1971 Benge 3x+
1930's (?) Pan American 64b
1920's Buescher Model 10
1918 Conn 22b
1952 Conn 80a (later model)
1956 Holton Super Collegiate
Shilke 13a4ah (heavyweight model) for lead playing and jazz
Schilke 11 for everything else
at the risk of incurring the thunderbolt, i'm going to go on here just a little. this drives rowuk nuts, and i think i may understand why. when we choose a metaphor, such as aural components of trumpet sound equaling light or color, in order for it to be meaningful, we cannot be complacent or lazy, and we cannot in good concience seek easy answers. we are trying to understand great artists; (bud herseth and wynton have been mentioned), to learn what we can, and we are using two opposing words. but to limit the discussion to this is over simplification to the point of being moronic. the spectrum of color and light is infinitely variable; beyond what is visible to the human eye. the overtone spectrum of the trumpet in the hands of a true artist such as these men: likewise. it is not limited to bright and dark. likewise it is not limited to a certain type of horn or mouthpiece. the only limits are the those of the human imagination and the limits of our artistry. we may not all be able to acheive the pallette of a bud herseth. but we owe it to ourselves to speak about it intelligently, and to try and use language that does it justice, whatever metaphor we may choose to try and understand it.
The tweeter with bass is called a headphone - plenty of slam and bottom end. My AKG 701s or Beyer Dt770s both have drivers under an inch or two. You are missing the point however, Dark is not neccesarily frequency response. Even YOU can play the 6a4a dark, most easily at soft volumes into a microphone (no EQ). I used a 14a4a for lead but played symphony rehearsals with it when I forgot my standard mouthpiece.
You can believe whatever you want to. Even a youtube example proves nothing unless you saw HOW it was recorded. Read the thread "how a trumpet works". The mechanisms are described there in detail.
Whenever I feel blue, I start breathing again.
I've always liked the terms dark and bright, but maybe they are not the most appropriate terms to describe what is happening.
You can say that the tone of concert trumpet is "dark," but in comparison to what? Certainly, a concert trumpet soloist is not
going to sound darker than the clarinet player. But in comparison to a swing era jazz player, of course he will. For example, compare
the last note of the piccolo trumpet solo in Penny Lane (1:27) to Roy Eldridge playing the same pitch (concert Eb) in Rockin' Chair (1:56).
The piccolo trumpet is clearly darker, but I don't know if it I would call it dark on its own.
Maybe people that are trying to sound "dark" are trying to sound especially darker than the
ordinary trumpet player. Personally, I don't like that sound concept.
EDIT: Better Recordings
1949 Olds Recording Trumpet
1949 Olds Recording Cornet
Brasspire Unicorn Piccolo Trumpet
ACB Doubler's Flugelhorn
Al Cass 2-28
Parduba 4.5 HJ
So can you replace the words "dark and bright" with words like "sad and cheerful"?
Yamaha 8310 SP
Selmer Concept TT (Favourite)
Taylor Phoenix Custom
Made in U.S.A Chinese Pocket
Trevor James Flugel SP
Depends on the key signature!!!
The difference between a beginner and pro mouthpiece is practice - tobylou8
Nobody has learned how to play the trumpet. It's endless. - Maynard Ferguson
Don't be afraid to try something different. The Ark was built by an amateur and the Titanic was built by a group of experienced engineers.
By the inch it's a cinch, by the yard, it's hard!
Timofei Dokshizer could sound plenty dark on his Bach 7E.
"A tool good enough to be so used and not too good"C.S. Lewis That Hideous Strength
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.
If one wants to be precise in a personal way, yep, it's more precise to use specific acoustic examples. . . "I want to sound more like Arturo than early Miles".
But if one says, "I think player X plays darker than player Z" everyone knows what the intent of that statement is.
Liked I said - a non-issue.
You can't blow it if you haven't lived it.
"Even if I could play like Wynton Marsalis, I wouldn't play like Wynton Marsalis."
Martin Committee (1956)
Connstellation 38B (1959)
LA Benge 3X (1970s)
Hans Hoyer G-10 Geyer Horn
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