the Eterna 850 Large Bore Shepherd's Crook is
great!
I like my Getzen Capri "intermediate" line shepherd's-crook cornet. I found
that a Warburton 4M with an 8* backbore gives me a very nice traditional
sound - traditional American, anyway; I don't know much about what would
constitute a traditional British brass-band sound.
How does the Eterna compare to the Capri?
Robert
Getzen is to cornets what Bach are to trumpets, last I checked....
bdev
mine(shepherds crook)......does anyone have a used one for sale?
"Robert" <no...@nowhere.com> wrote in message
news:nrfatuotookiusic4...@4ax.com...
Rhocken
play than trumpets. I've play "tested" perhaps 30 old cornets in the past
several weeks, most of them vintage. The best one was an early-1900s Boston 3
Star, which has a huge bore and similarly large sound. Of the newer
instruments, I would concur that the Getzen 3850 custom cornet, plays better
than most. I think cornet mps are wildly different in design than trumpet mps
as well, and this can be a major factor in your difficulty. I was very
impressed with the new GR Sparks 3 cornet mp for a person who normally plays
trumpet (such as myself). A combination Getzen 3850 with GR Sparks would
perhaps be a killer combination for you. Cheers, Roy
William E. Graham
"Gordon Hudson" <use...@hostroute.com> wrote in message
news:ar348a$4r4$1$830f...@news.demon.co.uk...
3850 custom series...There's a C cornet in this series too. Look at
www.getzen.com
Robert
Besson C Classic. I enjoy playing the most of all my horns.
Gordon Hudson
"William E. Graham" <we...@attbi.com> wrote in message
news:2qdB9.43352$1O2.4551@sccrnsc04...
Thanks for these suggestions.
I had another go at the Yamaha (which is not a cheap instrument!)
earlier today.
To give you an idea, I was playing the William Weide variations on
My Love is Like A Red Red Rose
At the end of the first variation there is an arpeggio from
E first line to top C
The top C just doesn't seem to exist.
To get it to play it I have to kick it so hard it comes out with
a huge accent.
Everything just smears together up there.
It is just so frustrating.
I tried a few mouthpieces, my usual bach3 a DW 3
and the one supplied by yamaha and its the same story
Yet on the trumpet its a piece of cake.
I had a look for Getzen in the UK and the old distrubutor in
Birmingham seems to have disappeared.
I will keep looking
Gordon
Carl Friz Bart
ausfahren wie der Blitz , und Gott der Herr wird die Posaune blasten
und wir einherfahren in den Sturmen vom Sudland .
Carl Bart
Ed Grant
You have received several suggestion here. I'd like to add another....have
you tried different mouthpieces and stayed with each of them for a period of
time? I find that a lot, if not most, of the characteristic tone of an
instrument/mouthpiece is a function of the mouthpiece...especially when
mouthpieces tend towards the "large, deep and short" such as with typical
cornet and flugelhorn mouthpieces.
Get ye off to an agent with a "dealer's kit" (take your favorite horn and
favorite teacher or knowledgeable cornet player), and then go through that
kit (Warburton's kit is excellent although possibly hard to find in the UK).
Listen critically to the sound produced and ease of playing. Sounds to me
as if you've tried just about the "best of the best" in terms of horn
manufactures....could it be that either your mouthpiece or your concept of
desired sound aren't appropriate for the general type of instrument you
"want" to play?
Just my tuppence worth.
Ed
"Gordon Hudson" <use...@hostroute.com> wrote in message
news:ar348a$4r4$1$830f...@news.demon.co.uk...
Tommy T.
less D and a bit of flugel thrown in, I added a Wedgwood cornet to my quiver
last Spring.
It is a beautifully made instrument with several unusual features of which
you are probably aware, including .472" bore, oversize pistons with short
stroke and no "bumps" in the passages, Saturn water key, and removeable
bell. It is a totally custom instrument so you may specifiy what you like
as to hooks and triggers and the like as long as Denis doesn't think that
you are messing with the essential identity of the instrument. Bells are
available in different weights for different purposes. I have the heavy
bell for a dark sound. Denis offers a lighter bell, marketed to those who
prefer an "American" or jazz sound.
I find that the Wedgwood plays in tune very well up to a second ledger line
C with a rich full tone. Even some common trouble notes such as the fourth
line D and fourth space E are quite in tune. Above that C, for me, the
cornet begins to go sharp very quickly. I believe this is a result of the
choices that were made to tune the lower notes so well. With the
appropriate mouthpiece, my range and endurance approximate what I achieve on
my Bb trumpet.
Especially since you can problably find Wedgwood models that you may test
play, I strongly encourage that course if the cost of the instrument is not
a disqualifying issue.
For me, fnding the correct mouthpiece was an essential step. I tried
several before finding that the Wick 4BW was generally statisfactory. I use
a Yamaha 14A4a - GP on my trumpet and did not have good range or enddurance
on the normal 4B. The "W" indicates a wider rim which seems to have solved
the problem. The tone still sounds as I believe a brass band cornet is
supposed to sound. (Admittedly, I live in New England and do not face the
real scrutiny over my choice of instrument and mouthpiece that you might
have in other situations.) If I wish to tap into the upper limits of my
trumpet range when playing traditional jazz, I use a recently acquired
Kanstul G1 on a cornet shank. I am told that this is a copy of a model
known as the "Hein". It has a thin rim but with a gradual roll into the
semi-V bowl that is shallower than the Wick 4BW. This mouthpiece moves the
cornet's tone toward the trumpet sound but allows lusty high note blowing
for those "Dixie" medleys that are so popular for American concert band
"Pops" concerts.
Reference has been made earlier in this thread to the Sparxx cornet
mouthpieces. These were developed by a Canadian brass band player
specifically for the purpose of achieving a proper brass band tone in a
piece with improved comfort, range and endurance. I do not have personal
experience with these.
I would note that the Getzen that is quite popular with the New Orleans
style cornet players is not usually played with a brass band sound. I
assume this is in part a matter of mouthpiece choice and in part a
brightness inherent to the instrument.
Please consider these to be the subjective notes of a serious, but amateur,
trumpet gear freak and not the results of any systematic or exhaustive
investigation of the issues discussed.
Tommy T.
John Hensley
The Flip Oakes "Wild Thing" trumpets and cornets are frequently touted
as among the most free-blowing instruments around, and their fans rave
about the slotting, or centering, of notes as well.
I've never played one, but I've certainly seen scads of positive
testimonials.
According to Oakes' website, the official European dealer for Wild
Things is:
Tony Carter - Woodwind Specialist
7 Badgers Walk
Dibden Purlieu
Hampshire U.K. SO45 4BU
Tel ; +44 (0)23 80 845354
FAX; +44 (0)23 80 845354
MOBILE; +44 (0) 7740 594895
Email: flutep...@hotmail.com
I don't know how much of a trip that might be for you, but it sounds
like you might be interested.
John
"Gordon Hudson" <use...@hostroute.com> wrote in message news:<ar348a$4r4$1$830f...@news.demon.co.uk>...
< snip >
Seth Moore
learned.
I was able to compare the following cornets.
1. Schilke A2 and XA1
2. Lawler
3. Bach 184 large bore
4. Yamaha (not the Maestro), large bore
5. Stomvi Master (large bore)
1. The Schilke A2 is their long model (but still a sheperds crook design)
and the XA1 their short model. Both are great horns and a lot of fun to
play. Well built of course and a very even response throughout the range.
Valves are like lightning. I liked the XA1 better for brass band and solo
work. Overall though I felt that both horns were a tad on the bright side. I
also felt that the horns weren't quite fit for my medium size hands. My
right thumb always felt cramped. Nice horn overall though.
2. The Lawler was a really cool horn. A small compact design that felt
wonderful in the hand. Workmanship was great as one would expect. Very well
in tune up and down and a quite even response. The tone quality was really
quite unique. We described it as almost mossy or gauzy. Absolutely gorgeous
and smooth. However - I felt the horn as supplied kinda lacked projection
and would have gotten lost in BB work or solo work. A fairly restrictive
blow also. Very agile though. For small ensemble or intimate surroundings I
would go with this horn in a minute. Roy Lawler mentioned that he can put
any bell or leadpipe on his horns but unfortunately I was pressed for time
and couldn't try all his different iterations.
3. The Bach 184 (large bore) that I tried was a really nice horn. Small
and compact and comfortable to hold. Nice tone quality (a tad on the bright
side for my taste) and good intonation but the blow was fairly restrictive
for my taste. Valves were very nice but the silver
plating was only so so. I would say that it was an average, middle of the
road horn for my taste. A good horn at a fair price though.
4. The Yamaha that I tried (top of the line but not the Maestro) - large
bore was
really nice. Very smooth, with an open blow..
Good intonation and the build quality was very good. Valves were perfectly
smooth and fast. Tone quality was very smooth and the horn felt good in the
hands. A nice horn. Can't go wrong here.
3. The Stomvi Master (large bore) was my favorite horn (by a wide
margin) of the lot and the one I ended
up purchasing. I already own two other Stomvi Master horns (Bb and picc) so
the quality of the horn was no surprise. The build and finish on the horn is
as close to perfect as one can get. The blow on the horn was extremely
smooth and open. Like melted butter. Tone quality and response was the best
of the bunch for my taste (for solo and BBB). The horn also comes with two
bells (solid sterling silver and a gold plated brass one). I like the silver
one a lot. I use a Denis Wick "Roger Webster" model RW3 for solo and BB work
(2nd, 3rd parts) and the standard Denis Wick 3B for BB (1st or solo parts)
work. My horn and mouthpiece journey are over (for the time being :-).
Comments
1. I would have loved to have tried a Smith Watkins but nobody carries
the soloist model in the states so I couldn't try one. It would be about $
5000 to get one over here which is a tad much for my budget. I also hear
that their valve assembly is made by Kanstul and is not their top of the
line valve assembly. I hear that the bells are also made elsewhere. I
shouldn't count this against any horn but I think it's a tad much to
essentially pay for a Kanstul. I still would love to try one though.
2. If I live over there I would also love to try the Wedgewood horns.
I've heard nothing but good things about them. Just too hard to get over
here at a decent cost.
3. I would also like to try Flip Oakes Wild Thing. Heard nothing but good
comments about them also but they are somewhat pricey even over here. They
also have a $ 250 restocking fee if you want to return it.
4. I would really, really, really love to try a Monette 900 series. Jim
Klages has a new one and loves it and he ain't no slouch :-). I have heard
other great things about their cornets. They are super rare. Perhaps the $
8000 price tag as well as the 1 year delivery time has something to do with
it :-) I still hope in the back of my mind that I will hit the lottery and
be able to afford one of these some day.
5. I would have also liked to have tried the new Besson Prestige but was
warned off of them by more than a few dealers here in the states due to poor
quality control. I guess a few of them have had to send quite a few back.
Too bad.
Seriously - I would look at all of them (especially the British horns) - but
whatever you do make sure you try the Stomvi Master Ti large bore. Pick up a
Denis Wick "Roger Webster" RW3 mouthpiece to try all of these with also.
Have fun and good luck
Seth Moore
"Gordon Hudson" <use...@hostroute.com> wrote in message
news:ar348a$4r4$1$830f...@news.demon.co.uk...
> Hello
> Looking for some pointers here.
>
> This is the situation:
>
> The only regular playing I get the chance of is bras band cornet (I am in
> the UK).
> I don't do as much as I could because I have real problems playing the
> cornet.
>
> I believe that this relates to the instruments themselves rather than me,
as
> my trumpet sound
> is good and I have no intonation or embouchure problems.
>
> I find every cornet I try to be woolly.
> I think they make these short model cornets to achieve a sound
> at the expense of intonation and playability.
> Its very difficult to get my Yamaha Maestro to slot properly in the mid
> register.
> A Bach mouthpiece helps a bit but there is no real focus.
> Its a struggle to get it to produce notes in the right place at the right
> time.
>
> I have had a sovereign cornet in the past and found it to be better but
> not by much.
>
> So, my project for the winter is to find a cornet which plays "properly"
by
> my definition.
>
> The only cornet I have ever had that did play well was a long model by
> Besson (London)
> called a Stratford but for reasons of street credibility and brass band
> unwritten rules
> a long model is out of the question.
>
> Here is a list of possibles from companies who claim to have addresses
this
> problem:
>
> Taylor: I emailed them with some questions but have not had a reply yet.
> Smith Watkins: I don't like interchangeable leadpipes and choosing one for
> the fixed version may be a hit and miss affair.
> Wedgewood: A very large bore free blowing instrument by the sounds of it.
> Besson Prestige: Up market sovereign??
>
> Anyway, apart from the Prestige which I can try locally the others mean a
> trip
> down to various parts of England and Wales..
>
> As I am not able to visit all of them I want to try and narrow it down.
> So, is there anyone on this list with direct experience of these
> instruments?
>
> Or, are there any other instruments which may be freer blowing and provide
> better
> centering of notes (e.g Schilke?)
Jay T. Carrigan
the sound of my Bach model 25 Strad (large bore). I did lose several
notes off the top of my range, but on the other hand pedal tones are a
lot easier. Anything much above high C requires a great deal of effort,
but for that type of playing I usually just switch to trumpet.
Jay Carrigan change domain to mchsi
In article <3dd5bde5$0$1460$4c5e...@news.erinet.com>, jb...@core.com says...
>
><snip>
>
>3. The Bach 184 (large bore) that I tried was a really nice horn. Small
>and compact and comfortable to hold. Nice tone quality (a tad on the bright
>side for my taste) and good intonation but the blow was fairly restrictive
>for my taste. Valves were very nice but the silver
>plating was only so so. I would say that it was an average, middle of the
>road horn for my taste. A good horn at a fair price though.
>
>...
Gordon Hudson
"Tommy T." <thomas....@att.net> wrote in message
news:ar431j$f0amh$1...@ID-134792.news.dfncis.de...
> After many decades of playing primarily Bb trumpet with a little C, a
little
> less D and a bit of flugel thrown in, I added a Wedgwood cornet to my
quiver
> last Spring.
>
> It is a beautifully made instrument with several unusual features of which
> you are probably aware, including .472" bore, oversize pistons with short
> stroke and no "bumps" in the passages, Saturn water key, and removeable
> bell. It is a totally custom instrument so you may specifiy what you like
> as to hooks and triggers and the like as long as Denis doesn't think that
> you are messing with the essential identity of the instrument. Bells are
> available in different weights for different purposes. I have the heavy
> bell for a dark sound. Denis offers a lighter bell, marketed to those who
> prefer an "American" or jazz sound.
I was not aware he had a choice of bell.
This moves him up the list.
Money is no problem as I expect the horn to be used for at least 10 years
and plaid every day.
> For me, fnding the correct mouthpiece was an essential step. I tried
> several before finding that the Wick 4BW was generally statisfactory.
I Used to always play a 2B when I was using a Bach 1 on trumpet.
These days I am using a 3c on trumpet.
I may have to get something made with a similar rim, the DW ones have too
wide a rim
I have a 3b and its a bit wide on the rim for me.
>I use
> a Yamaha 14A4a - GP on my trumpet and did not have good range or
enddurance
> on the normal 4B. The "W" indicates a wider rim which seems to have
solved
> the problem. The tone still sounds as I believe a brass band cornet is
> supposed to sound. (Admittedly, I live in New England and do not face the
> real scrutiny over my choice of instrument and mouthpiece that you might
> have in other situations.)
If you want to hear brass bands go to
http://www.bbc.co.uk/radio2
Launch the radio player and you can listen to the current weeks
edition of Listen to The Band from anywhere in the world.
> I would note that the Getzen that is quite popular with the New Orleans
> style cornet players is not usually played with a brass band sound. I
> assume this is in part a matter of mouthpiece choice and in part a
> brightness inherent to the instrument.
I have been unable to find a UK distrbutor for Getzen anyway.
They used to be very popular but seem to have disappeared.
OK
I will contact Dennis Wedgewood on Monday and see if I can try one of his
instruments.
I think he is in wales which is just too far for a day trip, but there might
be someone in London
acting as an agent for him and I could try them out alongside other options.
I am just an amateur player these days and I live in an area which has a
strong brass band tradition.
The local shools brass band have been European champions many times and two
of the local bands
are in the top 10 of UK bands.
I think if you have been brought up with a Besson Sovereing cornet then you
get used to its
stuffiness and accomodate it.
My problem is that I know it does not have to be like that and having a
freer blowing instrument
really aids stamina which is important when you are playing all the time
like a violin in an orchestra.
Gordon
Gordon Hudson
"Ed Grant" <meg...@telusplanet.net> wrote in message
news:73gB9.3165$bh1.3...@news1.telusplanet.net...
> Gordon,
>
> You have received several suggestion here. I'd like to add
another....have
> you tried different mouthpieces and stayed with each of them for a period
of
> time? I find that a lot, if not most, of the characteristic tone of an
> instrument/mouthpiece is a function of the mouthpiece...especially when
> mouthpieces tend towards the "large, deep and short" such as with typical
> cornet and flugelhorn mouthpieces.
Yes, I moved from a Wick 2B having played that for 10 years and tried a 3B
then I swtiched to the bach 3
which has helped with intonation but cant overcome the basic weakness of the
instrument.
Mouthpiece is another issue I have to address.
Gordon
Gordon Hudson
"John Hensley" <jhen...@whitties.org> wrote in message
news:10d51521.02111...@posting.google.com...
> Gordon,
>
> The Flip Oakes "Wild Thing" trumpets and cornets are frequently touted
> as among the most free-blowing instruments around, and their fans rave
> about the slotting, or centering, of notes as well.
>
> I've never played one, but I've certainly seen scads of positive
> testimonials.
>
> According to Oakes' website, the official European dealer for Wild
> Things is:
>
> Tony Carter - Woodwind Specialist
>
> 7 Badgers Walk
> Dibden Purlieu
> Hampshire U.K. SO45 4BU
>
> Tel ; +44 (0)23 80 845354
> FAX; +44 (0)23 80 845354
> MOBILE; +44 (0) 7740 594895
> Email: flutep...@hotmail.com
>
> I don't know how much of a trip that might be for you, but it sounds
> like you might be interested.
Thanks
Actually thats the furthest its possible to drive from my home without going
into the sea.
I drive to Portsmouth sometimes and its an overnight trip.
Thanks for the info.
Gordon
Gordon Hudson
"Seth Moore" <jb...@core.com> wrote in message
news:3dd5bde5$0$1460$4c5e...@news.erinet.com...
> Gordon - I recently went thru the cornet purchasing cycle and here is what
I
> learned.
>
> I was able to compare the following cornets.
>
> 1. Schilke A2 and XA1
> 2. Lawler
> 3. Bach 184 large bore
> 4. Yamaha (not the Maestro), large bore
> 5. Stomvi Master (large bore)
>
> 1. The Schilke A2 is their long model (but still a sheperds crook
design)
> and the XA1 their short model. Both are great horns and a lot of fun to
> play. Well built of course and a very even response throughout the range.
> Valves are like lightning. I liked the XA1 better for brass band and solo
> work. Overall though I felt that both horns were a tad on the bright side.
I
> also felt that the horns weren't quite fit for my medium size hands. My
> right thumb always felt cramped. Nice horn overall though.
A bit bright for me really althoug their soprano cornet is the standard for
all top bands
over here.
> 3. The Bach 184 (large bore) that I tried was a really nice horn. Small
> and compact and comfortable to hold. Nice tone quality (a tad on the
bright
> side for my taste) and good intonation but the blow was fairly restrictive
> for my taste. Valves were very nice but the silver
> plating was only so so. I would say that it was an average, middle of the
> road horn for my taste. A good horn at a fair price though.
I had the ML version of this for a while in the 80s and found it a bit
bright.
The valve action was also a struggle for some of the more complex solos
which was the ultimate reason for ditching it.
The Long model is a great instrument for solo cornet parts.
I knew a guy who had one and it was great at the top lines in contest pieces
but I dont want to have run ins with guest conductors, so........
> 4. The Yamaha that I tried (top of the line but not the Maestro) -
large
> bore was
> really nice. Very smooth, with an open blow..
> Good intonation and the build quality was very good. Valves were perfectly
> smooth and fast. Tone quality was very smooth and the horn felt good in
the
> hands. A nice horn. Can't go wrong here.
The maestro is produced in association with Philip McCann and has had the
sound
opened out somehow at the expense of intonation and playability.
> 3. The Stomvi Master (large bore) was my favorite horn (by a wide
> margin) of the lot and the one I ended
> up purchasing. I already own two other Stomvi Master horns (Bb and picc)
so
> the quality of the horn was no surprise. The build and finish on the horn
is
> as close to perfect as one can get. The blow on the horn was extremely
> smooth and open. Like melted butter. Tone quality and response was the
best
> of the bunch for my taste (for solo and BBB). The horn also comes with two
> bells (solid sterling silver and a gold plated brass one).
I was not aware of this.
These horns are the same price here as the new Besson one and quite easily
obtainable.
At east one dealer can supply them on approval so it may be worth getting
one to try
> 1. I would have loved to have tried a Smith Watkins but nobody carries
> the soloist model in the states so I couldn't try one. It would be about $
> 5000 to get one over here which is a tad much for my budget. I also hear
> that their valve assembly is made by Kanstul and is not their top of the
> line valve assembly. I hear that the bells are also made elsewhere. I
> shouldn't count this against any horn but I think it's a tad much to
> essentially pay for a Kanstul. I still would love to try one though.
The mechanical stability of the interchangeable lead pipes concerns me.
They are also very expensive. I think the most expensive cornet produced.
> 4. I would really, really, really love to try a Monette 900 series. Jim
> Klages has a new one and loves it and he ain't no slouch :-). I have heard
> other great things about their cornets. They are super rare. Perhaps the $
> 8000 price tag as well as the 1 year delivery time has something to do
with
> it :-) I still hope in the back of my mind that I will hit the lottery and
> be able to afford one of these some day.
I looked at that as well but not really a "starter" for various reasons.
> 5. I would have also liked to have tried the new Besson Prestige but
was
> warned off of them by more than a few dealers here in the states due to
poor
> quality control.
A common Boosey and Hawkes complaint.
I think this has got worse since they moved component manufacture to
germany.
The process is no longer under one quality control system.
>
> Seriously - I would look at all of them (especially the British horns) -
but
> whatever you do make sure you try the Stomvi Master Ti large bore. Pick up
a
> Denis Wick "Roger Webster" RW3 mouthpiece to try all of these with also.
All of the comments by everyone have been very helpful.
I am going to check out various models.
I am intrugued by the Wedgwood, as long as the valve block was
not too big for my small hands.
The Stomvi also looks like a possible.
Gordon
Brian Jones
>
> 5. I would have also liked to have tried the new Besson Prestige but
was
> warned off of them by more than a few dealers here in the states due to
poor
> quality control. I guess a few of them have had to send quite a few back.
> Too bad.
>
That's a shame about the Prestige because Roger Webster tests every one of
those Prestige Cornets that leave the factory (according to the Boosey info
pack they sent me through the post last month). He can do this as Boosey
(Besson) instruments are built in batches - you know, Eb basses this week,
cornets next (an over simplification but you get the idea).
I'd have thought he'd have a bit more pride in a product that is so closely
associated with his name.
all the best
Brian Jones
Eirik Solheim
the British brass bands?
Eirik Solheim
"Gordon Hudson" <use...@hostroute.com> skrev i melding
news:ar591f$t33$1$8302...@news.demon.co.uk...
Gordon Hudson
"Eirik Solheim" <eirik....@eunet.no> wrote in message
news:ar5o6d$ef5$1...@oslo-nntp.eunet.no...
> What about the Courtois line of cornets - I thought they were popular with
> the British brass bands?
>
> Eirik Solheim
I have seen a few of them around but they are of a narrower bore
construction
so I did not shortlist them.
A bit over priced.
I rekon if you are going to pay more than £1500 you are as well going
for a true custom instrument.
Might be worth reconsidering them though.
Gordon
Seth Moore
"Brian Jones" <bri...@onetel.net.uk> wrote in message
news:3dd6...@212.67.96.135...
> Hi Seth
> >
>
> That's a shame about the Prestige because Roger Webster tests every one of
> those Prestige Cornets that leave the factory (according to the Boosey
info
> pack they sent me through the post last month). He can do this as Boosey
> (Besson) instruments are built in batches - you know, Eb basses this week,
> cornets next (an over simplification but you get the idea).
> I'd have thought he'd have a bit more pride in a product that is so
closely
> associated with his name.
> all the best
> Brian Jones
>
know a lot of people have been lusting after them.
Seth
Seth Moore
> If you want to hear brass bands go to
> http://www.bbc.co.uk/radio2
> Launch the radio player and you can listen to the current weeks
> edition of Listen to The Band from anywhere in the world.
Gordon - SUPER thanks for this tip. You guys are so lucky ! Just for that,
I'm going to have a double helping of tea and scones this afternoon. Maybe
even some crumpets :-)
ttfn
Seth
Mark Bradley
the cornet that is probably superior to all the ones you're talking
about, the Kanstul "Custom Class" CCC 930. They're a bargain at
places like Chuck Levin's Washington Music (301-946-8808)-- used to be
well under $1000. Despite the price I think they're the best
shepard's crook style cornet on the market. I'm not sure about the
exact prices now though. For brass band purposes and the like you
can't do better, in my humble opinion.
For an even better buy another very good cornet is the Kanstul "K"
series KCR 730. It's a large bore "American" style cornet with no
shepard's crook. More of a Buddy Hackett type horn. It can hang with
the trumpets in a section, yet still has the unique, smooth cornet
sound. I now have the KCR 730 (I've owned a couple of the CCC 930s
too). You can get one of these rascals, and believe me, they're
professional level, for about $500 or so. A great value and excellent
all-round cornet.
Something else to think about. (go to kanstul.net for more info)
Beeper02
>
> mouthpieces. These were developed by a Canadian brass band player
> specifically for the purpose of achieving a proper brass band tone in a
> piece with improved comfort, range and endurance. I do not have personal
> experience with these.
far superior in terms of intonation, slotting and consistency
thoughout the range. I use the #2, which is huge and tops out, for me
at least, at around a high C or D at the most, but it has a fabulous
rich dark sound and plays wonderfully up to those notes. The piece is
made by Gary Radtke at GR who I think is making the finest mp's
around.
> I would note that the Getzen that is quite popular with the New Orleans
> style cornet players is not usually played with a brass band sound. I
> assume this is in part a matter of mouthpiece choice and in part a
> brightness inherent to the instrument.
Not sure which Getzen you're referring to. I have a large bore Eterna
with rose brass bell that plays wonderfully and has that brass band
sound.
Gordon Hudson
"Mark Bradley" <jazz...@netzero.net> wrote in message
news:b2ca706d.02111...@posting.google.com...
> For the life of me I don't know why you guys aren't also considering
> the cornet that is probably superior to all the ones you're talking
> about, the Kanstul "Custom Class" CCC 930.
I am in the UK and that limits my choice.
My local dealer has started doing the Kanstul trumpets in place of the
F Besson line which has been dicontinued by Boosey and Hawkes,
but they dont seem to have the cornets, although
Phil Parker's might.
Gordon
Gordon Hudson
>
> "Gordon Hudson" <use...@hostroute.com> wrote in message
> news:ar588l$s74$1$8302...@news.demon.co.uk...
>
> > If you want to hear brass bands go to
> > http://www.bbc.co.uk/radio2
> > Launch the radio player and you can listen to the current weeks
> > edition of Listen to The Band from anywhere in the world.
>
> Gordon - SUPER thanks for this tip.
You are welcome.
They update the show every week and you will always find something
interesting in it.
Gordon
Mark Bradley
. More of a Buddy Hackett type horn.
Pardon me. I mean a BOBBY Hackett type horn. I humbly submit myself
to be sacrificed to the trumpet gods...
Oh, and by the way, I was talking to the folks at Washington Music
(don't tell my wife!) and the Kanstul KCR 730 cornet in lacquer is
$450. An incredible deal for such a nice little horn.
Bob DeSavage
wrote:
>jazz...@netzero.net (Mark Bradley) wrote in message news:<b2ca706d.02111...@posting.google.com>...
>
>. More of a Buddy Hackett type horn.
>
>
>
>
>Pardon me. I mean a BOBBY Hackett type horn. I humbly submit myself
>to be sacrificed to the trumpet gods...
>
That's OK. Just make sure that it doesn't happen again. 8-)
Toward the end, Hackett played a Schilke cornet as heard on his album
where he played music from Oliver.
If anyone can get their hands on it, he recorded two albums where he
was accompanied by a theater pipe organ. The first was named 'The Most
Beautiful Horn In The Word'. I don't recall the second one.
BOB
Seth Moore
news:<b2ca706d.02111...@posting.google.com>...
>
> . More of a Buddy Hackett type horn.
>
>
>
>
> Pardon me. I mean a BOBBY Hackett type horn. I humbly submit myself
> to be sacrificed to the trumpet gods...
Oh - I was thinking of Buddy Ebsen. Come and listen to a story bout a man
named Jed. A poor mountaineer, barely kept his family fed.....Maybe it was
Bobby Hackett playing the theme song ? :-)
Seth Moore
Don Valentine
London to see what they are carrying. I have found them to be very
knowledgeable and helpful as a customer buying very minor bits and pieces.
You'll find their details on the Web.
Regards
Don Valentine
Dartford Concert Band
"Gordon Hudson" <use...@hostroute.com> wrote in message
news:ar7pkl$hbs$1$8302...@news.demon.co.uk...
Catzz66
>. More of a Buddy Hackett type horn.
>
>
>
>
>Pardon me. I mean a BOBBY Hackett type horn. I humbly submit myself
>to be sacrificed to the trumpet gods...
>
Believe it or not, look at CDNOW's list of performers on the multiple CD
release of The Romantic Moods of Jackie Gleason listing Buddy rather than Bobby
Hackett. This is a cut and paste from CDN. =]
Performers
Lawrence Brown : Trombone
Wild Bill Davis : Organ
Mike Deasy Sr. : Sitar
Pee Wee Erwin : Trumpet
Buddy Hackett : Trumpet <---------------
Artie Malvin : Voices
Toots Mondello : Sax (Alto)
Charlie Ventura : Sax (Tenor)