miles71

Stage 1 Bell option review:

I have been lucky enough to have the Stage 1 modular California Trumpet in my possession for a little over a month. I showed this trumpet at the National Trumpet Competition thanks to Felix Vasyer of NYTC and Larry Meyers from Stus Music who allowed it at his table. I have been able to hear many people play this horn in its various configurations, and also have been able to play it in many situations from a Brass Quintet gig to a Maynard Tribute at Blues Alley in DC. I have developed some opinions and gathered some observations about the bells and I hope this may help some of you when choosing a new horn. Again, these are just my observations.

First of all, what stays the same. This is a Stage 1 California light model with an interchangable bell system. Yes you can have one made like this, but get out your wallet!! I don’t recommend this if you are getting a horn made, since you will probably settle on one bell as a favorite and wonder why you spent the extra money. (If you are like me it would just confuse you anyway ) The horn has several tuning slides, but most of the review material was done with either a rounded single radius slide with a brace, or a squared nickel slide without a brace. The test group of players has included several Airmen of Note and Army Blues players, several College/ University professors of trumpet, Baltimore and DC area freelance players, and a few Music Educators. The areas of review will be Tone Color/Coloring, Projection, Feedback, and Blend. The bells appearance can be manipulated with finish and plating, so here we go.

Yellow Brass:
Tone Color/Coloring – This bell has a brilliant tone color, which has a strong core to the sound. I would describe it as a very good “Bach” sound with more life. It is the most conventional sounding bell of the set up. This bell would be good for someone who bunch, able to be at home in almost any situation. I found it a little difficult to change tone color with this doesn’t want to sound to “different” than what is regarded as that trumpet sound. This bell has an even array of overtones.
Projection – A good amount of power can be generated with this bell, and it can also speak very softly. (One of the Army Blues guys really liked this bell and could make it scream like crazy)
Feedback – I didn’t notice any real difference in this bells feedback and any other good horn.
Blend – This bell could blend in almost any situation, for the full time lead player it can really rip!
Overall – I find this to be a great middle of the road bell. Not to make that sound negative, instead it can be thought of as an improved conventional bell.
Gold Brass:
Tone Color/Coloring – This bell has a rich dark tone that is difficult to light up. An orchestral player or soloist would be able to create a dark tone, but a lead guy may have issues cutting through. The tone is deep and almost three dimensional, but the bell seems to respond quickly. This bell has more lower overtones while still retaining a solid core tone.
Projection – This bell has plenty of fat power, the tone does carry well. When recorded across a rehearsal room this bell was picked up very clearly. It has a certain “tubby-ness” to the sound, but does not seem to degrade over distance. I think it would carry over a band or orchestra, depending on the overtones needed.
Feedback – This bell does not have as much feedback as the others, perhaps due to the material. The player can still hear himself or herself, however I thought I sounded different when I played back the recording.
Blend – This bell will blend very well in any situation, however I fear it may blend to well and the player can get lost if they are playing lead.
Overall – This bell is a great choice if a player wants a rich dark sound but doesn’t need to carry over a big band. I would recommend this bell to a section player or a soloist who will be out in front.
Rose Brass:
Tone Color/Coloring – This bell has the richest, smoothest tone I have heard. The notes seem to float out of the bell gently. It also barks down low. This bell has a rich palette of lower overtones, but retains more of the core than the gold brass bell. It almost has a flugel character to it at times. What is more amazing about this bell is it can scream up high, giving the “fat” lead sound many people look for. It is a bit difficult to really brighten up this bell, but the tone is so rich it isn’t needed.
Projection – This bell, when pushed, projects just fine. It does take some work to really put out some sound, but I don’t think this bell is meant to be the pushed. A strong lead player can make anything play loudly (sometimes unfortunately) but this bell can do it all. It would be fine blending with a section or a small chamber group, and then turning around and rattling off a be-bop solo.
Feedback – This bell has terrific player feedback, you can hear everything you do. Also, I found this bell to fit in so well with others it made me listen more to everything. The recording was true to what I thought I sounded like on this set up.
Blend – This bell seems to blend very well. Again, if pushed it can cut through with a fat sound.
Overall – This bell is one of my favorites, I almost got it put on my own horn (and am still wondering if I should). It does it all and does it very well.
Copper Rimless (Beadless):
Tone Color/Coloring – Good grief!! This bell has every tone color you can think of. It starts out with a rich pallette of tone colors, the overtones are amplified to give a brilliant but rich tone. I was very surprised when I first played on the bell, I expected a bright sound but got a rich tone. This bell can be colored however you want, I tried it with a lead chart and could scream and then went to a light brass quintet piece and it just mellowed right out. This bell has surprised some people.
Projection – This bell has power to spare. After being so surprised about this bell I did some research and have found some studies online that show copper looses less decibels over distance than brass. This means the copper bell will have more power over more distance. I have played it over my big band at school a fairly powerful group of high school students, and have no problem carrying over them.
Feedback – The rimless bell creates a feedback situation I cannot match with other bells. I can hear everything I do and this is the only bell I play lead on where the sound is all around me. Several of the military band guys liked this bell the best due to the feedback and tone.
Blend – I have been amazed at the versatility of this bell in different situations. It blends with anything and anyone. The tone is so easy to color the horn will blend with saxes as easy as other trumpets.
Overall – This bell, by far, has been the favorite of the players who tried the horn. I personally have it on my horn (which arrived two days ago) and will be doing some serious testing. The bell is also about ½ inch bigger than the standard. This is my top pick.

Rankings:
I feel for the player who has to play everything from Jazz to lead, Chamber to Orchestral, Latin to Funk, the Copper bell is the best choice with the rose Brass being a VERY close second. The Gold Brass and Yellow Brass are fine bells, but I feel they are more specific in tone and ability.

I would like to thank Felix, Larry, and all the guys who played this horn so I could do this review. I hope it has helped out and feel free to ask questions. Stay tuned for my horns review!!

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NYTC Stage 1 Endorsing Artist
www.domenicomusic.com

Richard Oliver

Miles,

One of the best jobs of reviewing I've read. Lucid and succint. I'm glad to read what you say about the Rose Brass bell. I yielded to Felix' opinion during the build after 3 weeks or so. He said it just once, and yielded to my preference of Gold Brass at the very beginning.

After a bit, I rethought that matter and deferred to his judgment.

Thanks Again,

Richard Oliver