Kanstul -- Any News?

ROWUK

@Bay-Area-Brass said in Kanstul -- Any News?:

@ROWUK Thanks for the reply-as for the classical world I'm not connected so I will take your word on that-I know that piccolo trumpets tend to be Schilke, at least in the US but I don't know what's most popular in regards to C trumpets (I've found outside of the Handcrafts, most Schilke models tend to play on the bright side). As for jazz soloists, the Xeno isn't used much (lead players yes). There are some Yamahas what are well suited for the jazz soloist and I see some of those. The reason I use the Schilke HC1 is because the bell flare and tapered leadpipe/tuning slide give it a nice buttery Committee like blow and feel but with better upper register and intonation. In commercial work I believe Xenos are more popular. I concur that Yamahas have a high standard in regards to build quality, intonation and blow. In the end it comes down to what suits you best. My post was state what I see among jazz and commercial players, and while I do see Yamahas, it certainly isn't the majority. Classical perhaps

Actually, I am very happy that the jazz world still is open to mixed sections and individualists. The US influenced classical world is Yamaha and Bach. In Europe, Yamaha has a very firm hold on the piston trumpet world.

Dr GO

@Bay-Area-Brass said in Kanstul -- Any News?:
...I use the Schilke HC1 is because the bell flare and tapered leadpipe/tuning slide give it a nice buttery Committee like blow and feel but with better upper register and intonation.

This has been my experience with the Harrelson Summit with the 7 bell and 4 lead pipe.

https://trumpetgear.files.wordpress.com/2012/07/summit-vs-committee_2.mp3

See the comparison I posted above. The Harrelson is just more easier to play and without the need to blow as hard for projection. [A harder blow on the Harrelson converts it more to a lead horn sound]. For this reason, I use my Committee for intimate small clubs in my quintet (or quartet when the sax is not on the gig) and the Harrelson for outside or large open venues like jazz festivals. Then the Harrelson takes priority for lead playing no matter what the venue because it is so clean and bright when putting more blow into the horn in the upper lead range register.

HOWEVER with that said, changing the blow dynamics on the Harrelson (Silver and Gold brushed finish) man does it ring like a classical horn when I play Christmas church ensembles. And the silver and gold really gets comment from the congregation after the performance.

Kehaulani

I'm wondering (jazz-wise), that, if you want a Committee sound (whatever that is), that all you need is a horn in the ballfield, the right mouthpiece and the right attitude and you can have it. I wonder if the sound-image in one's head is not given enough credit.

Tobylou8

I seem to remember someone saying it's the player not the horn.

It's more the player than anything else, but the right horn makes it a lot easier to get to the sound you want. With some horns, you may be able to get somewhat in the ball park but it's also about the right tool for the job. No matter what my mindset I approach something, I won't be able easily to get the proper sound my artistic choice dictates with the wrong horn for the job-the harder you have to work for it, the more it takes away from the creative process. This is especially true in the studio.

Dr GO

Agreed to above, when you have the right instrument that allows the player to perform instinctively, you can then concentrate on the music and the creativity flows like never before!

L.A.Horn

Unfortunately, only Mark, Charles and Carrie are left and they're winding down administrative affairs and depleting inventory. The company doesn't seem to be continuing.

My understanding is that the financial woes began while Zig was still alive and were worsened by poor decisions after his death. Having been born and raised in Los Angeles, the end of the Olds, Benge, Kanstul lineage genuinely saddens me.

ROWUK

@Kehaulani said in Kanstul -- Any News?:

I'm wondering (jazz-wise), that, if you want a Committee sound (whatever that is), that all you need is a horn in the ballfield, the right mouthpiece and the right attitude and you can have it. I wonder if the sound-image in one's head is not given enough credit.

Absolutely! I think that we have a luxury issue here. How can we separate “being able to” and “having to”. If we have a Committee, how much of the sound is real and how much is in our imagination? Aren’t dreams sometimes self-serving? I think that on trumpet websites our voice is almost neglected compared to hardware. We really want to believe that a Committee is 50%+ of Miles or Tills “Voice”. I consider that insulting. Just think of all the notes that we did not get because of the things that a Committee did not do.

I agree that with great players such as Miles, Maynard etc. that the player is the magic, not the horn. The other side is that Maynard's mouthpiece and horn helped him to get what he wanted to easier, just as Miles' setup made his job easier. While this is true, one of Miles' most iconic records, Walkin' was recorded on a borrowed horn from the recording engineer, not his Committee. Maynard played a number of different horns and always delivered big time. I've never been hired because of whatever horn I played at the time