orchestra_trumpet_star

Hey all,
I realize I have started a few threads kinda similar to this one, but I figured those threads are old enough and this is different enough to validate starting a new thread on this topic. So, what is the best C trumpet you've ever played on? Some brand names/model names I am particularly curious about are Bach/Malone Conversions, Yamaha Chicago C, Yamaha New York C, stock Bach, Blackburn, Kanstul, Monette, Flip Oakes (never heard one nor seen one though), or are there other ones that you've played that are better? I've heard Eclipse is up and coming, but I've never seen one nor heard one played to my knowledge. Please share your thoughts. Sorry if I failed to list an obvious choice. Thanks for your help!

trumpetnick

Best for what? Well, if you are asking what is the trumpet I liked the most there is couple of them...The first is the one I play (cf. my signature) and the second is Schagerl trumpet, unfortunatel I don't remember the model, number etc. It was the biiggest bell piton trumpet they had...And it feeld to me almost like when playing Bb trumpet...I tried once some Taylor C trumpet which sounded very nice, but the g below the staff was weaker than all other notes...Probably a monette will be fore likable to me, but in Europe is difficult to get to teste one, and anyway I won't be able to afford one...If you ask about rotary trumpets, the best trumpets in my opinion, are made again by Schagerl (that's what theay are reknown for).
Nick

davidjohnson

my schilke C7, and before that my bach 239.
the worst was a besson. i hear they're usually good.

dj

Lawler Bb

My Bach/Malone 229, my old teacher's Bach/Laskey 229, and a Bach 25R 229H that I used to own. I've also played a Monette Chicago C trumpet that was really good. Nothing else has come all that close.

tpter1

I played on a Monette Chicago at ITG. This horn just locked right in. Whatever I did, it responded. Love at first buzz. It had alot of core, top of the staff was really centered (no need for alternate fingerings on E and Eb); I could relax and be really open all the way up to C above and even D. Playing with another player, resultant tones were really obvious and strong. (Manny and Dave who? )

I also messed around on the Eclipse, Blackburn, Stomvi, and a Schagerl rotary. The Eclipse was also easily responsive, in tune and open in feel and sound. A beautiful sounding horn that is aesthetically pleasing to the eyes as well. Again, no need for alternates on top of the staff.

Blackburn was a gem to play as well. They had a few different combinations of bell and leadpipe there, so all of them played and sounded a bit different. I did feel the need to use alternates on those, but sound quality on all horns was clear and open, with varying timbral qualities and lightness and weight with each combination.

The Stomvi I did not really enjoy as much, althoguh it still is a great horn. What I felt was not "it" for me was the lack of presence I percieved from behind the bell.

Schagerl was mostly out of curiosity, spawned by our own "Latin from Manhattan" and Mnozil Brass. I actually heard (again, from behind the bell...remember it's the worst seat in the house) alot of brilliance; it also seemed to be a bit light in sound. Maybe just the model and configuration that was there.

I also played the Yamaha Chicago. It was responsive, but not as much as the Eclipse and Monette were. The valves are quite obviously Yamaha valves...meaning they don't have the smooth buttery feel of the Getzen or Baurfiend valves on Eclipse or Monette (although...disclaimer here...the Monette WAS a Chicago, and he's making his own block now). I did need to use alternates on E and Eb.

The C in my case at the moment is a Yamaha Heavywall. Not my favorite out of all the recent horns by a longshot, but a very nice chamber/solo horn. light sound, easy to hear behind the bell, projects well, but not as responsive to timbre changes when you call on it to do so. (I've had it since early-mid '90's). It's what I have, and I make it work because I have to.

So, all that said, what's the best C? Like Nick said, it all depends on what kind of work you do the most. They all play differently, but to call one the "best" over all the others depends on alot of variables. So the real answer is...none, but all. You have to find what is best for YOU and YOUR situation and YOUR needs.

orchestra_trumpet_star

thanks for your replies. I guess I forgot to mention the best horn for symphonic/legit stuff. thanks again!

Robert Rowe

I mostly play "legit"-stuff, as well as my originals ... all solo (no other horns, but organ and rhythm accompaniment).

I have played the Bach/Malone horn, a Chicago Monette, a Yamaha C, a Taylor C.

I have six (I think) C-Trumpets. The "best" is a Getzen Custom-Shop "Canadian Brass" silver horn, with 5" bell, and "balanced" valve-block positioning. However; it plays too "sterile" (no vices, or "issues"). The "nicest" C horn is a vintage Couesnon Monopole Conservatoire, with looong Eb/D-style slow-tapered bell, 1st-valve trigger, and underslung 3rd-valve throw-ring (like early Fr. Besson and Blessing Super Artist).

True, there are the usual C#-Eb intonation issues; but they are easily managed with the 1st-valve trigger. The tone of this horn is like no other C Trumpet I have heard or played. Recently played it (solo) in a large church with amazing acoustics. Unbelievable! I received many, many compliments (the horn, not me); both from other musicians, and non-musicians.

I think I paid about $325 for this horn (about a year ago). Haven't played anything, even at ten-times the cost, that compares.

Robt

trumpetnick

tpter1

Concerning the Schagerl Rotaries, they really do have light and heavy weight trumpets. There is also different size of bells. I am uncertain about what horns are use in Mnozil, but know for sure, that Austrian orchestras usually prefer ligh weight and german go for the heavy ones. I tested both and my preference goes to the heavy ones. If you have got the time you can take some Vienna Philharmonic recordings and compare them to some good german orchestra (should be a recent recording as some of them used to play pistons) like Munich or Berlin. My teacher (Murray Greig) said once to me that while British trumpeters are trying to get light B flat trumpets for orchestra the american are getting heavy C trumpets, which often sounds quite similar. he prefered the the C rotary while I would go for B flat because it gives even darker and heavier sound. When you play for example the Wagner's opera or Strauss tone poems you can get such nice and specific sound but if you want to play Debussy or Stravinsky ...well I personally would not use rotary...That is exactly what I meant with the question "what for"

trumpetmike

I have played a fair number of C trumpets, but by no means everything. The best I have come across have been (in no particular order, for a reason that will be explained afterwards):
Yamaha Chicago
Eclipse
Bach (full Spencer conversion)

The reason for no particular order is that I could be very happy with each of these, it would just be a question of deciding which sound I was after. Each is an amazing instrument, but they don't sound the same (and you wouldn't expect them to) and I would need to decide exactly what sound I am after when playing a C trumpet.
When I know what I want, then I will be buying my next C trumpet.

tpter1

Nick- So they must have only had a limited offering of what they normally have. I had that feeling. And thanks for the clarification... I think we agree?