@barliman2001 Exactly, I have understood it the same way, that it is a "pro trumpet" and that the higher the number, the better and more expensive. I think Yamaha should have 8000 and 9000 models too, but just like you, I don't know much about Yamahas. Thanks for the help anyway.
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If it's not a sheperds crook cornet, most brass players are not interested. Trumpet is a better trumpet. People want SC cornets that are coupled with deep mouthpieces, making a sonic experience that knocks on the door of the flugelhorn office.
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@Bb-Brass Arnold & Sons are also good clones of good Bach pieces... and they ave the additional advantage that they are readily available in Europe (whereas Blessings aren't).
Many professionals have been contracted as Signature Artists - they get paid (sometimes huge sums) to play on a certain manufacturer's horns, and endorse them. Their personal horns are then crafted to whatever specification they prefer. So it may well be that some professionals are playing Committee clones - we just don't know.
True enough. I had the tremendous honor to play a concert with Allen Vizzutti and during rehearsal in which I played my Committee, Allen came over to me to say he really admired that horn and until coming over to being a Yamaha sponsored musician, was playing the Committee.
Till Bronner and I also had the chance to play together and he too shared his admiration for the Committee. He is also a Yamaha sponsored musician.
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PSA: If anybody is using WD-40, or any other kind of penetrating oil on their trumpet....STOP!!!
Please, clean your trumpet thoroughly with dish soap or simple green. Never, ever use these kinds of chemicals on a trumpet. There are more than enough chemicals designed to be used with brass instruments. Not only do these chemicals do weird things to the brass and valves, but they can seriously impact your health.
Just to add a little more context, below is an explanation of each instrument as well as a video I took at a Māori Cultural experience. In the video you will see that many of the participants, both males and females, have extensive facial and body tattoos. This is called “Moko”. An explanation of Moko can be found below the video.
A "pūkāea" is a large, wooden trumpet used by Māori people in New Zealand, known for its use in signaling, both during war and for ceremonial occasions.
Here's a more detailed look:
What it is:
A pūkāea is a wooden trumpet, often made from a split and hollowed length of wood, bound tightly together with vine.
Size:
They can range in size, with some examples reaching up to 2.5 meters (8.2 feet) in length.
Usage:
War: Traditionally used as a loud, dramatic signaling device during times of conflict.
Ceremonial: Also used during times of peace, such as for announcing events and welcoming people.
Agricultural: Used in rituals associated with planting and harvesting crops.
Construction:
The mouthpiece end is called the "kōngutu" and the bell-shaped end is called the "whara".
Sometimes the flared end had wooden pegs added to make it resemble the human throat.
Cultural Significance:
Pūkāea are part of the family of Tāne-mahuta, the Māori deity of the forests and birds.
Other Names:
Sometimes referred to as "war trumpets," but their use extends beyond conflict
The pūtātara is a type of trumpet used by the Māori people of New Zealand. It is customarily made with a carved wooden mouthpiece and a bell made from New Zealand's small native conch shells (Charonia lampas rubicunda) or triton shell (Charonia tritonis).Larger pūtātara were particularly prized as the triton shell was rarely found and only sometimes washed up on the beaches in the Far North. It is often blown in guest welcoming ceremonies.
You will notice in the video that both many men and woman have facial, as well as body tattoos. This is called “Moko”. "Moko" (or Tā Moko) refers to traditional Māori tattooing, a significant cultural practice that signifies prestige, authority, and identity, and often tells the story of the wearer's ancestry and achievements.
Key Aspects of Tā Moko:
Meaning and Purpose:
Moko is a form of body art with deep cultural significance, marking rites of passage and significant life events. It serves as a visual representation of a person's rank, tribe, lineage, occupation, and exploits.
Men and Women:
Traditionally, men had full facial moko, while women often had moko on their chins (moko kauae) and sometimes lips.
Ancient Tradition:
The tradition of Tā Moko has a rich history, with the practice continuing today, though it has seen periods of decline and resurgence.
Motifs and Symbolism:
Each design is unique and carries symbolic meanings, for instance, a koru (native fern) symbolizing new life and growth.
Process:
Moko was traditionally created using tools made of bone or wood and pigments derived from natural sources.
Revival:
There has been a revival of both full-face moko for men and chin tattoos for women in recent decades.
Tā Moko and Kirituhi
Moko has in recent years been divided into two main branches; Tā Moko and Kirituhi. Tā Moko is primarily for those of Māori blood and descent, while Kirituhi is for those of non Maori heritage
@administrator
A) It is nothing like a didgeridoo - which, in fact, is just a wooden tube hollowed out by termites, without a proper mouthpiece (the end of the tube is rounded off for comfort)
b) Technically, it is a cornet (because of the conical shape of the bore).
And, to finish off, it is a Tibetan temple trumpet, the use of which is now prohibited due to Chinese rule in Tibet. Any such trumpets seized are sold off to collectors in the West...
@neal085 true enough. Entry level Yamaha AD line is made in China. Conn-Selmer Prelude line are also made in China. King seem to fare a bit better, though, and are made in the Eastlake factory. Jupiter are made in Taiwan, but intermediate and pro models are very nicely made and leagues above the entry level.
That's great info - thank you! Think we're going to go with the King this time around.
I totally agree that many instruments designated today as student or intermediate instruments made by the great makers such as Conn Olds and King were nothing of the kind but were very high quality instruments beyond the capabilities of most players.
And the King 2055T is one of those as you quite rightly say.
I would be proud to own a 2055T or S, and the OP's niece has made a great choice in selecting that instrument.
@henrylr I understand that you're going to sell this trumpet and want to know if what you have on hand will suffice, as opposed to having to buy an additional product. Considering the condition of the horn, wouldn't it be best to sell it with the proper lubricants? Never mind that the new owner may decide to clean it out and redo all the lubricants, and never mind that buying the right slide grease will diminish your return on the price by about ten dollars; it's just good practice to sell any merchandise without undisclosed issues or cutting corners. Besides, you'll have the slide grease to use on other instruments.
As anyone used to reading my posts would know that I am a minimalist - I think there's way too much micro-analysing and over-thinking on things trumpet,
So, with that being said - I don't oil my valves individually. Maybe once a week, I blow some oil from my mouthpipe through the entire horn and out the bell. Been doing this since Jr. H.S. and that was a long time ago.
I do think, though, that the oil makes a difference, so use that judiciously. (And even speaking of minimalist oil, for several years my oil was a mixture of 3-in-One oil and White Kerosine. Fuggataboutit.)
