skip77

This is a good discussion amid years of exchanges on the same points. It amazes me that even after hundreds or probably thousands of similar threads comparing top horns, that we can still enjoy the topic. For whatever reason(s), I'm in and find this thread, excellent! Maybe it is a little because of the good mix of people commenting. I have some questions.

I am not a professional or accomplished as everyone in this thread seems to be, so please pardon my low-end stupidity. I have researched trumpet design over the years, however, and feel that I have a basic concept of what matters. I am puzzled. Here is a list of trumpet design aspects that I feel are crucial:
1. materials (alloy)
2. tubing diameters/gauge/lengths
3. fit
4. solder alloy and joint quality
5. leadpipe/venturi funnel design
6. bell dimensions/flare
7. valve fit/tubing bore alignment/finish
8. overall interior finish (smooth vs rough areas messing up airstream)
9. mpc

Most bottom dwellers like myself are stimulated by the exterior of a horn but truth be told, and something I learned en passing from Andy Taylor, is that the inside is where the most important features are built into a horn. I mean, look at the cool, heavily reinforced and angular flugelhorn that Andy built - that things is beautiful and produces really nice tones - not because of the outside but the inside. Apparently, Andy paid appropriate attention to all the key areas - what a cool and nice guy he is, as well. Here I am a low end player and he was kind enough to exchange plenty of emails with me at one time. His approach is known to all of you I'm sure. Nothing I am writing here is from Andy so please don't attribute anything I state to him.

Interesting note that all the top makers are such good guys. I have enjoyed conversations with Dave Monette - why? Did I ask to talk with Dave Monette? Was I a big spending customer? No. I was only trying to order a custom mpc for my 1952 Olds Ambassador cornet (awesome horn). The conversation stretched over several calls and weeks. Dave Monette took a personal interest in this single mpc order and ended up on the phone with me, Skip Bertrand from little ol Delaware. He just wanted to be sure I had all the parameters right and knew what I was getting. What a guy! I've owned 2 Monette mpcs - end of story.

Jason Harrelson - same way. Was looking to have my Ambassador trumpet repaired, actually, but stepped up a notch to modify it at the same time. In the market for the modification and only in a freak exchange from an ebay listing, I ended up talking with Jason. Jason was so busy it was ridiculous, in the middle of relocating his home and shop, setting up at shows and trying to keep up with orders. I ended up getting the full modification to Muse, without finger rings, because I don't use them. Jason, without a word, because I had paid for all the finger rings and opted out of them, replaced the bell with a new, vintage Olds bell. Anyway, that's 3 big makers that took time to talk with little ol me... a low end amateur. Says a lot about them, doesn't it?

So I come to this question - given that appropriate alloys, gauges and diameters/lengths are used, given that inside solder joints are smooth, given the other basic parameters are adhered to in the trumpet build, how can these makers distinguish themselves? Why is a Monette horn better than a mass produced model, etc?

These guys are making some of the coolest, most interesting horns imaginable - I would love to get my hands of some of them! Yet, my hands are full enough with the Muse that Jason built for me. I don't see any debate about who buys this horn or that horn - we all need something in our hands that feels right, sounds right and inspires us to move on to the next note. Our pocketbook is a factor and beyond that, we all do the best we can with what we have - what's the debate?

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1960 Olds - Harrelson Muse
Monette B6 - Harrelson Sleeve