Olds Supers, LA (1953), Ful. (1962)
Olds Recording, LA (1952)
Olds Studio, LA (1953)
Olds Special, Ful. (1964)
Olds Ambassador, LA (1954)
Olds Ambassador, Ful. (1973)
Bach Strads 37-(1967, 1970, 1974, 1982)
Bach Strad 72 MLV (1973), 72* (1982)
Kanstul 1500 (2002), 1502 (2008), 1503 (2002)
Kanstul 1537 (2007)
Kanstul Chicago (2000)
Kanstul 1510 C
King Liberty (1929,1929)
King Liberty 2 (1938, 1944)
King Liberty 2b (1950)
J.H. Darby 45 USA
Holton (Revelation) 1924
Kanstul 1525 Flugelhorn
To me it seems those who never played a Monette and bash it for price are more or less playing with their...
Considering I've owned a wide variety of horns including a Monette P3, I thought I might be able to shed some light on this subject. First, I'm decent (not fantastic) amateur player, so keep that in mind. I've owned a wide variety of horns over the years (King Sliver Flair, multitude of Bachs, Kanstul, Getzen, Schilkes, Eclipse, LA Benge, Burbank Benge, Yamaha, etc. etc. I ordered my Monette P3 new, and played it for about 2 years. The pros: huge sound that fills a big space, responsiveness (for a horn of significant mass), intonation, pretty good valves, flexibility, decent articulation, and uniqueness. The cons...well that gets into why I ended up selling it. I found that after a few years, I just started going back to my really good late 70's era Bach. It's like the Monette isn't really a trumpet, it's its own thing. It lacked zing and excitement for me. It became sort of boring. A few other things: I had a nationally respected brass guy take a look at it (had a valve that was sticking and didn't feel like sending it back to Monette), and he commented on how the finishing work (removal of extra solder at the joints etc.) was pretty average. He wasn't impressed. The gold plating seemed really thin too. Also, the horns are soft (brass alloy). In fact, when I'd grip it too tightly around the slide rings (okay, Dave M is correct...one SHOULD relax when going above high C), the 1st valve would actually stick. So, net net. They are very interesting horns. Very big sound, but very different from what I consider to be a true trumpet experience. I think Dave is doing some really cool work, and he's a marketing genius. I believe the extraordinary cost of the horns is do to: Dave's ability to create a mystique around the horns, a high amount of overhead (lots of hand work, prototype development), and...well, I think Dave doing very well. This is by no means a criticism of Dave's organization or work. They are to be admired and respected as a TOTAL American success story.
from my experience, the mouthpieces are wort it. my B3S3 has taught me to play more relaxed in general, while giving me the ease of playing and intonation; and the closest sound to the one that i have in my head.
Maryland Classic Youth Orchestra - Philharmonic
Bb- Bach Strad. 43
C- Bach 229G 25S leadpipe
Thanks for that dcbrown1, something I didnt know about Monettes. I will be getting a Monette mouthpiece soon and I think I am going to love it. I cant wait!
I agree Rowuk. We shouldn't fuss about Monette prices...I think we ought to do a group buy...Say 50 members of Trumpet Master forum pool resources together...buy a Monette and send it china...I bet they can clone Dave's horn for 1,200$
Perhaps Taiwan since they also have amazing CNC/industrial skills. LOL...We could market the horn for 3,000$ and call it Moanette
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