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1069803 Posts in 70998 Topics- by 18772 Members - Latest Member: adireccional
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21  Teaching & Learning / Practice Room / Re: Forget quality, listen to the volume! on: Jun 10, 2017, 05:08AM

Ummmmm..... you HAVE to sound bad at various points in the practice room..... the first time you tried playing a trombone did you immediately stop because it didn't sound like Alessi? When you first began practice high register did you only ever play up to notes that you thought sounded "good"? How about when you first practiced double tongueing? Did you give up because it was a mess? Of course not. (I assume!  :D )
I believe if you only ever sound good in the practice room you are doing it wrong. You have to experiment, push the boundries, figure out how to make bad sounds turn into good sounds. The way to improve on a bad sound is not by ignoring it. I think Burgerbob is totally correct, push the limits of your volume in the practice room. Work at making the top levels sound nice.

With respect, I have to disagree. With a good concept of sound, even young players can produce a fine sound. Youngsters hear other youngsters sounding harsh or uncontrolled and expect to produce a similar result. If they are in an environment where good sounds predominate, they too will produce good sounds. Bad sounds are not a road to good sounds.

You push your best loud sound not a lesser version of it. 'Good' is of course, a subjective term.

British Brass bands 50 years ago, when I first played in them, were not generally as loud as in more recent times.... the world changes.... better or worse ? You decide.

Some orchestras have gone the same way in their brass sections in decibel terms, though professional brass players usually produce controlled and impressive results.

Chris Stearn
22  Classified Advertisements / Classified Advertisements / Re: FS-Bach Bass trombone on: Jun 07, 2017, 12:08PM
If that's the one I tried, that's a great Bach !! Worth grabbing !

Chris Stearn
23  Horns, Gear, and Equipment / Instruments / Re: Need suggestions finding a trombone similar to this Shires configuration on: Jun 07, 2017, 02:45AM
Do conductors do this? Do they know one brand from another? Which conductor was it I wonder? Whoever it was it can't be the present conductor of the LSO as Peter Moore plays a Yamaha Xeno and James Maynard has recently switched from a Conn to a Yamaha. Yet Dudley Bright is still playing on his old Conns.......

Highly unusual for a conductor to know anything about trombones.... or even care.

Chris Stearn
24  Horns, Gear, and Equipment / Mouthpieces / Re: Bach No Period Corp 1 1/2G on: Jun 06, 2017, 07:19AM
I have 3 Mt Vernon 1 and 1/2G mouthpieces. Each is a slightly different size. I have 2 Corp(non period) mouthpieces as well. Both of the Corp pieces are fairly close in size to each other and close in size to one of my Mt Vernon pieces. One of the Corp pieces has a great sound, the other, not so much(my opinion). Through the years I've purchased numerous Bach pieces and no 2 have been completely identical. So I don't think that there's a single answer to this question in my experience.
[/quote

Exactly.

Chris Stearn
25  Horns, Gear, and Equipment / Instruments / Re: 72h clone? on: Jun 05, 2017, 06:59AM
Bach 50 and Holton 169/185/180/181 tuning slides are the same size. By the time of the 611 Yamaha were getting to be unique in many areas.
To get back to where we started... nobody copied the 72H totally though the single valve Reynolds bass made in the 1950's was closest of any.Same bell flare. Same longer slide. Sounded nothing like the Conn though.
26  Horns, Gear, and Equipment / Instruments / Re: 72h clone? on: May 28, 2017, 11:50PM
Never lose sleep about missing a single valve Conn. The newest one available now is a minimum of 40 years old. Likely 60. That's 40 to 60 years of use on one moving part.

Find a single valve you can afford that is in serviceable condition from any maker, and cherish it....let the super expensive old Conns fall into the hands of collectors, or those with large bank accounts and good relations with their repair shops.

Even great old Conns all have "Conn wear" on slides. Like anything vintage, you have to put up with the trouble until you get mad enough to spring for a new single valve and pay the $$$$$.

There are still hardly used old Comms coming out of attics after a distant couple of years use. I had a 71H like that and I have a fantastic condition 60H sitting next to me at work. I know Don well and if he says this 72H is amazing it will be. You have to be prepared to pay for the good stuff though.

Chris Stearn
27  Classified Advertisements / Classified Advertisements / Re: FS: BrassArk SCHATZ Leadpipe on: May 28, 2017, 02:35PM
I sent  you a PM the day you posted the ad... not interested in a deal ?

Chris Stearn
28  Horns, Gear, and Equipment / Accessories / Re: Will a yamaha bass trombone case fit a Rath R9D? on: May 28, 2017, 09:08AM
Raths are wide across the bell section at the valve area, so you may have a problem. I use a basic Jin Bao bass case for day to day travel as it is mega light and the trombone fits well. Think of it as a solid gig bag !  There was a trombone in the case when I got it, but I consider that a little bonus.For more serious travel I have a carbon fiber case, but I cannot get some of my extra bits in it as it is very compact. If the yammy case is dead cheap, buy it, try it, sell on if not right !

Chris Stearn
29  Horns, Gear, and Equipment / Instruments / Re: Valve bass trombone? on: May 28, 2017, 01:15AM
His Ebay name is g.mu6, I think. He has quite a few Bb tenorbass valve trombones listed at any given time. I've done research about them (because I want one) and I discovered that because they're based on the german-style slide trombone, they're usually pretty small in bore in comparison to our bass trombones. The most common bore I've seen is around 0.530", but there are outliers. The smallest bore I've found is 0.512" on an Amati, and the largest was, quote the Ebay listing, "almost 15mm(!)" which is very close to 0.590", made by "Svoboda."

I bought quite a few things from this guy years ago... always smooth deals ... I have a bass in F with 4 valves that I got from him and a 4 valve Bb trombone. Traditional German style horns.

Chris Stearn
30  Town Hall / Announcements / Matt K joins the moderating team on: May 27, 2017, 10:59AM
Matt K has agreed to be part of the moderating team.
He will be a valuable addition and I am very pleased to welcome him.

Chris Stearn.
31  Horns, Gear, and Equipment / Mouthpieces / Re: Who in their right mind plays a Bach 1 1/2G ?? on: May 27, 2017, 10:10AM
Very good post Bob. You are so right. Of course, when I first heard a George Roberts recording tone was only a part of what shocked me... His great time and phrasing were a revelation.... but we must always base our tonal judgement on live sounds.
Chris Stearn
32  Horns, Gear, and Equipment / Mouthpieces / Re: Anyone playing a rath cb2b on bass? on: May 24, 2017, 12:00AM
Just curious as to who is playing this piece and it's character

One of my designs.... a bass shank version of the small Rath contra mouthpiece. Based on a very modified George Roberts SO. Much deeper and wider at the rim. Big full sound. Not like anything else !

Chris Stearn
33  Horns, Gear, and Equipment / Instruments / Re: Need suggestions finding a trombone similar to this Shires configuration on: May 22, 2017, 12:43PM
Chris, would you like  to expand on what you said about the Courtois having a different dynamic envelope to the Conn? Thanks....

Not really....  :/
Well...starts more mellow... stays mellow for longer and does not do mega loud in a Conn way.
Any help ?

Chris Stearn
34  Horns, Gear, and Equipment / Repairs, Modifications and Maintenance / Re: Dumb questions about basses on: May 22, 2017, 10:02AM
First dumb question. Has anyone used an Eb slide on a single valve bass?

Second dumb question. Isn't there some sort of plug-in valve kit? Why aren't there more plug-in valves.

Third dumb question. Why doesn't anyone make an honest to goodness small bass that doesn't scare tenor players? Two valves or a removable valve like the Yamaha 620, 547/562 bore slide, 9" bell. Lots of horns have elements of this config, but no one really gets it with small basses.

First question... yes. You end up having to shift the slide around a lot with the loss of 6th and 7th alternatives on the valve. I have an Eb slide for my single Rath.
Second  .. slot in valves used to blow less well than regular second valves. Yamaha solved that but they are just not popular. I just made a slot in for a former student who wants to use his Conn 60H all the time.
Third... a small bass... yes it could be useful if a really top level one was produced.

Chris Stearn
35  Horns, Gear, and Equipment / Repairs, Modifications and Maintenance / Re: Loosening Up The Slots on: May 22, 2017, 06:32AM
Thanks Chris.  I know you mostly play bass, and the horn I'm talking about is a .500 tenor, but do you have any recommendations on pipes?  Any ideas what made older pipes looser?

You are right, my playing experience is with bass pipes. I would think traditional Conn and Bach pipes have a wider slot in your size. Shorter pipes have a wider slot, but pipe profile is the most important issue. Pipes are very mouthpiece and instrument sensitive and a pipe that is great in one horn is rubbish in another. A visit to Dillon ?
On bass, if I see a pipe at a good price, I buy it. They are pretty cheap and they usually work in an instrument eventually.
I have found that the best test is to take several candidate pipes along to a gig and just go for it ! If one is the right pipe, you kinda know really quick... and also if it's not !!!

Chris Stearn
36  Horns, Gear, and Equipment / Repairs, Modifications and Maintenance / Re: Greasing Up The Slots on: May 22, 2017, 12:50AM
Change the leadpipe. You might need to try a lot of pipes as very few modern pipes have a looser slot. A looser slot can give more control to the advanced player.

Chris Stearn
37  Horns, Gear, and Equipment / Instruments / Re: Need suggestions finding a trombone similar to this Shires configuration on: May 22, 2017, 12:37AM
I understand that the Courtois was based on an Elkhart 88H owned by British trombonist Dudley Bright, although apparently they subsequently had a falling out over some of the details.

If Courtois is your pleasure, you might do better flying to London and buying one from Parker's and claiming your VAT exemption.

I think Dudley just decided he preferred his old Conn.
Having sat in professional sections with Conns, old and new, Courtois and the Getzen Bousfield model, I would say that the Getzen is what a Conn might have ended up as if it had been developed over the years in the way it might have been. Still a Getzen of course. The Courtois seems to have a different dynamic envelope to any Conn. Looks like a Conn though....

Chris Stearn
38  Horns, Gear, and Equipment / Instruments / Re: Need suggestions finding a trombone similar to this Shires configuration on: May 21, 2017, 03:02PM
Useful information! Sorry to have assumed otherwise!

I wouldn't say the 42 is the ''lesser quality'' version. I don't think the Artisan line is better quality, it's simply Bach's attempt at stopping the bleeding to Shires and Edwards, and crawl their way into the modular/custom market. New Bach's quality seem to be as inconsistent as before, from what I've tried and heard from others - I see no reason to believe the Artisan components will be any more consistent. With Bach, trying several is even more important than other brands, I feel. Finding a good, older, used 42, straight or with the standard valve, and then buying a Hagmann conversion kit is probably cheaper than buying a new 42A or 42T, with the advantage that the conversion kit has a slightly different wrap than a stock 42A's and you can pull the F slide to E, and you can get an adjustable thumb lever in German silver or wood instead of the standard non-adjustable one.

The grip is pretty bad on the 42, that's right. I have a Greenhoe thumbrest on mine.

The main issue I had with the TruBore and other similar 3 port designs I've tried was that the F side is a lot less open than the Bb side, which goes straight through. The Hagmann's 3D design for the ports instead of the usual 2D plane, and the very smooth curves of the wrap design allow the F side to be more open, while the Bb side is slightly less open because the central port is slightly curved (so they are more even). Thayers/Axials are great of course, probably the most even between the two sides, I just hate how they stick in my neck, and in most of the ones I tried, I didn't like the throw or weight of the action. That's all very subjective and personal. Try as many horns as you can, including used horns.


Other suggestions - have you tried the Courtois AC440? Modernized copy of a 60's Elkhart 88H, better than any modern 88H I've tried. Long and McQuade should have them (and they will usually have it shipped between locations if it's not in stock at your local store and you are insistant enough)

Interested to know how the Courtois is better than the modern 88H....

Chris Stearn
39  Horns, Gear, and Equipment / Instruments / Re: Need suggestions finding a trombone similar to this Shires configuration on: May 21, 2017, 11:42AM
Grumpy old man warning.....
First.... you cannot build a trombone up from one company that plays like one from another company. It took me years to realise that... yours for free in one line. I bet 90% of you don't buy that... your choice.
Second.... when putting a trombone together you need to build a BALANCED instrument that ALLOWS you to do everything you want pretty well..... then YOU need to learn how to play it. If you want to build the perfect instrument, you won't..... it does not exist. Your work on a balanced instrument is the most important factor.
Again, most won't buy that.... that's fine with me.
Give it 40 or 50 years and it becomes obvious..... tick tock.... :D :D :D :D :D :D :D

Chris Stearn
40  Horns, Gear, and Equipment / Mouthpieces / Re: Who in their right mind plays a Bach 1 1/2G ?? on: May 19, 2017, 03:11PM

Thanks for clarifying  Good!
I agree with pretty much everything you said there, I thought in my own posts I had made clear that I also thought that much could be gained from listening to George Roberts and those that play in a similar fashion..... I just believe that is also true for modern players on big gear also. I don't think either should be dismissed.

Yes, I am aware that the no leadpipe, tenor on bass mouthpieces etc... basically came from America. I take issue specifically with the phrase "massive overbearing sounds". Whilst of course there is some crazy loud playing that comes out of America I dont think the top level players go too far with it. They can play big, but they pick their moments, they still blend with their colleagues and are aware of what else is going on in the orchestra. I think its inspiring. I didn't say it before buy I did roll my eyes when I read that "massive overbearing sounds" aren't heard in europe. I dont think I personally would ever use that term, but some brass bands that come from the UK get closer to that than any American orchestra I have ever heard. I have even heard some orchestras in europe where the bass trombone specifically will play in a way that makes them really stick out of the texture like a sore thumb. Its not overbearing, but to me its usually pretty unpleasant to my ear. I would rather hear a slightly more diffuse sound that bends with the others rather than one that rips through 70 odd musicians on stage. I am aware that is subjective though, and not necessarily what others hear.

I am very aware that the low register is accessible on a 1 1/2G. I was fortunate to study with a fantastic player who played a 1 1/2G for his entire career and he had a very strong low register. I have also been very fortunate enough to have done some study with Michael Mulcahy who Im not totally sure what size mouthpiece he plays, but it is definitely a tenor one and he has unbelievable control of his low register. What I was trying to say is that PERSONALLY, whilst I dont dislike those sounds and other bass players that choose that kind of gear, I find the sounds that inspire me most come from players on generally bigger gear. Who knows? I may change my opinion one day.

I suppose one thing I also dislike is that especially on somewhere like here it is difficult to convey tone and intent down in writing. A lot of posts I read on here (by no one in particular!!!) that talk about players using 1/2 G's and smaller mouthpieces (bass and tenor) read a little as though they do so because they have reached some sort of higher understanding of some kind of elitist sound that can only be understood by those who play small gear. Some posts read a bit like, anyone who doesn't understand the 1 1/2G just isnt a good musician. Perhaps I am not clever enough, but I dont get it. What I have seen stem from there,  are young players who get reasonably small gear and misunderstand the kind of sound they should be making with their equipment. Where I come from, I see so many players playing small gear saying "I just want a more compact sound" and "I dont really like that big American sound concept". What usually happens here is that these players (younger ones in particular) Get incredibly aggressive sounds that stick out regardless of who they play with, irrelevant of a loud or soft dynamic. They usually dont understand that even on smaller gear a low register is possible and sometimes required so they tend to not be able to play very low at all. Where I come from, these players get frustrated because no one will hire them. They are hard to play with. Then they tell themselves that the reason they cannot find work is because everyone is too big gear focused. The players that make small gear work, have put in the work. There are problems that come with playing the 1 1/2G, just like there are different problems that come with playing a schilke 60. I dont believe that playing a 1 1/2G is easier like many seem to suggest, for reasons I have made in various posts, you still need to work. I also do not think it gives a superior sound, just different.

Whats that saying about using what works and you?  :D

Quite a tome... thank you for your thoughts. I own the 'massive overbearing' trade mark and take full responsibility. It is how I hear some playing. The 'get it ' thing about the 1 1/2G I would stand by.... You CAN get it, if you want... but it is not an easy option. Not a good musician if you don't 'get it' ? Of course not... there are GREAT musicians playing in what we tend to call the modern American style... James Markey comes to mind, though there are many others, like my friend John Rojak... and monsters like Dave Taylor, who I have spent many enjoyable hours with.  1 1/2G easier ? No way in any sense.... only in that if you want that sound, it does it. Lets not look at how kids fare on different mouthpieces... we are more into the 1 1/2G in professional settings here.

Chris Stearn
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