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1088855 Posts in 71970 Topics- by 19323 Members - Latest Member: bryangray
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The Trombone ForumRecent Posts
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 on: Today at 03:19 PM 
Started by Dukesboneman - Last post by Dukesboneman
Thanks for the recommendations. A fellow forum member contacted me and I`ve purchased a Yamaha 59.
Let`s see what happens

 on: Today at 03:18 PM 
Started by salsabone - Last post by salsabone
I am looking to replace an outer slide crook for my '52 Reynolds Contempora .520 bore tenor.  These were usaually in nickle silver.  I would apreciate any ideas other than find a donor trombone(unless you have one in good condition for cheap!! Evil  Thanks, Salsabone

 on: Today at 03:14 PM 
Started by Bcschipper - Last post by Le.Tromboniste
I think we should judge the issue by the result. The section sounds very good.

Given that today's instruments often differ from the ones of the composers time (or location) and that any score is just a blue print for producing music, I don't think it makes really sense to be orthodox about the (informed) choice of alto(s) versus tenor(s). With informed choice I do not just mean historically informed choice but more broadly any purposeful choice based on some rationale (or shall we call it "emotionale" in the realm of music).

Finally, given the convergence of trombone sounds towards the big sonorous Alessi-Edwards style sound at least in the US East coast, I think we should welcome deviations. The standardization of sound is certainly historically incorrect. Local instrument makers and regional variations in building trombones and playing them played a much bigger role in the past. In some sense, from a statistical viewpoint, any deviations from today's "standards" brings the distribution of music performances closer to the distribution of historical performance practice.

By the way, I will go with the tenor on the Enigma since this is most likely what the St. Louis Symphony section will show up with when we play side-by-side.

Funny thing is, in my experience, using an alto to play "a tenor part" is much more frowned upon in the modern orchestral world than in the historically informed performance scene.

Which is somewhat strange, given that as you rightly point out, both modern alto and tenor are vastly different than whatever they used back then, tenor or alto, and so is virtually every  single other instrument in the orchestra. When playing on modern gear in modern orchestras, I don't see any reason why historical accuracy should dictate what size trombone one uses.

 on: Today at 03:11 PM 
Started by Ellrod - Last post by Piano man
Painting these accusations as a political stunt is ridiculous. Only 31 percent of Americans recently polled disbelieved Trump's sexual assault accusers, and now you're just getting down to the dumbest of the dumb, who are disbelieving something that Trump already admitted doing.

A large majority (57%) believe Trump obstructed the Russia probe. Americans believe, 50% to 40%, that Trump colluded with Russia to get elected.

I was going to say that sooner or later you have to take your head out of the sand (or wherever it is) but, strictly speaking, that's not true. You don't have to.

 on: Today at 03:07 PM 
Started by Brer Cottonmouth - Last post by salsabone
To add to bonesmarsh wick type recommendations.  My '53 LA Olds Studio is one of my favs.  It was pairing it with my wick 12CS Heritage series mouthpiece was the main clincher for this to happen.  Now I know that I prefer smallet rim size mouthpieces, but they make the small bore Heritage series in larger rims if that is better for you.  It just seemed to me that the overall design characteristics of this series pair excellently with the playing characteristics of the Olds Studio  Try one of these, it might just work for you as well.


 on: Today at 03:02 PM 
Started by demaxx1 - Last post by Le.Tromboniste
I feel like the Marcus Bonna super light trombone case would fit the horn and the straight neck, with the neck in the accessory compartment.

That was my thought as well. The Bonna standard case is too compact, but there's a decent chance the super light would work

 on: Today at 02:47 PM 
Started by Euphmeister - Last post by Slipmo
Both Brad Close's Sackbuts and Markus Leuchter's sackbuts are very well regarded as middle of the road professional sackbuts that don't cost as much as the top tier Meinl or Egger instruments but give you the flexibility of making an historically informed sound.

Motoaki Kashino (Maestrohound) just got one of Brad's F basses last week, so maybe he can chime in and comment.

http://brassark.com/new.html click on the "sackbut" tab and you can see photos and specs for both Close sackbuts and Markus Leuchter.

 on: Today at 02:35 PM 
Started by patrickosmith - Last post by JohnL
It is interesting.  but it does not seem to have occurred to them to turn the bullets on a lathe instead of casting.  You can buy rifle bullets that are lathe turned out of solid copper, silver shouldn't be that much harder.

Probably more expensive though.
Beyond the difficulty of procuring silver rod in the proper diameter, there would also be the issue of waste. You've making a lot of chips, and the only way you could recover any part of the cost would be to sell them as scrap.

Take it to a jewellers?
Where's the fun in that?

 on: Today at 02:35 PM 
Started by trombonehawaii - Last post by trombonehawaii
Just like it says, looking for a Shires bass dual bore, all nickel, lightweight handslide.

Please send pictures and asking price. Thanks! I have a standard B62/78 that I might be able to offer as trade.

 on: Today at 02:32 PM 
Started by aumannbone - Last post by MikeBMiller
Baltimore Brass had some in stock recently. I got a small shank 10ML.

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