captjack

I hear this term tossed around alot, but not too many definitions for it. I was wondering if anyone had a good definition of what the response of a horn really is?

cornetguy

When you play the trumpet, how fast or sluggish does the note speak.

trickg

For me, response is also closely tied to how focused a horn feels, but yeah, how fast and easily does the note speak. Again, it seems to be directly related to how dead center the horn feels when you play it - it's like everything is lined up right for perfect resonance.

I have always thought that rose brass and copper belled horns responded really quickly, and I'm not sure why. In my recent memory, to of the fastest and best responding trumpets I have played were a rose brass belled Conn V1, and my current axe, my Schilke B6.

pwillini

I have a ZeuS Olympus ARLX, having a copper leadpipe and bell. When I was on my horn safari last year, I tried numerous brands, models and bell configurations. I must agree with trickg that of all the horns I played the ZeuS had, by far, the best response of any. It hits each and every note spot on and I'm able to find the center of each quicker than with any other horn.

I also think the response has to do with how quickly you can change the timbre of the horn as you play. Does the sound find it's center quickly as you push the upper register, does it settle down as quickly when you want to play a mellower, mid range passage.

That's what I used as a guage when horn hunting. Maybe the more proficient of us on this forum can give us the real answer

B15M

I don't understand the above posts. How does a horn respond slowly?
It's a hunk of metal that doesn't change. The change has to be within the player. How fast can you respond to the trumpet is what I would think.

For me response is not the speed, it's just can you make the trumpet do what you want.

If I play a C trumpet and play that bad "E" open and it's out of tune and I have to lip it. I would say that note is not responding. If I play a high C and want the note to ring or sizzle a little and it does I call that responding. If I can't make the note ring I would call that dead. " no response"

Manny Laureano

B15M,

That's a good point but I think the answer lies in each individual's ability to make a piece of equipment respond.

If I play a mouthpiece that is too shallow or too large, if I play an instrument with a bore size that is too large and tapered improperly, if I play an instrument that is too light it will affect my ability to make the instrument amplify what I do.

I can't make a an old Maynard Ferguson style mouthpiece amplify my vibrations because my lips won't vibrate because it's too constricting for me. I used to not be able to make the Charlie Schlueter model mouthpieces respond to me because my lips spread too much to vibrate properly.

So, I think that response refers to the ability of one to have his vibrations amplified efficiently (slowly, quickly, or not at all).

I still think your point is a good one, though.

ML

JackD

B15M, maybe my conception of 'response' is a little different to yours - for example, I'd say my E3L responds faster than my Bach 37. Same mouthpiece, same player - but the Schilke feels more agile and "responds" more quickly. Nothing to do with resonance, the Bach is still very resonant - it just feels different to play - of course this is a bit of a silly example, given that the Eb is a very different beast to the Bb. In answer to your question, no the horn doesn't change, but in this case I'd guess the fact that the Eb is smaller makes it respond more quickly than the longer, heavier Bb.

... no?

B15M

Maybe that's it then.

It is true that an E flat is a quicker horn than a B flat. A picc even more so.

So if we are looking for a horn with a fast response are we looking for a big trumpet that plays like a small one? Maybe that's it.

MGTrumpet

I couldn't agree more with Manny's statement.

I played my LB Bach Strad for 35 years. They day I picked up a Wild Thing, the response (among other things) was so dramatically different, I had to buy the horn. It was as if I didn't have to blow any air to make the horn speak. The horn feels so much more efficient. That phenomenal response (at least for me) coupled with the large bore (.470) has been a real change. Using less air means I'm not "beating" my chops from my end. The large bore means the horn isn't "beating" my chops from that end. I don't have to "push" to play a high F.

A month ago, I had a four hour polka gig that turned into five hours. Each hour that went buy, I felt better. By the time the gig was over, I was more refreshed than when I started. I could take a really large breath and just relax as I played. When the gig was over, I wanted to keep playing.

I've had other people try the horn when they were cold. I told them not to bother warming up, just play a gentle, piano, second line G. The horn speaks - and they are wondering what happened. They are used to working harder to get their horn speaking. This horn is just so efficient and responsive.

I'm not generally a "spur of the moment" kind of guy, but the first ten minutes on that horn did it. Every day I play it, the more I like it.

I'm sure as you play many different horns, you will come to recognize the difference in the "response".

eisprl

Call me ignorant or naieve, but I don't really know much about "responce" either. To me, the moutpiece could be a large factor on how your horn plays. But what do I know?

With me, I just play the darn thing. If it sounds good to me and I am happy, then all is fine, and if it sounds bad, then I try to fix it.

Also, in trumpets that are soooo alike, like the Yamahas, would they not respond mostly the same to many people?

Cheers all.
Happy New Years