latinjazzcat

Often times in reading posts (usually regarding equipment), you will read the comment "it doesn't matter what he's playing, he'd sound like that on anything". So alas, I must ask, do you feel that you can achieve your ideal sound on any equipment (although it may be more difficult than on your current set-up), or do you feel that equipment is a serious factor when considering sound concept? I ask because, although my sound is very flexible and I can color it many ways, it usually requires a good deal of effort, and I fear that in manipulating my embouchure to achieve the "dark" sound I find myself frequently striving for, that I may be sacrificing range (a major weak point for me). My apologies if this has been addressed before and I overlooked it, and many thanks for your time.

Manny Laureano

"Often times in reading posts (usually regarding equipment), you will read the comment "it doesn't matter what he's playing, he'd sound like that on anything". So alas, I must ask, do you feel that you can achieve your ideal sound on any equipment (although it may be more difficult than on your current set-up), or do you feel that equipment is a serious factor when considering sound concept? I ask because, although my sound is very flexible and I can color it many ways, it usually requires a good deal of effort, and I fear that in manipulating my embouchure to achieve the "dark" sound I find myself frequently striving for, that I may be sacrificing range (a major weak point for me). "

Dear LJC,

Yes, people say that all the time about me and I'm pretty sick of it, if you want to know the truth. It's a very well-intentioned sentiment and a nice thing to say but it's just not true.

The reasons I was able to get a good sound on other equipment was because of what I did physically to get there. If I could play in tune at that time it was because I had a special Pitch Finder installed on many of my horns so I could do it. Also, my sound was much more directional than it is now. The horns I play allow me to create a much broader sound without doing anything consciously to manipulate it.

The question of creating different colors happens two ways for me. One, the speed of the air has a direct bearing on the warmth of the sound I want. Second, I do it by desire or idea of the sound. In other words, I think the sound I want and it just sort of happens.

What I am able to do on any equipment is play musically. I'm fortunate(?) that when I pick up a different horn from what I play, I have a muscle memory that kicks in and I do the muscling, pinching that I need to to make it happen. But, what many folks don't realize is that I have a general sound in my head now and that's what rings in my head irrespective of what's coming out of the bell. If I were to play other horns and not do anything but play down the center, even musically, I don't think folks would be any too impressed with the end result soundwise.

The last and most frustrating bit is that folks really can't judge a horn that's made to play in a 2500 seat concert hall well in a small room and that's where it seems that many judgements are made: in small rooms.
Also, a lot of people like that buzz and zing on the periphery of the sound. I used to and don't anymore, simple as that. I also look for a horn that blends with the other instruments in the orchestra, not just the trumpets. So, blend means something a little different for me in that regard.

I really don't like writing stuff that sounds like ads for Dave but what can I say? I know myself better than all those who write about me . All I'm doing is answering your question as truthfully as I can.

So, let your trumpet sound like a trumpet. I don't see the fiddles worrying too much about blending with us. Let your horn speak with its own voice. If you want a different color maybe you can switch mouthpieces for certain licks.

Yikes, too long a post! Sorry.

ML