Discussion in 'Horns' started by NYTC, Feb 14, 2005.

  1. NYTC

    NYTC Forte User

    Nov 1, 2004
    Do i really need to say more?
    Let's have opinions on these fine,fine horns
  2. trumpetmike

    trumpetmike Forte User

    Oct 11, 2004
    Farnham (a place too smal
    Never heard of them - ECLIPSE, however, are fantastic
  3. trickg

    trickg Utimate User

    Oct 26, 2003
    Never heard of Elipse trumpets. I wonder if they play as well as Eclipse trumpets. :lol:
  4. NYTC

    NYTC Forte User

    Nov 1, 2004

    MUSICandCHARACTER Forte User

    Jan 31, 2004
    Newburgh, Indiana
    Yep, that is always what I said when I missed the high notes "It is just one little 'C'" ... Never did go over well with the director.

  6. fatpauly

    fatpauly Pianissimo User

    Nov 11, 2003
    Ellicott City, Maryland
    Sadly, I have yet to play an Eclipse instrument, however, Leigh McKinney restored two Boston 3-Star cornets for me last year. His work on these 100+ year old beauties was stunning and immaculate, and as an individual, he is "Ne Plus Ultra"!

    Since arriving in the trumpet scene in the last couple of years, Eclipse has quickly built a small legion of devotees and admirers. I have never heard a single negative comment about these instruments.

    - Paul Artola
    Ellicott City, Maryland
  7. Still Trying

    Still Trying Pianissimo User

    Nov 23, 2003
    Lake Jackson, TX USA
    I have not been one of those guys, who changes trumpets every year or so, looking for "Just the right horn". I have never played a large selection of the most exclusive horns in existance. But I've played some very fine instruments including Bach Strads, Olds Supers and Recordings, and French Bessons. I also got to play the Wild Thing, that went on the recent tour.

    Of all the trumpets I've played, the Eclipse is the best. It's the most responsive and has the most beautiful tone of any horn I've ever played. Since I received my medium red Eclipse, I've played it in small jazz orchestras, large Jazz/dance band settings, and in a concert band. In a few weeks I'm going to give it a try in a symphony setting. At first I was a little concerned that the MR may not be as much an all around horn as a medium yellow would have been. Up to now those fears have proven totally unfounded. The horn just plays great and sounds great in every setting.

    I have also been playing on an Eclipse C trumpet some, although I haven't gotten to play one very much as of yet. I plan to give it a try out in the symphony setting in a few weeks also. The one I have (I borrowed it from Bruce Lee, the original Eclipse dealer in the States) has a yellow brass bell. And at home in the practice room, it also plays like a dream. I can't wait to actually play it in the setting for which it was intended. One thing about the symphony, I will be playing in, is that it rehearses in the same hall in which it performs. I've played in symphonies in the past that only did dress rehearsals and performances in a big hall. But I should be able to get a feel for the way the C Eclipse plays from the first rehearsal. I can't wait.
  8. RichN

    RichN Pianissimo User

    Sep 25, 2004
    UK (Mids)
    Mostly relevant, here's something I posted in 'the other place' last year. Gives a good impression of my opinions about Eclipses.

    On Friday, I was lucky enough to be able to visit the Eclipse factory to start looking for a replacement for my ageing Getzen Capri trumpet.

    The way it worked was that I turned up and got fed a coffee whilst Leigh McKinney chatted to me about the instruments, the company, etc. I then went in to their 'demo room' and Leigh took me through I think ten trumpets with six different bell designs. I played them all, drank a lot more coffee and ended up with a Medium Red and a Large Yellow left on the bench. I preferred the way that the LY blew but preferred the soud of the MR (but I am splitting hairs here!).

    Leigh then gave me the oportunity to comare them with a couple of other trumpets he had in the workshop, an Olds Recording, and Olds Special and a Conn Constellation.

    Now there are two reasons for writing this post...

    Firstly, all of the Eclipse trumpets were absolutely amazing to play. Some blew a little different, the different bells sounded different, but all were superb. None of the Olds trumpets (let alone the Conn) even got close. The problem I have is that I wasn't able to compare the Eclipse trumpets with their contemporary competition (Xeno, Strad 37 / 72, Caliccio, Schilke); has anyone been able to do this? What were your feelings? Most important, how does anyone feel that the Bach Strads compare in tone to the MR and LY Eclipses?

    Second, I'd like to give Leigh (and John and the other bloke whose name I don't know) a public thanks for three very enjoyable and informative hours. Yes, I know he's trying to sell me a trumpet but that amount of care and attention to customers is a real rarity. Anyone who's thinking of getting a new trumpet and can get to Dunstable (UK) owes themselves a visit. If you can't, you still owe it to yourself to give one a blow. They're amazing.

    Me, I've still got some work to do trying out the competition, but they have a very hard act to follow.

    After a few weeks learning about other peoples' opinions on here, on Friday I finally got round to trying out a variety of trumpets. Thought I'd share my thoughts. Remember - these are only one man's opinions...

    The trumpets tried were:
    Getzen 500 (my current trumpet - used as a reference)
    Conn V1 (standard bell)
    Conn V1 (sterling silver bell)
    Schilke B1
    Schilke B5
    Yamaha Xeno ML, reverse lead pipe, silver plate
    Yamaha Xeno L, silver plate S/H
    Bach Strad 37, reverse lead pipe, silver plate
    Bach strad 37, silver plate
    Bach strad 37, lacquer
    Stomvi Elite ML
    Callet Soloist, silver plate, S/H (in fairly poor condition)
    Kanstul 1500B, silver plate, S/H
    Wild Thing, gold plate, S/H
    Smith-Watkins 460R20 (with 12, 34, 36 and 72 leadpipes I think)

    I didn't really like the Conns. The standard one was a little too bright, and the silver bell one had slotting that was way over the top. Really hangs onto notes and makes slurs really difficult.

    The Schilkes were both a really nice blow, but I found the sound a bit too clean / clinical sounding. Also, no excuse for still using felts on the valves.

    The Yamahas were very competent, but I didn't find them that exciting The large bore one was the better, but weemed to lose it in the higher register (for me this is anything above the stave!)

    The lacuered bach was horrible. Comfortably the worst of the ones I played, outplayed by my Getzen! The two silver plate ones, however, were excellent, the choice between them would be down to style - whether I wanted asound that was more solid (typical Bach) or something a bit more lively. Anyone think the difference might have been between lacquer and silver, or just that the lacquer one was a 'bad Bach'.

    The Stomvi was a real gem. 90% of the performance of the Bach for a lot less money. Maybe a little to 'tijuana' in sound, but that's splitting hairs (and not always bad!).

    The Callet and the Kanstul were, again, solid competent horns but didn't really light my fire. Can't have helped that the Callet was in quite poor condition though.

    The Wild Thing, I found largely unplayable. It needed far too much air for me, and was just too different. Maybe a prime candidate for J-P-C's 'acclimatisation time' theory, but not a risk I'm prepared to take.

    The Smith-Watkins was a great great allrounder (I can't remember if I preferred the 34 or 36 lead pipe though). Kind of like a Bach but a little better in all areas. Also a great exercise in the (enormous) difference that a lead pipe change can make. Also really expensive.

    So, a conclusion......

    The trumpets left on the rack were the two silver plate Bachs, the Smith-Watkins (and my Getzen). Being a bit of a contrary sod, I really didn't want to like the Bachs, but I couldn't help it. They were really very good. I think my preference would probably be for the reverse lead pipe version. The Smith-Watkins seemed to do everything just that little bit better than the Bachs, and of course has the neat (or gimmicky, depending on your take) interchangeable lead pipes. It was also £2300 to the Bach's £1600-ish, and I didn't feel that the price would be worth it for me.

    None, however, even got close to the way I felt playing the Eclipse trumpets. With all of the above, it was a case of 'yes, nice trumpet', play, evaluate, put back on the rack. With the Eclipses, I couldn't get enough. The were really exciting to play, I only stopped when my lips had stopped working and I couldn't even get a mid-stave C any more. I now have to choose between a second hand Strad at £800-ish, an Eclipse MR and an Eclipse LY, both £2000 (althoguh the Eclipse Olds Ambassador conversions look interresting...).

    One last little point, the Schilkes showed me how comfortable a trumpet can be to hold. Until I picked up the B5 (the first one I played) I hadn't realise how uncomfortable the other trumpets were! I think it's because I've got pretty small hands and most trumpets make my fingers stretch a bit too much.

    Well done anybody who's made it this far without falling to sleep!
  9. RichN

    RichN Pianissimo User

    Sep 25, 2004
    UK (Mids)
    Felix..... this thread is getting perilously close to actually advertising Eclipse....... :shock:
  10. NYTC

    NYTC Forte User

    Nov 1, 2004
    Pure opinions,not advertising.
    I started the Taylor,Schilke,Lawler and Callet threads for the same reason.
    These are informative threads only.We talk about trumpets,we need to know more about trumpets.
    I have absolutely nothing to gain by adverising these brands,becides,i don't think that Eclipse needs more adverising.

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