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990796 Posts in 66282 Topics- by 16350 Members - Latest Member: OldsAmbassador
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1  Horns, Gear, and Equipment / Instruments / Re: Cheap Hard Case on: Today at 01:41 PM
I have both of these cases, the SKB 360 and the Gator CG. (I just got the Gator from Thomann, who had it for 65€, couldn't pass that up)
They are very similar, the SKB is sleeker, meaning, the body is more slender. The bell diameter is the same, though, so you don't really gain anything in overall case width.

The Gator has it's advantages; for instance it comes with a really good strap, the SKB doesn't. Don't buy the SKB strap, it sucks, cheap plastic latches.
I had some problems with SKB with the staples holding the slide cover, they were coming out and would scratch the slide. I pulled the ones out I couldn't hit back in with a hammer. The Gator doesn't have this problem.

Overall, I like the SKB a little better because I like the thinner look but I have to say that the Gator is really just as good and probably the better buy, especially for the price I paid.
2  Horns, Gear, and Equipment / Mouthpieces / Re: Greg Black equivalent of a Bach 4? on: Aug 12, 2015, 01:36PM
Hi Michael,

for some reason I've always thought you were Steve Ferguson!? SORRY!

I have 4 Bach 4s, 3 small shank and one large shank. All of mine are the same cup depth. One of the small shanks and the large shank are special orders from Bach with larger throats and back bores (the small one, too much and the large one, not enough. So much for special orders from Bach). One of the small shanks has had the throat opened and one is original.

I also studied with Swallow at NEC and he always played his 4 with his 36. He must have had the throat opened up but I can remember if he told me how much or what.

Anyways, it seems like the 4GS is probably deep enough. I want something different than my 4G-5G and not too similar otherwise, what's the point?

3  Horns, Gear, and Equipment / Mouthpieces / Re: Greg Black equivalent of a Bach 4? on: Aug 12, 2015, 12:38PM
Hi Steve,

thanks for that info.

I have a Bach 4 and it is deeper than a Bach 5GS, so I was thinking probably a Greg Black 4GSD would be the one.
I play a 4G-5G and a just got a new 4G-5G with a #1 throat that I love (much easier high register). I also just got a 4AL which is great for the Conn 78H and Bach 16, but it's significantly shallower than the Bach 4.
I'm looking for something to play in my Rath R3 slide (tenor  receiver). I've been using a Bach 4 with a larger throat, it's OK but not really totally convincing. I really like the two new GB mpcs, so was thinking of getting one to replace the 4.
I was just chatting with Greg and we were deciding on the 4GSD, so thanks for saving me there.

BTW, Bach 4 large and small shank are the same depth.

Bruce
4  Horns, Gear, and Equipment / Instruments / Re: Bach "sound" vs. Conn "sound" vs. every other sound on: Aug 11, 2015, 02:58PM
OK. Here's my take. And this goes from small bores right on through basses, although it is based mostly on experience with pre-UMI horns.

Bachs-They have a very clearly defined overtone system above the notes. From ppp to fff and from the lowest tones to the highest. Same sound no matter what. A good sound, I suppose, but somewhat monochromatic.

Conns-They color more easily. Volume and range. Push a Conn in terms of volume and it starts to snarl. (Higher harmonics sounding.) Back off and it gets "darker." (Less harmonics/lower harmonics sounding.) More expressive than a Bach sonically, but not as reliable. Not as "civilzed."

That's my take, anyway.

Later...

S.

I think Sam is right on the money here.

I used to play a Bach 42, in fact many players here in Germany used to play Bach. In the last 20 years or so many players have switched to German trombones (mainly Lätzsch but also Thein, Pfretschner, Kromat) The players who still play American horns now mainly play Conn, or Conn type horns (Rath/Shires) because they blend much better with the German horns. German horns are designed to change color with volume, soft - dark, loud - bright. German trumpets do this also. A Conn leans more in this direction, as Sam described. A Bach stays much more uniform, color wise, in the dynamics. This was the epitome of the American sound as I learned it, but I think things are changing and surely has in Europe.

Listen to recordings of the Philharmonia/Klemperer or Phliadelphia/Ormandy for a typical Conn sound.
Chicago/Reiner, Solti etc. for a Bach sound.

Nuf said.

5  Horns, Gear, and Equipment / Mouthpieces / Greg Black equivalent of a Bach 4? on: Aug 11, 2015, 02:21PM
I am wondering what the Greg Black equivalent of a Back 4 mouthpiece would be, I would imagine a 4GS or a 4GSD.
I know that both would have a much larger throat and but I mean cup depth. Does anyone know which would be closer?
6  Horns, Gear, and Equipment / Accessories / Re: Case suggestions/BAM case problem on: Jul 18, 2015, 12:26PM
Is that bad for the horn? How so?

I'm not sure if it is bad, I just have a funny feeling about it. I have used the case with my Rath and nothing bad has ever happened. I just don't think it is optimal. Also, I have molded the slide padding so the trigger lever fits in it better.
I forgot, there is another problem, kind of. The bell section rests on Rath slide receiver turn key. Not really a problem unless the horn falls and gets a good bang. I can imagine the slide receiver may get damaged in this case (pun). I suppose one could put some extra padding between the case and goose neck.

Like I said, it does work. If you can live with the caveats, go for it.
7  Horns, Gear, and Equipment / Accessories / Re: Case suggestions/BAM case problem on: Jul 17, 2015, 02:48PM
I have a Rath R4F and an Eastman case. It does fit, kind of. The valve is half engaged when the case closes, probably not good for the valve. So, I don't like to do it.
8  Horns, Gear, and Equipment / Mouthpieces / Re: Bruno Tilz mouthpiece question on: Jul 17, 2015, 02:42PM
Tilz is probably the only mouthpiece maker that is even more confusing than Marcinkiewicz, you've gotten yourself into deep waters here. If you want to play a German mouthpiece, try a Josef Klier, much more understandable as far as rim diameter and depth. Otherwise, contact Tilz and tell us afterwards what everything means.
9  Horns, Gear, and Equipment / Mouthpieces / Re: Another fine alto mouthpiece on: Jul 15, 2015, 04:12PM
I also discovered a great alto mouthpiece recently, a Marcinkiewics 8H-S. The intonation of the partials in a Lätzsch is perfect, right up to high g and even b-flat (above high e-flat). Even the pedals are right in tune, the first mouthpiece I've found this to be the case. An Marc. 8H-AL is not in tune. It sounds really well but it is flat in the upper register and sharp in the pedals. The only difference between the two is the 8H-S has a larger back bore. Both of these mouthpieces have a 26 mm rim diameter, so they are good for players who like large rims.

As with your mouthpiece, Heinz, I honestly feel that altos need bigger throats and back bores to work well, nothing worse and more tiring than having to lip up in the upper register. The section blend in an orchestra also doesn't work for me with extremely shallow mouthpieces. A Lätzsch alto, for instance, is really nothing other than a German Weite 1, which is the same bore as the Weite 1 German tenor, it's just in Eb instead of B-flat. So an alto mouthpiece should correspond to the mouthpiece one would play in a Weite 1. That's my opinion. Of course the smaller altos like Bach or the Voigt may need something smaller.

10  Horns, Gear, and Equipment / Accessories / Re: not happy with my Edwards bullet brace on: Jul 14, 2015, 03:26PM
Rath includes plastic shims with its hand rest to accommodate thinner bell braces. Wouldn't it be nice if Edwards should did this also.
11  Horns, Gear, and Equipment / Repairs, Modifications and Maintenance / Re: How to get a rotor valve working again? on: Jul 05, 2015, 04:16PM
I bought the horn new and the valve was about 3-4 months old when it froze up because of the shards. Of course I explained the problem to Shires, the reply was that that was the first time they had heard of that happening.
I played the horn for a couple of years after that but, like I said, the valve never worked well enough for me. It was always slow (I tried about every oil) and the oil would always get in the slide and mess it up. I got tired of constantly cleaning the slide after oiling the valve, which was every two days or so. I'm talking about cleaning the slide every 20 minutes, 10 if I played anything fast like scales or etudes. The slide was perfectly aligned and worked fine when I could get it free of oil and play it with the straight gooseneck.
I have the feeling that the shards scratched up the valve core enough so that the oil would't stay in the valve and leaked more easily than normal into the slide. This may be baloney, though because I had problems with the slide before the shard attack. Shires even replaced the first slide I had because I complained about it.

Too bad, I fell in love with the Shires, especially with the Tru-bore, and waited a long time to get it. But like many love affairs it became a love-hate relationship and was better ended.

I now play Rath trombones and have none of these problems.





12  Horns, Gear, and Equipment / Repairs, Modifications and Maintenance / Re: How to get a rotor valve working again? on: Jul 04, 2015, 04:01AM
I had to take my try-bore apart after it had frozen up in a concert. There were metal shards, hiding in the cut-outs (the non-used holes in the core) of the valve and one had got itself lodged between the valve and casing. There must have been 12-15 shards in there. That's not what I would call precision engineering!

I've tried all of the oils and advice but have never been able to get mine working well enough to be happy. I don't play it anymore.
13  Creation and Performance / Musical Miscellany / Re: What does Amateur, Semi-professional, Professional mean to you? on: Jul 02, 2015, 04:12AM
You are right :-)

I get your point but please tell more about what you think is a good or better definition of each word.  I'm intersted in your thoughts of the complete picture Hi

/Tom


This is kind of difficult to answer. How does one describe the relationship of player's musical quality to the money he makes?  I don't know.

All I know is, I just want to play with players who can do the job, as professionally as possible, be it amateur, semi-pro or pro.





14  Creation and Performance / Musical Miscellany / Re: What does Amateur, Semi-professional, Professional mean to you? on: Jun 30, 2015, 03:37AM
i don't really like these descriptions.

Technically, a pro is a musician who makes his livelihood playing. This does not necessarily have anything to do with the quality of this musician. There are plenty of "pros" sitting in professional orchestras/bands etc. who are not great players, far from it. Maybe they were good at one time but through lack of practice, attitude or physical/mental problems they are not anymore. They are still pros, though.

There are many semi-pros and even amateurs who are better players. Maybe they can't count rests, transpose/read clefs or keep their mouths shut as well but they maybe able to play rings around these so called pros.

What about an unemployed pro? Is he an amateur again?

These terms are good for a general description of what the player does for a living but for a description of quality, I think there are better words.

By the way, i am a professional. I earn 100% of my income playing the trombone.This tells you nothing about how well I play.
15  Creation and Performance / The Healthy Trombonist / Re: What is with my throat? on: Jun 27, 2015, 03:38AM
It's more likely that you are using too much abdominal support. Tighten your stomach muscles and what happens to your throat? It tightens up.
I think everyone has experienced this to some extent at some time in their career, usually early on, and is one of the main issues to solve to become a good player.
16  Teaching & Learning / Beginners and Returning Trombonists / Re: How to Tune Your Trombone on: Jun 22, 2015, 07:14AM
First position two inches (5 cm) out from the bumpers seems pretty drastic. That's about a quarter tone.

I play my 3rd position right on the bell or slightly in front, depending on the note, chord, tonality, whatever. My 1st position is maybe 1/4 inch out and I tune my horn with the tuning slide pulled 3/8 inch (1 cm) out. So even if I pushed all the way in, I would be out only about an inch. But then I would lose 7th position, which I do actually use, not to mention low valve C.
I use mutes a lot and am used to compensating down for them. With a Wawa (harmon) or plunger I don't have the valve and really need that 7th.
To each his own, I guess.

Before switching to Shires and now Rath, I played an uncut Bach 42 in Germany and was often right on the border of being flat with the tuning slide all the way in.

17  Creation and Performance / The Healthy Trombonist / Re: Kleinhammer and Yoga breathing on: Jun 22, 2015, 06:33AM
Sven, I read The Inner Game of Tennis years ago.
I haven't read Zen in the Art of Archery yet, have been meaning to.
18  Creation and Performance / The Healthy Trombonist / Re: Kleinhammer and Yoga breathing on: Jun 22, 2015, 03:12AM
Now that I think about it some more, I seem to remember reading that same interview and thinking "oh, oh, they're talking about the wrong book" when the author referenced Autobiography of a Yogi.  Then again, EK may have read it...it was really making the rounds at the time.....but I know for a fact he never mentioned it to me.

So maybe I did remember correctly.That's comforting.
I've been wondering about this for years and it's amazing what a little question in the forum can clear up.


Thank you, I'm looking forward to reading it.

19  Creation and Performance / The Healthy Trombonist / Re: Kleinhammer and Yoga breathing on: Jun 21, 2015, 04:09PM
Thank you for that information, Dennis.
I'm sure your are right, I must have mixed up the books, which doesn't surprise me, it was a long time ago I that I read the Kleinhammer interview.
I'll try and find Science of Breath but I'm quite glad that, through my mistake, I read Autobiography of a Yogi, which I probably never would have done.



20  Creation and Performance / The Healthy Trombonist / Kleinhammer and Yoga breathing on: Jun 21, 2015, 01:09PM
I have it my mind that I read somewhere (ITA Journal, Instrumentalist, etc) that Ed Kleinhammer recommended the book "Autobiography of a Yogi" by Paramahansa Yogananda, especially for it's description of Yogi breathing.
Because of this, I purchased this book years ago and have since read it. An amazing book by any means and as a practicing Yogi myself, I was very inspired by it in many respects.

The thing is, there really isn't much about Yogi breathing in the book, at least no real description.
I was wondering, why would Kleinhammer have recommend it? 

For those of you who knew him, did he in fact recommend this book and if so, what were his reasons? Was he into Kriya Yoga or other forms of Yoga? Was he fascinated, like I am, with the many comparisons of Hinduism and Christianity? There is so much love an compassion in the book, you really can't read it and not become a better person in some way or other. From what I hear about Kleinhammer, he was a very superb human being. Does anybody know if this book was an influence or inspiration for him or anything more about this?

Thank you.
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