Posts made by grune

@Newell-Post ... to your points... so true. Compared to prices of many violins, trumpets are 'disposables'. Even 'student' level violins can be +$100k. crazy.

https://tarisio.com/auctions/notable-sales/lady-blunt-stradivarius-of-1721/

Of course, if a student has the finances to afford the Stomvi, Harrelson, and other top brands, such top quality would give far better results. The reason for using the cheap stuff is low cost and 'direction': not to substitute for the genuine goods. For say $25, the cheap set can help a student determine which of 7c 5c 3c would be better for her/him. If s/he likes, say, the width of a 5c but not the depth, s/he knows to buy a genuine 5D, or the like, with some level of confidence.

update: arrived... Tromba T3
Received a bottle of La Tromba T3. Apart from an amber colour, and a slight 'fragrance' that reminds me of fruits, and a higher price tag... I cannot say this is any faster then the Cass Fast oil.

So far, the fastest oil I have found is the good'ol Bach. It may be smelly and volatile, but it is quick.

These no-smell oils must be refined from gas concentrate, which would account for their higher viscosity and lesser volatility. Oils like the Bach are refined from crude into kerosene and further refined into near colourless, which accounts for their odour, lower viscosity, higher volatility.

Seems everything these days is a compromise: odourless means slower; faster means odour. Good to have choices?

@flugelgirl
Much truth to your words. I could write a story... but suffice to say... in olden days I had to 'qualify' and audition to have the 'honour' to be a student of a certain orch trumpeter, which meant I had to have a Bach horn and 3C as minimum gear and be able to afford rather exorbitant fees. Then to get into the orch (I was chosen from 1000 world applicants), I had to have a silver, Bach C trumpet, again with 3C as the minimum. These days, I see a great variety of horns and colours, so things seem to have improved for orch members.
.... which leads to another question....
with so many excellent horns and brands these days, are we living in a golden age?

@SSmith1226 Another suggestion is to get a set of modular mpcs, re China. These come in a 7c, 5c, 3c combo. The cups and rims are not equivalent to Bach. Not a long-term solution by any means, but could be used to narrow choices and determine direction, at low cost. Here is a vid by someone reviewing the 2c-3c set...

@SSmith1226 If the Bach brand is the reference, suggest you try the 7D with a medium bore horn.

@adc weird!

re locked sticky; Jens & Mouthpieces Sticky (Your MPC is TOO BIG!)

Overall, I agree with Jens' premise. But I have seen also too many people use too small a mouthpiece.

I think we need to distinguish between students and fully mature 'pros'.

From age 7 to 20, a student will undergo massive changes, and thus many changes in mouthpieces and horns should be expected during the formative years. For students, the key is to provide proper guidance in the choice of hardware: as poor or mismatched can seriously impair progress. I have yet to find a golden rule for students, but I am finding my students are developing faster when they use a D-cup rather than a C-cup. By the age of 16 and after 5 years of development, most students do very well with a 3D.

But as a standard for a 'pro', I disagree about the 3C being the ubiquitous size. For me, at the pro level, the issue is sound. True, a 3C can give a well-balanced result for tone, range, flexibility. But a 3C will not give the same tone as a 1.5C: if it does, the issue is the player. In my case, a 1.5C definitely gives a bigger, fuller, sweeter, greater dynamics than a 3C. With a 1.5C, I have no trouble to fill a concert hall with a 'teutonic' sound. I think pros should strive for 'the sound', and this means working hard to develop the chops needed to perform on a mouthpiece larger than a 3C. imho, the 1.5C is the pro standard to achieve, with larger being a matter of individual strength.

opinions?

Thanks for opinions; valuable. This thread caused me to research the petrol/synth distinction, which brought me up to date. So, a correction; per today's standards, Cass is not synth [I suspect its base is condensate]. Overall, I find Cass to be a very good oil; odourless, clear, smooth, stable, long-lasting: but it is not fast per its label and claims. BERP is very intriguing. -regards,

Care to post your opinion/s about valve oils?

re Cass.
FWIW... I have used the Bach oil since time began. Reason; it's fast. But... Bach is petrol based, so it is 'aromatic' and 'volatile': which implies it smells and evaporates quickly, which implies re-oiling every 2 hours or so. Seeking to avoid the smell and evaporation, I tried a bottle of Al Cass Fast, which is 'synthetic'. This Cass is indeed odourless and clear, as claimed. But Cass is not 'fast'. Cass viscosity feels significantly thicker, which causes valve action to be slower and require more finger-muscle. The viscosity makes the valves feel smoother, but at the expense of slower. But it is very much less volatile, so valves feel well oiled for many days. pros and cons.

A most unusual, interesting design. Please post a video of you reviewing and performing with it. I imagine this is a pricey horn.

I am scratching memory cobwebs. Very long ago, I experimented with a cornet and trumpet, both were vintage Selmer. Cannot recall which specfic mp's I used. But I recall 2 aspects. [1] By using a specific m/p for each, I could obtain a tone indistinguishable between cornet and trumpet. [2] In obtaining the equal sound, I recall the cornet gave more resistance. For the cornet, the m/p was a bowl shape, rather shallow. For the trumpet, the m/p was a V shape, rather deep.
... I am interested to hear other views.

@ rowuk. You have some very good observations. How true: music and instruments have evolved. 50 years may indeed be correct. A pity the recording technology back in the 40s and 50s was rather primitive: we cannot hear the true sound of the big bands and symphony orchestras. I do prefer the timbre of a Bb trumpet over C. When I hear today Copeland's Fanfare performed with C trumpets, it is lacking something compared to the sound of ensembles in the 60s when Bb trumpets were the norm; and when, as you say, Bach was primarily the norm.

I am curious to know what others may think of trends in music and instruments, re trumpets. These days, I see, read, and hear performers raving about their new horns, And, certainly, we have a plethora of brands now. I read and hear descriptions such as core, or focused, or smokey. To me, very many new horns sound like a hybrid of cornet, flugelhorn, trumpet. My descriptive for such is dull. To me, a trumpet should have a full, broad, powerful sound, rich in harmonics, and with a sparkling brightness. Seems the sound and virtuosity of the trumpists in the '40s and '50s is gone.

To give some idea for sound, please listen to Margolis performing the trumpet intro for the song, Oh My Papa, sung by Eddie Fischer. I have not heard a similar sound for what seems ages now.

opinions?

@Dr-GO said in Vintage Horn Eye Candy:

@Kehaulani said in Vintage Horn Eye Candy:

VINTAGE HORN EYE CANDY?

I don't see it.

IF you look real close, you should see a bugle.

Lawrence Welk Show, network premiere, 1955.

my, how the USA has changed.

@barliman2001 that's an enviable collection for any serious player. which is your favourite?

@GeorgeB said in Anyone remember JOHNNY ZELL:

Besson Meha

A Besson is not unexpected. French horns were very popular among the commercial players in his day. Zell did produce a velvety tone on that horn.

I recall Hirt liked the LeBlanc brand, and he started with Tommy Dorsey. I can't recall Hirt performed with Welk.

I recall Fountain performing with Welk.

@barliman2001 no way TJB members would have performed either - they were under exclusive contracts.