Monette sound concept: a dichotomy in views by trumpeters vs everyone else

Discussion in 'Trumpet Discussion' started by RichJ, Aug 3, 2010.

  1. CHAMP

    CHAMP Piano User

    Nov 16, 2005
    i've heard mr. laureano play in person, out front, in a concert hall and the blend was exceptional with him on his monette and mr. carlsen and mr. dorer playing "conventional" horns...because their SOUND CONCEPT IS THE SAME
  2. RichJ

    RichJ Piano User

    Jan 16, 2008
    Northern Virginia
    I don't think Manny's sound concept is the same actually. He'd like to play with a darker, rounder sound but the conductor feels otherwise, so he compromises with a lighter Monette. I think that is documented in the archives of this board. He used to play an Ajna II and a 937 Monette in the section but now he plays a P1 or lighter horn. On the YouTube video where he plays 5 Monettes, he preferred the P3 but that's not the horn that he personally plays in the section. He accomodates others' tastes. Nothing wrong with that, but the horn makes a difference for sure. Check out his early 1980s recordings and you'll hear a dramatically different trumpet tone from Manny (pre-Monette). I can't say that I prefer one over the other actually in his case, though I never heard him live pre-Monette.

    EDIT: Just to add to this, I've heard the Minnesota Orchestra live as well. Somewhere around here I've got a candid of me with Manny in the Shed at Tanglewood. I agree that Manny blends fine with the others, though I think the rest of the section could support him better if they were playing with comparable instruments. Same could be said of a principal player using a Bach and having a section of Monette players. They might all "blend," but...
    Last edited: Aug 3, 2010
  3. rowuk

    rowuk Moderator Staff Member

    Jun 18, 2006
    I am saying that in a concert experience, that there is no "comparison" and the audience just hears beautiful trumpet. I said exactly what I meant. The musicians have a job to do which is to convey the meaning of the music.

    I often get frustrated at the geeks that think a bit darker/lighter/fuller/thinner makes any difference when it is in the complete context. It just isn't true. The audience is not interested in 26.5% or 31% fundemental, 18.3% or 12% first harmonic, 7% or 10% third harmonic and so on. I am interested if the PLAYER understands what they are playing and conveys that to me in the audience. It is about music and nothing else.

    Dave Monette does build his horns differently. His clients get a different hammer. The musical result is still the music and the required context remains the same, regardless if I have a section of Bachs, Monettes or Yamahas. If the music calls for bolts of lightning, or a diabetes inducing sweetness, the PLAYER has to be able to create that.

    As far as recordings go, I place little faith in what I hear. My son is a professional recording engineer and from experience I can say that they take GREAT liberties with microphones, EQ and compression. What you hear is NOT what really happened.

    I like Mannys elegant style of playing and compare it often to Gilbert Johnsons when he was in Philadelphia. Listening to those two, the brand of horn never comes into mind rather that they both "get it" and convey the essence of the composition.

    Blend needing matched sections is the biggest lie that players are fed with. There is more difference between two players with the same horn than between different horns. The key to a section sound is in the heads of the players. It is amazing how sections with mixed brands (like in almost any UK or german orchestra) don't have any problems. Or jazz brothers also do not blame the hardware. How many top jazz bands are all playing one model of trumpet - and mouthpiece?

    Nope, this discussion about the virtues of the Monette are all in the wrong place. Daves different hammer lets the player that agrees with his concept go about his work in a different, I will say more relaxed way. The musical results though are a function of the music, not the hardware. The players job is to understand the hardware and massage it to get the musical results. In theory, the players have more margin is the hardware is more transparent. To be honest, with Manny, Mike, Phil, Gilbert, Tom, Bill, Bud, Bernie and Charlie I never noticed anything missing - even playing recordings back to back.

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