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1052311 Posts in 70047 Topics- by 18203 Members - Latest Member: antwerpdiamonds
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The Trombone ForumRecent Posts
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 on: Today at 11:37 AM 
Started by crazytrombonist505 - Last post by crazytrombonist505
Link to pics:


 on: Today at 11:21 AM 
Started by Jhereg - Last post by mwpfoot
Jhereg, I have enjoyed from afar your blog posts about life on the train, in the band, with the animals, on excursions,


You've had a very cool performing career thus far.

It's sad this chapter is closing - I have good thoughts for you and your friends and I'm thankful you shared your journey with us.

 Way cool

 on: Today at 11:17 AM 
Started by ModernJazzTrombonist - Last post by ModernJazzTrombonist
Greetings, all. 

Can anyone give informed cup comparisons for the Large Bore Griego Alessi Series?

I am particularly interested in which cup depth is closest to a Bach 5GS depth?

In fact, if there's a depth between Bach 5GS and 5G, that's probably the one for me. 

I recently tried an E and it was too deep for me.  Maybe the D cup is perfect? Anybody playing one who can comment?

I would also really appreciate any depth comparisons to 6.5AL, 5GS, 5G, Schilke 51, OR equivalents to Doug Elliott's cup depths.

 on: Today at 11:16 AM 
Started by seanschramm - Last post by Matt K
I'm in a very similar situation here. Traditional bass trombone player who has been using a DY for over a year, but looking for a complimenting mouthpiece size for tenor and small-bore trombones. Currently trying to change mouthpieces on smaller trombones just messes up my chops on the larger. A little reluctant to shell out large sums of money for custom-built mouthpieces just yet.

Doug's pieces are all stock. Although he will do custom work if you ask. If you're wanting a small shank equivalent, you're wanting something like his LB114 rim. They come up used from time to time much cheaper than new. You can also find used LB G and LB C cups as well. Those are similar to the Bach 5G and C cups in depth.  The shanks are all interchangeable with any series cup, so a G8 cup and a C3 cup would work with those cups and both of those also come up fairly frequently. Just might take some time to get there.

 on: Today at 11:14 AM 
Started by stk - Last post by blast
Well...yes, Chris. Digitally-induced individualism is on the way to replacing "localism," if I may coin a word...at least it is on some of the lower levels of achievement.

What I see happening...and this goes to jazz and latino styles as well as orchestral approaches...is that current players in their formative years have a vastly wider world of choices than did players of previous generations. Just the last 7 or 8 years have seen a huge proliferation of YouTube-generated "masterclsses," for example...also archival and more recent performances from many players. Ditto non-video examples...recordings...as far as young listeners are concerned. A young player...and I do mean young, say 14 years old or thereabouts, just past childhood (the real formative years, in my view)...can sit in front of a computer and watch/listen to literally thousands of trombone-related streams with no real idea of who most of the players may be and probably not much of an idea (past his or her own level of intelligence and talent) about their relative expertise. For all you need to know on that account, witness the recent, relatively widespread acceptance on this site of a player who invented some sort of "non-pressure" device and then proceeded to demonstrate it while demonstrating that he was a terrible-sounding trombonist.

Before the digital revolution it was not so easy to find examples at that age. Whatever was on mass media (including well-distributed recordings) was all there was to find, and "media" were all fairly local. French trombonists heard mostly French trombonists, Germans heard Germans and U.S. players heard U.S. players.

Not anymore they don't...

The upside of that sort of localism was that pretty much only the cream of the crop got famous enough to be heard by aspiring players (providing at least some general level of good-playing examples), thus "local" styles began to form. The downside was that after a generation or two those styles began to harden. They began to stop growing and became a sort of lock-step orthodoxy.

Before recording? Before recording there were mostly larger city orthodoxies. "Leipzig" style. "London" style. Paris" style. "New York" style. Wherever.

Now? No orthodoxies. It is as easy to want to emulate Ian Bousfield as it is to want to emulate Joe Alessi or Christian Lindberg, as easy to be influenced by J.J. Johnson as it is to be influenced by...oh, I don't know...Roswell Rudd, Tommy Dorsey, Slide Hampton, Willie Colon, Urbie Green, Frank Rosolino, Jack Teagarden, Trombone Shorty, Wycliffe Gordon, Barry Rogers, etc.

Localism disappears. The downside? "Style" grows in a somewhat linear fashion...from direct contact with highly skilled players. No Denis Wick? No Ian Bousfield, for example, and that lineage surely goes back several generations. No Jimmy Knepper? No Sam Burtis. Bet on it. Not in my current form, anyway. Crossing instrument lines? No Charlie Parker, no Jimmy Knepper. Bet on that as well. I wnet into the Jimmy Knepper caldron one player and came out several years later completely different. That would not had happened...at least not in the same way...if I had at that time been living in Macon, Georgia no matter if I had collected the entire Knepper discography and transcribed every note. I had to be here, sitting next to him or at the very least hearing him live. And the Charlie Parker-->Jimmy Knepper lineage was about as localistic as it can get. The style that Bird and Diz founded was almost entirely NYC-centric...Harlem-centric in its earliest years...and Jimmy had an uptown cellar apartment with Gene Quill where people...including Bird...came to jam.

Like dat.

In all idioms.


I'll bet there is more...and more easily accessed...Kenny G stuff on the web that there is Charlie Parker.

UH oh!!!  :-0 :-0 :-0 Clever Clever Clever Clever

Like dat, too.

Every technological advance is a two-edged...maybe even three-edged...sword.

So it goes.



Interesting..... this is pretty much what I thought would happen.... but with my experience of young players in college it is not as powerful an influence, at least in my neck of the woods. My students discover heros online, sure.... Bob Hughes is popular but so is Stefan Schulz... and do these players sound like their heros ?  The Bob Hughes fans do tend towards his style... because it is mainstream British... Stefan is admired greatly, but not copied as such.
This is an area of development is well worth more study....

Chris Stearn

 on: Today at 11:14 AM 
Started by Jhereg - Last post by Geezerhorn
I have to wonder if it's a move on their part to divest themselves of 146 years of what they might consider to be baggage; by dissolving the corporation, selling off all their assets and eliminating all obligations & liabilities; past, present and future. Then they reform as a new entity and start fresh with a modern brand. Any plausibility here?


 on: Today at 11:12 AM 
Started by Armorgorr - Last post by Matt K
I forgot to mention that I have a Faxx 1.5G piece that I'm currently not using as I've picked up a Doug Elliott model that works well for me. I was using it as a backup, but if you were interested, feel free to PM or e-mail me. I'll get it to you at a fair price. I've only used it a handful of times. The FAXX pieces are pretty well regarded here as being good copies of good instances of Bach pieces.  

Speaking of the sizing of the tenor mouthpiece, as metnioned, the 5G, 3G, and even 1.5G have similar design characteristics other than the rim. Suggesting that if you like the 3G to try it on tenor is much different than suggesting, say, a Schilke 52E2 or something like that with a hugely deep cup on tenor. The 3G is a little deeper than a 5G, but only as deep as one of the other more popular, mass produced models for tenor: the Schilke 51D. And while, on average, high school basketball players don't need size 14 shoes, if you do then there is no substitute.

When I was in HS, I started doubling on bass but wanted to stay as a tenor player primarily.  I switched to a 1.25G (because thats all that the local store had) on bass. One week, I left my regular mouthpiece in a case of another horn that I was having repaired. At the time I was playing on a piece similar to a 5G (the Peter Sullivan signature mouthpiece). I used the only alternative I had: the 1.25G for everything that week. The tone was noticeably easier and actually didn't impact my range or endurance at all. My band director at the time even called me out in class, not knowing I had inadvertently made a change. "Whatever you did over the weekend, keep doing that!" type of comments. I rolled my eyes derisively because at the time I'd only ever studied with Remington players who were all strongly opinionated that this fad of big equipment in the 90s was silly and non-musical. In my naivete and not wanting to be a "euphonium on a stick", I convinced myself that the sound wasn't good on tenor at all.

Fast forward to the end of my undergraduate degree, having spent the better part of my time there on pieces similar to 5Gs and ultimately an Elliott 102N rim size. I finally decided to have a lesson with Doug, who immediately put me on the 104N rim (which is similar in size to the 3G rim) and found that it was night and day for the better.

Apples to oranges? Sure, in some ways. There were a few years of college in between then. Was I physiologically needing that 104 rim size in high school? Maybe, maybe not. But I didn't let the sound I was getting dictate that, I was letting what I perceived as acceptable dictate what I should play.  So long story short, if you like it, try it.  If you don't, stick with the 5G.

 on: Today at 10:59 AM 
Started by bonenick - Last post by jazzaltobone
Jen Baker is a lesser-known multiphonics player who creates some interesting sonic effects: http://www.altobone.com/jen-baker-international-trombone-festival/

 on: Today at 10:56 AM 
Started by BackBone - Last post by jazzaltobone
A lot more boring, perhaps, but I have a 12 inch piece of one inch inside diameter PVC that I breath through to warm up. It has a very useful capability to open up the throat and allow the full capacity of the lungs to engage. Second to that, I guess I could always find another trombone player with whom to do the PCV table wind battle!

 on: Today at 10:56 AM 
Started by Armorgorr - Last post by BGuttman
Also:  Avoid the M versions (larger aperture) and Megatone versions (heavy blank).  Both are much harder to play, especially for someone used to a smaller mouthpiece.

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