camelbrass

Dave,

I reckon I could play a WT with a 1 1/2C. For that 5 minutes I'd sound fantastic..

Regards,

Trevor

dcstep

Our philosophies are totally different here. I tend to buy horns and mpcs that make me work less. My Concept TT sounds big and open on almost any mpc; however, I do keep a GR66MS around for when I need a "legit" sound. I don't use that mpc much above high-C, so the extra work to play up there on it is really mostly an academic question. OTOH, the GR66LX that I used to use on my 6310Z is just way too big and too much "work" for me to use on the TT, no matter how big the sound. If the TT/GR combination hadn't enhanced several areas of my playing immediately, I would not have "worked" to make function. I was attracted to it because the it was a "match" for me.

The ability to color the sound of a WT is not that special IMHO. The fact that it comes with a wide assortment of main slides provides some flexibility, but I suspect that most users will settle on one or two of those. You can do the same types of things with Schilkes and Bachs. I can't make a WT sound like a Bach 37 to save my life. That big ole bell just has a different ring from the "classic" 37. I'm not saying that a WT can't be used in a section, but I suspect that the user will need to be sensitive to dynamics and not out blow the section (I need to guard agains the same thing with my TT in a "legit" section).

Still Jim, I know what you're saying. For instance, you don't pick up a C-trumpet or picc without "work", if you're coming from years of playing only Bb. Both those examples have really different sounds than Bbs and the horns blow different enough that you're going to have to work at it. Within, Bbs I suppose that you could adopt the same attitude, but I tend to look for combinations that work for me on day-one.

Dave

__________________
Schilke '60 B1
Selmer Paris -- '57 #20 K-Modified/
'03 Concept TT w/ GR66.8B2.8
'94 Lawler TL cornet w/ Sparx 2B
Conn Vintage One flugel - GR66FD
www.pitpops.com www.ucm-inc.com
Rocky Mountain Trumpet Fest

dcstep

Exactly!!

__________________
Schilke '60 B1
Selmer Paris -- '57 #20 K-Modified/
'03 Concept TT w/ GR66.8B2.8
'94 Lawler TL cornet w/ Sparx 2B
Conn Vintage One flugel - GR66FD
www.pitpops.com www.ucm-inc.com
Rocky Mountain Trumpet Fest

bgood

I have been playing my wt for about 5 months now, in several different groups. Mostly in big band (jazz) 4th book. I have noticed that I need the tuning slide out about 1 inch to be in tune. everything in the upper register stays in tune, slotting is right on. The d below the staff requires me to extend the 1st or 3rd slide to tune it. My bach 37 does not require this as the d below the staff is close enough to lip in tune. I have tried some different mp's as well. I have tried a 13a4a schilke, and the sound sounds like crap. It is a thinner sound and harder to slot the notes. Maybe using it for a longer time might help as the mp is a comfortable one indeed. I use a bach 3d and find it produces a full rich open sound on the wt for me. There is a definite difference in sound between my bach 37 and the wt. Using the same bach 3d mp the sound on the bach is brighter. Otherwise both instruments are quality instruments. I am using my wt exclusively in all of my playing because I like the full sound it produces for me. I take out my bach every now and then just to appreciate the sound of the wt. MHO

__________________
bach 37 gr 66m
arturo sandoval flugel gr 3fd
getzen capri cornet
holton stratodyne
strive for perfection....if 99.9 percent is good enough, then...12 babies will be given to the wrong parents each day

dcstep

bgood, have a good player play your WT and your Bach for you and listen from about 30-feet away outdoors. The Bach sounds mighty good, so does the WT.

One thing many of us like about the WT is the feedback that we get from the bell. We hear ourselves better than we do on most Bach or Yamaha's. (This is also true on my Concept TT). When you get out in front of the horns, the difference can tend to minimize. The WT and the TT are more focused out front than they seem from behind the bell. The Bachs and Yamaha's are more brilliant out front than they seem from behind the bell.

I'm like you, I like to have my cake and eat it also (hear it well and have it project well), but all those people playing Bachs are not out of their minds. (Not that you implied it).

Dave

__________________
Schilke '60 B1
Selmer Paris -- '57 #20 K-Modified/
'03 Concept TT w/ GR66.8B2.8
'94 Lawler TL cornet w/ Sparx 2B
Conn Vintage One flugel - GR66FD
www.pitpops.com www.ucm-inc.com
Rocky Mountain Trumpet Fest

Flip Oakes

Transition period:

Congratulations, on purchasing "The Flip Oakes Wild Thing Trumpet"

First: The Wild Thing Trumpet is all-different from all other trumpets, it's not a sales ploy, or a gimmick etc. it's a different trumpet. I'll list below how to help make this transition easier.

You as most players who first play this trumpet are hearing this horn in a different way. As a trumpet player you are accustomed to hearing your Old Trumpets Sound. You are trying to recreate it, and are tightening up, there by raising the pitch; therefore you’re pulling the tuning slide out further then necessary.

This New Wild Thing Trumpet, is a much larger trumpet then any other trumpet ever made. To get started play only with the #2 slide especially if your coming from a .459 - .460 - .464 bore trumpet. Play this #2 slide for at least 2 weeks before playing the #1. You'll need this time to build up your air stream.

Because of this trumpets unique design, it will sound a much bigger, fuller and have richer core. You need time to get the feel for this. Pull out the tuning slide about 1/2" no more then 3/4". Open up your throat, think HOT air, and Relax don't strain. Now play soft, at first your sound will be very dark, and perhaps a bit unfocused. Play this way for a few hours, and try to play throughout the horn. Play in all ranges, and don't push too hard. In a short time, you'll start hearing your sound focusing and your core sounding tighter and more trumpet sounding. When you feel that this step is under control, now add more air; remember think HOT, You’ll now hear the sound will start getting brighter. Do not strain, or pinch this will raise the pitch, instead relax. You need to repeat these steps for a few days. You need to make new memory as to sound etc.

After repeating this process for a few days, you'll find that the tuning slide is in where it always was. Because this horn has such a large core or center, most players pinch trying to recreate the sound of there previous trumpet, and therefore play sharp. Relax this trumpet has a huge center, and always play in the center of the pitch center. Aim for the "bulls eye". Because of this big center, as an artist this will allow for many color variations, in shading when desired unlike any other trumpet.

After in a few weeks put in the #1 slide, and you will hear a brighter sound then the #2 slide, it will play even more open, and focused as well. This is the way this trumpet was designed to play and sound. It's a chameleon, and will sound however you approach it. With a symphonic setup, it's a World Class Principal Players Dream, Dark, Full and Rich. With a Lead Players set up it's Bright and Strong, with Tons of Carrying Power.

Sincerely,

Flip Oakes

Flip Oakes “Wild Thing Trumpets”
COME AND HEAR THE DIFFERENCE
http://www.flipoakes.com

"To read what Wild Thing owners say about their horns, click on this"
http://www.flipoakes.com/testimonials.htm

Flip Oakes
2559 Mottino Dr.
Oceanside, Ca. 92056
760-643-1501
760-643-1511 FAX

To Hear the Flip Oakes Wild Thing Trumpet go to
http://www.flipoakes.com/multimedia.htm

Gary Garrett

I have a new WT and noticed how far the tuning slide needed to be pulled out (almost an inch). Now after playing the horn for a week the slide has had to be moved back in by 1/4 of an inch. I suspect that in another week's time or so it will need to go still further. One other thing I noticed was that when I do the continuous lip flex properly, the horn is dead center at Low C, Middle C and High C. When I don't do it properly, the Low C tends to be flat and the High C tends to be sharp. I am convinced that I am most of the problem, although that is being alleviated by the use of Jeff Smiley's BE book.

__________________
Gary