EDIT: Just to add to this, I've heard the Minnesota Orchestra live as well. Somewhere around here I've got a candid of me with Manny in the Shed at Tanglewood. I agree that Manny blends fine with the others, though I think the rest of the section could support him better if they were playing with comparable instruments. Same could be said of a principal player using a Bach and having a section of Monette players. They might all "blend," but...
Last edited by RichJ; 08-03-2010 at 10:12 PM.
I am saying that in a concert experience, that there is no "comparison" and the audience just hears beautiful trumpet. I said exactly what I meant. The musicians have a job to do which is to convey the meaning of the music.
I often get frustrated at the geeks that think a bit darker/lighter/fuller/thinner makes any difference when it is in the complete context. It just isn't true. The audience is not interested in 26.5% or 31% fundemental, 18.3% or 12% first harmonic, 7% or 10% third harmonic and so on. I am interested if the PLAYER understands what they are playing and conveys that to me in the audience. It is about music and nothing else.
Dave Monette does build his horns differently. His clients get a different hammer. The musical result is still the music and the required context remains the same, regardless if I have a section of Bachs, Monettes or Yamahas. If the music calls for bolts of lightning, or a diabetes inducing sweetness, the PLAYER has to be able to create that.
As far as recordings go, I place little faith in what I hear. My son is a professional recording engineer and from experience I can say that they take GREAT liberties with microphones, EQ and compression. What you hear is NOT what really happened.
I like Mannys elegant style of playing and compare it often to Gilbert Johnsons when he was in Philadelphia. Listening to those two, the brand of horn never comes into mind rather that they both "get it" and convey the essence of the composition.
Blend needing matched sections is the biggest lie that players are fed with. There is more difference between two players with the same horn than between different horns. The key to a section sound is in the heads of the players. It is amazing how sections with mixed brands (like in almost any UK or german orchestra) don't have any problems. Or jazz brothers also do not blame the hardware. How many top jazz bands are all playing one model of trumpet - and mouthpiece?
Nope, this discussion about the virtues of the Monette are all in the wrong place. Daves different hammer lets the player that agrees with his concept go about his work in a different, I will say more relaxed way. The musical results though are a function of the music, not the hardware. The players job is to understand the hardware and massage it to get the musical results. In theory, the players have more margin is the hardware is more transparent. To be honest, with Manny, Mike, Phil, Gilbert, Tom, Bill, Bud, Bernie and Charlie I never noticed anything missing - even playing recordings back to back.
Whenever I feel blue, I start breathing again.
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