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Discussion in 'Trumpet Discussion' started by Comeback, Jan 19, 2013.
Unfortunately, it's not local. And, no trial period
I don't believe I have played anything but a Strad in public since disco first broke on the music scene .. literally only Strads. A local artist has had me sit in a few times at a restaurant, mostly just doodling with a harmon mute in the horn. While there is a PA system the group plays pretty soft.. couple of acoutic guitars and a standing bass. So I thought I would use my 60's proto type(?) Holton ... it's a little darker and easy to play soft ... to be honest I forgot I even switched horns until I got home. I dig having some cool older horns around the house but if I ever the opportunity to play in a paint peeling venue ... the Bach is what I play.
Seems like you are really enjoying your 30 day test .... very cool idea.
It's gone, Comeback
Vulgano Brother wrote:
Vulgano Brother wrote what appears above in an earlier post to this thread. For all the writing and hand-wringing we do concerning gear, we do not want to lose sight of the thought he expressed. Best wishes to you going forward, Buck.
Thanks, Comeback. I know the sound I want, it's just that the memory of the LB haunts me. It was dark and rich. The LTD I have now isn't quite there, and is only an intermediate horn. I believe it's based on the TR-200 instead of the Omega( another strike)
The first horn of my own was a Holton Galaxy Bb cornet that must have been purchased in 1963 or 1964. It was succeeded by what I remember to be a very pretty French LeBlanc Bb trumpet that I played until shortly after graduating from high school. I bought it myself via trading the Galaxy in 1966 or 1967. I sold it in 1972 or 1973 to help pay for my wife's and my honeymoon. There are times when I long for the LeBlanc. My memories about it are all positive, and nothing about it held me back. I played the Haydn on it for a state competition and won a gold. But I know more now then I did all those years ago. I do not care much for triggers personally, and the LeBlanc had one on the 1st valve slide. Quite frankly, I would not trade the Strad or Super Artist for another LeBlanc identical to the one I owned (which I have never seen!).
I actually have a point to this ramble. Memories of trumpets past can sometimes loom larger in our minds than warranted. Unless a trumpeter is into collecting, being sure all available musical satisfaction is wrung from what we have should probably be an imperative. I sometimes experience a little guilt when I consider the eight instruments stuffed in the closet while I play the one that has captured my attention for the moment. However, the guilt does seem to pass soon enough.
Re: Trumpets Past
Yeah, they can do that. I guess some of my best after graduation experiences were on that horn ,though. My horn through high school was a Reynolds Argenta, then I got the Bach. After it was gone, I picked up the Yamaha listed in my sig. did some nice things on that one, too. Guess I'm just not overly happy with this Bach. I can get by on it, but it's just not there for me.........
Speaking of old horns we used to play, I played a Conn 6B in high school. It was a pretty nice horn, but when I decided to start playing again, I sold it to buy C trumpet, which I needed. I regretted selling it shortly afterward, but it was gone. A few years ago, I found a nice one on eBay, same vintage as my old one (1960-1961), and bought it. It's actually in nicer condition than my old one was. Anyway, it's better horn than I remembered (or maybe I'm a better player), and I play it from time to time. Still not quite as good as my old Strad, though.
Wrapping It Up - Strad Pledge
I wrote the following for a blog I'm playing with. It sums up my month long experience, which was quite good, with my 2000 Bach Stradivarius 180S37 and Bach 3C mouthpiece.
For those unfamiliar with trumpets and trumpet playing, the instrument named in the title of this post is a piston trumpet keyed in Bb, which is the most common musical key for trumpets intended for all-around musical purposes. It is a professional grade instrument with many decades of successful history (mine was manufactured in 2000) and is considered by many to represent a certain standard of quality for Bb trumpets. "Strad" is a common nickname for this instrument in trumpeters' circles.
I have owned this Strad for three months or so, and have just finished what I refer to as a "Strad pledge", wherein I played it exclusively for a month in order to thoroughly acclimatize myself to the trumpet and its mouthpiece. Such acclimatization for an appreciable time is essential for developing a true "feel" for the instrument, in my opinion. I suppose I have logged forty to fifty hours on it. The mouthpiece contributes significantly to a successful playing experience, and there are hundreds, perhaps thousands, to choose from. My choice for the Strad was a Bach 3C mouthpiece, which is a common popular choice that seems well-suited to many players, including me.
Performance of the trumpet-mouthpiece combination is what is most important to trumpet players. The Bb trumpet is an instrument of the treble clef musical staff. Its common playable range begins at Gb below the staff (lowest playable note) and typically extends to D or E above the staff (highest playable note); please understand that many skillful trumpeters can play higher than this. There are instrument response aspects that mean a great deal to trumpeters and help them determine if an instrument-mouthpiece combination is "right" for them. I list below some of those aspects that are most important for me, along with my impression of how well the Strad did in helping me address them.
- Sound. The Strad produces a big full traditional trumpet sound. It is not unusually "dark" or "bright", two terms frequently used to describe tonal qualities.
- Intonation. There are built-in intonation challenges in all Bb piston trumpets, and trumpets are equipped to allow adjustment for them. Minimal adjustment is required to keep the Strad playing in tune.
- Responsiveness. A good trumpet-mouthpiece combination enables clean articulation of notes across a player's entire range and excellent dynamic (loudness, softness) control. The Strad/3C does this for me.
- Features. This has to do with physical aspects of the instrument. Quality of assembly of my Strad is excellent. One curious difference between the Strad and many other trumpets is lack of a third valve slide water key as a standard feature. I find this to be a little annoying, but certainly tolerable. The third valve slide on a standard Strad is emptied by removing the end of the slide assembly, a part often referred to as the "dump slide".
I could certainly write more about my "Strad pledge", but hopefully what I have written will be interesting and useful to some, without becoming tedious. I may provide accounts of my experiences with other instruments I own in future posts.
I want to hear the MORE.