rowuk

If this is the case, then why is anybody down on Monette? Like I said before, it is the price that dictates the target. Do we have threads with this many hits when we discuss why a King trumpet would make Phil or Chris a better trumpet player? Of course not.
It is a fact, if you show up to an orchestra audition with a Monette, you may not make it through the first cut.................... The "prejudice" is there. Why anyone would want to "limit" the choices available is beyond me.

As far as the recordings go, current recording techniques are considerably different than they used to be and the engineer has more power than most trumpet players like to admit. The old Ormandy, Reiner, Bernstein....... recordings give us a more realistic picture of the orchestral fabric. Modern multitrack productions can and do change the color and balance of the trumpets sound in that fabric!

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Whenever I feel blue, I start breathing again.

Schwab

Monettes are polarizing because they are different. People who don't like Monettes know they don't work for them, and people who like them seem overly anxious to defend them in a lot of cases.

We probably wouldn't have someone telling people to "get their thumb out of their butt" if we were talking about King trumpets.

That makes for good reading though, and thats why so many hits!

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Dylan Schwab
Stage 1 New York

Jimi Michiel

You're right, and I think there are a couple of reasons for this...

The price. They're really expensive. I know there is a perception out there that, except for a select few, most Monettes are built for doctors and lawyers. That's not completely true. Many Monettes are built for students or working professionals who don't just cut DM a check, but make sacrifices in order to afford instruments that they truly believe are easier and more fun to play. I drive a '98 Lumina that is worth less than a new Yamaha Chicago trumpet. If you took all the money I've given to Monette since I got my first mouthpiece 10 years ago, I could pay cash for, among other things, a new Volkswagen. Would I make that trade? Absolutely not. Can you blame me, or others in similar situations (which I think are more significant that some might think) for vehemently defending Monette? For those who feel the same way about their Bach Strads that I feel about my Monette: what would happen if there were only 2500 Bach Strads in existed and were priced as much as Monettes? Would you give up a new car to get one? How would you react to someone criticising you for that choice?

The other reason I think there are such fervant defenders of Monettes is the incredible level of personalized service you get when you order a Monette from the shop. There are only about 2500 Monette instruments in existance. The Monette Corporation itself is very small--I would guess around 10-15 people--and there is very little turnover. When you order an instrument, you go through a long process which includes several conversations with Dave Monette and Dean Comley (the mouthpiece maker). These conversations aren't just "What bore size do you want?" conversations, but also conversations about your sound, musical vision and musical application. They take the time to get to know you as a musician and person. This isn't asking the guy at WW/BW if they have any of the new Bach 229/25H's in stock, this is a personal relationship that results in an instrument that is made for a specific person.

Lastly, I think many people are introduced to Monette mouthpieces and instruments by their teachers. Going back to the price thing, I doubt there are a lot of people out there who wouldn't lay down that kind of money without consulting someone they really trust. Monette clients are the best advertising they can get. Sure, it looks great when Wynton says they're good horns, but when your private teacher says they're good, there's an element of trust there. None of my teachers ever tried to sell me anything, but they were more than happy to answer my questions about Monette equipment. I do the same for my students.

They work for me, and a lot of other people. I drink the cool-aid. I don't care if you do, but hopefully my little rant explains why I (and others) rush so quickly to defend Monette.

-Jimi

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Sterling

I agree with Jimi. Up to the last ITG, I was skeptical of Monette mouthpieces and instruments, mostly because of price and rarity. I Looked down on those high school kids that would audition with B2 mouthpieces while I played my 30 year old Bach 3C. At the ITG conference, I tried a B6 and was pleasantly suprised. After six months of playing on it, you'll have to pry it out of my cold, dead fingers! They are probably not for everyone, but I am sold on them. The flugelhorn mouthpiece is a joy to play with a Yamaha Bobby Shew Flugelhorn.

godchaser

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'They're really expensive.'


I doubt you'd get an argument with anybody about that Jimi.

-Too expensive.


Not that i wouldn't buy one from'm. Fact is, i'd have done just that already if Dave had just agreed to gold plate the dang thing. :) The brushed look doesn't get it done for me. He wouldn't silver plate it either. Which i would have settled for. He just wouldn't do it. There wasn't any negotiation or compromise to be won. -I have to respect that. He takes his work to heart and accounts for the subtle nuances that contribute to the sound he's after.

The rationale was that to plate requires sanding, and the 'orange peal' as i refer to it, or the porous imperfections of the material, are in and of the Monette sound he's building. That truly impresses me; taking all the little things to measure like that. And yea- there's the Monette Signature to consider as well. Monettes' look like Monettes' for a reason. Form's never lost on its funtional appeal. And honestly, that may have partly been why i wanted the high shine plate? The fact that i wasn't willing to compromise on wanting the plating, says i got some problems with the looks of Monette philosophy?

Course when i send him a used one i had plated- to get the Dave Monette tweaks and adjustments; and he refuses. ..Then i know he's reading his press?

Possibly i should have it plated later.. :)

-given i'm not trying to make a production of it, anymore than i'd point to the horn being cryo. treated. I won't need to tell'm? It's my feeling he's cryo'd many of his builds already, but maybe not? If not, dollars to donuts he'll be seriously considering it afterward?


C

Walter

Hi Robson

Have you made a decision? Are you going to get a Monette? Curious what you have made of all the different comments....

Walter

tatakata

what do you mean he wouldn't silver plate it? I see a silver plated trumpet on his site monette.net

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rowuk

Monette does not offer a frankentrumpet. There are many models to choose from, but not all models are available in all finishes. There is also no list of options like bore size or gold brass bell. The lighter horns are available in raw brass, silver and gold, the heavier horns only in raw brass and gold.
The mouthpieces are only available in gold plate. Monette claims that this is a superior finish and has better playing characteristics.
I agree.

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Whenever I feel blue, I start breathing again.

godchaser

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Right you are tatakata!

:)


But not consistent of more than one or two model horns, to my memory. As it is, the attention to build distinction Robin's accounting no doubt accurately lists.. points still more, to Monettes' maddening resolve in synchronizing layered gears of accessible sound?

-I love that about the guy.

He says point and divot imperfection of material contributes to sound-character? I'm not going to argue it. He says sanding this down and plating it would further distract the sound he's building, with respect of particular build-dynamic? I can't justify saying, he's looking too close. I can't honestly, object to this kind of seeming fanaticism. It's compelling.


C