Larry Gianni

Hi All,

I was asked privately about the difference between the 2 different models Calicchio’s the 1s/2 and the 1s/7, but I thought I would put this on the forum and give you my thoughts on it.

Up until recently, the models were named with the Bell / Leadpipe numbers as the model. The terms “Studio “and “Classic “were introduced.
I never liked these names because it tended to typecast the trumpets so in this forum I’m going back to the Bell/ Leadpipe determinations for the different models.

First a little history. Dominic (sometimes spelled Dominick) eventually ended up with 10 different leadpipes and 4 trumpet bells. (Not counting the flug. And picc. )

Calicchio came to Los Angeles with the “Superior “bell, which was the besson copy “and was later named the #1 bell. Because his trumpets were so popular with the west coast Studio Musicians, he developed a slightly broader flared bell which he named 1s (s for studio). The 2 bell and the 3 bell followed. I believe the #3 bell is the copy of the LB Martin Committee which he was a part of developing.

The leadpipes developed in order from 1 to 10, but the #1 is not the tightest and #10 is not the largest. They numbered as the came to be.

The 4 main leadpipes that the players seemed to gravitate to were the #3, #2, #7 and #9. these pipes in combination with his bells seemed to work the best for the majority of players.

Now, all 10 leadpipes had 3 cuts that could be made at the opening, S cut, R cut and L cut. The mandrill had 3 different lines on it to mark the different cuts. So that gave 30 different leadpipes in all (like a Bach 25 and a Bach 25H, same pipe different opening)

Well, the 3L, 2s and 7L and 9s also became popular. Walt Johnson 2 bell / 3L pipe, John Harmer 1s/2s, Bobby Findley 1s/2s, etc.

John Duda still has the original leadpipe mandrills with these marks on them.

Before 1968 , the 1s / 7 seemed to the favorite standard combination, then Chuck Findley came to town, leaving Buddy’s band and came into the shop and after trying the combinations like the 1s/2 for the extra “ sizzle “ and intensity “ it produced giving him that distinctive “ sound “ . That model soon grew in popularity with the growth of “pop” recording in the 60’s and 70’s and the how well the microphones picked up the 1s/2 Calicchio trumpet large range of overtones against the blare of guitars , thumping basses , B-3 organs and clavinets , plus screaming vocals.

The #2 pipe even though, tapers slower than the #7 pipe, actually lets the trumpet have “freer blow “to it. I think it balances the trumpet in a different way so the trumpet is more efficient when not overpowered. Bob Reeves told me that the Bach 43 is actually tighter than the
Bach 25 pipe, but helps the Bach trumpet feel bigger.

Got to go, more to come, stay tuned

Larry