Schilke B1 & S42 (Bb), Conn 38A Connstellation (Cornet), Bach Strad 183 (Flugel), French Besson Classic (C)
Plus a modest collection of vintage trumpets.
"True terror is to wake up one morning and discover that your high school class is running the country." Kurt Vonnegut
"It aint the mouthpiece." W.W.
"Adopt the pace of nature: her secret is patience." - Ralph Waldo Emerson
It is exactly the other way around. When there are no defining overtones, the section sound is crap - there is no blending, As I previously mentioned, those that talk dark are talk only.
We can examine blend: optimally this always works out to two very similar "clear" voices and a maximum of resultant tones (Sum and difference/heterodyning). THIS IS BLENDING as understood in EVERY professional symphony orchestra, big band, concert band. When I try and blend an overtone weak trumpet sound with another overtone weak trumpet sound, I get MUSH that only screws up any ensemble sound. Not dull (even bright) has the BIG advantage of sounding articulate and clear. Those are two traits that most that talk about dark never have experienced.
Most of the "dark" stuff comes from a sound created in the studio. It is not dark, it is specifically tailored with an equalizer, dynamic processor, microphone position as well as the creative energy of the musician to retain detail in spite of the lower amount of overtone energy.
I will also disagree with the generality that a Wick no letter is dark. I have heard enough players peel paint with them.
It would take one 20 minute lesson to educate and cure the talkers if they were in receive instead of transmit mode. The first part is frequency response, the second is playing style. Both are required for the player listener in the know!
Whenever I feel blue, I start breathing again.
I would say the only thing darker is something we ALL have experienced. Before we were all born, we had 9 months of complete darkness, warmth, and food from a tube, and life was good, we were content. And then some jerk with a mask, pulls you out of this place, smacks you an the butt and says welcome to the world. Thanks, thanks a lot!
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"
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
it would be cool to have one duet session with you and your horns and mine. You would be convinced afterwards that either Silver Flair blends with a Monette, Bach, 1938 Bb rotary trumpet or 1897 F rotary trumpet. The trick is not the horn, but the perceived balance. There are horns where it is harder to hear yourself, you play louder and nothing works. That happens to most players with really light or heavy horns. 30 minutes of duets are all that is necessary and we can all of a sudden line up with dramatically different styles of playing - when we are in reception mode instead of transmit!
Whenever I feel blue, I start breathing again.
i believe the darkness issue has been covered and then some. i would only add that approaching your trumpet like a douchbag does not make you chet baker. but i would really like to hear from rowuk about the F trumpet. would love to see pictures or a video. i have not heard one except in one video on this site "franck and the missing cornets". is it at A440? what kind of mouthpiece does one use on it? do you play it for gigs, or is it more a practice horn or collector's item?
the only expert discussion of the F trumpets i have heard is from a former cso player who believes that when we play certain repertoire, the sound of the old F trumpet is what we're looking for, because these instruments had a natural resonance, due to their length, that many players today have missed. would really like to hear more, because these are very rare, at least in my experience. i would also like to know more of the history behind the evolution from F trumpets to the Bb. popular history goes back to new york bachs, which i know some people still play, and before that, bessons. before that, there seems to be a drop off in available information. anyone else who has one or knows more, i'd love to hear from you also!
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