1991 King Silver Flair
1953 Olds Super (LA)
1979 King KG1055T (pre UMI) Silver Flair
1940? Olds Ambassador (LA) tenor trombone
I'm not responsible for offending people -- people are responsible for themselves taking offense at me
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"No matter how cynical you become, it's never enough to keep up" Lilly Tomlin
I've been playing my 1952 Super Artist (SA) a lot lately and have been thinking more about the original topic of this thread: What makes a good trumpet? I have a couple vintage mouthpieces for the SA, a Blessing 13 and a Blessing 15. The physical characteristics of these old MPs really bring out the best from the SA for me, especially the external dimensions of the shank - they fit the mouthpiece receiver perfectly. I had been using the 13 most of the time because I felt it served my upper register the best, but for some reason or another I started using the 15 several days ago. What a pleasant surprise! Sure enough, the upper limit of my range suffered a little. But what I received due to the switch seems to really be worth it.
Several of us (including me), in our posts to this thread wrote about how sound was the primary qualification for a trumpet-mouthpiece combination being a good one for us. Mine had been a little thin and overly bright with the 13 in the SA. The 15 provides sound that is rich, full and resonant across my playable range - what a pleasure! This leads me to a conclusion that should be startling to very few of us. Certainly, we as players are what is most important concerning our unique sounds. But subtle nuances of trumpet design and mouthpiece compatibility really seal the deal concerning our combinations, and this is highly individualistic.
When we write dismissively about another player's trumpet or mouthpiece, our remarks proceed from our own experiences (if we have truly had experience with the other player's choices) and we simply are not that other guy or gal.
Getzen 900 Eterna Classic, Leblanc 707 Sonic (Metzler Brass restoration)
Bach Model 180SL229W30 Stradivarius C Trumpet
Holton Collegiate Bb Cornet (heirloom)
Blessing Artist Bb Flugelhorn
Bb Trumpets: Yamaha YTR-6335HSII - Flip Oakes "Wild Thing" - 1972 Getzen Eterna "Severinsen" - 1980 Boosey & Hawkes Sovereign Studio - B&S 3005 WTR-L - 1963 Besson 10-10 - Monke Mystery Horn - Spiri Vario
C Trumpet: Inderbinen Alpha 200
Bb Bass: 1961 Holton #58 "Symphony"
Wyrd oft nereš unfågne eorl, žonne his ellen dėah.
"Pypes, trompes, nakers, clariounes, that in bataille blowen blody sounes"
Anyone have any experience with an Amati Kraslice horn? I just bought one for $20 on Craigslist, but was curious if anyone has any experience with them. I haven't had a chance to play it yet.
I work in the firearms industry, and I know that Czech firearms are usually very undervalued, but very high quality.
What with all the "rotating," you're not able to concentrate on the most important things - the guy behind the horn and making music.
Again - this is my own opinion. I don't know what I'd do if I had more than one B-flat trumpet and rotated. It's like having three mobile phones and using them on a rotating basis.
With rotating what seem like decent trumpets, I believe you never really settle into what's important - making music - and are focusing too much on the horn.
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