HOW TO FIND & BUY A NEW HORN .......................................................................................................................................................................................
If you play 10 trumpets of the same model at any store; they all play differently. You choose one and your buddy likes another. Sound familiar?
EACH INSTRUMENT IS UNIQUE!
The best horns in the world can Not be duplicated exactly. Some makers are more consistent in general characteristics, but I defy any of them to make two horns that are the same. When Bobby Shew and Bob Malone came up with Yamaha Z they were often challenged to tweak horns for players. Bobby said that between he and Bob they could make any horn play well. As fine as the Z horns or any Pro level horn is made, they still do not all play the same. When I had Dave Monette make a horn for me it took a half day of discussion prior and then several weeks after delivery we had another half day of tweaking to make the horn play just the way I wanted it to play.
Dave would ask what I needed, then turn his back or go in the back room - in the old Chicago shop - and bring it back with some magic, and it would play better. I give many of these tips that you can do with your own instrument, in my "LITTLE RED TRUMPET BOOK" We are very close to a printing as of 3.2008.
What can you do to make sure you have the right instrument?
1. Know what sound you really need. 2. Choose your mouthpiece first and make sure it is right for you. 3. Know where you want to feel the resistance: Up close, mid horn, at the bell, etc. 4. Know where you want to hear the sound: out in the room, at your bell, etc. 5. Know what amount of slotting you like. 6. Know how much air you want to put through the horn. 7. Know the amount of bending you need.
Teachers must guide students through this process. Players must be aware before buying.
Here is a reasonable process for buying a new trumpet:
Try as many horns as possible over a period, include as many of these brands as available – and many more if possible. Bach, Benge, Conn, Schilke, Olds, Besson, Yamaha, Selmer, Stomvi, Amati, Kanstul, Getzen, Jupiter, Blessing, Raptor,Marcinkiewicz, Smith-Watkins, and King.
Listen to players and if you like the sound, find out what horn and mouthpiece they play. Then find a store that will let you try as many horns as you need to. I recently went from Atlanta to South Bend to find a store with a wide selection of the horns I wanted to try.
After playing several horns over a period of weeks or months you will change your mind many times. Don’t stop when you think you have the perfect horn, test a few more. I believe an honest search for a horn can take a year.
If you are tempted to buy a horn on E-Bay, be aware that you may need to sell it, don’t overbid.
If you are looking at a used horn, make sure it is perfectly clean inside and out. A dirty horn or one not chem-cleaned can very differently when you clean it up and align the valves.
I believe the majority of horns should have the valves aligned by a pro shop. Bob Reeves is my favorite. If they need plating, valves should only be done with Monel. Other re-plating can change the sound and usually it is brighter and tinnier. Rather than re-plating I suggest you buy oversize valves and reduce to size with a Monel cover.
Valve compression needs to be checked on used horns, and be within factory specs. A sloppy valve will change the blow, harm flexibility, intonation, and rob overtones. It is interesting that some players have gotten used to leaky valves and compensated gradually over the years. When the horn is fixed they hate the feel. You can read about Mendez and his challenge with the Olds co. on many sites.
The receiver and lead pipe can also be worn down on used instruments, causing the mouthpiece gap to be distorted. This most often reflects in a less stable feel in the upper register, but can be the opposite. Some mouthpiece makers offer a “B” shank to give more gap.
Once you have your new instrument and play it for several weeks, it will feel differently. As a rule, anything new feels good for a time, and peters out from there. Supposing you have chosen wisely, then slight adaptations can be made to compensate for negative results after breaking in your new horn.
Often the horn will begin to blow bigger, with less resistance. Before altering the horn, order a few backbores from Warburton, and try them out. My observations say that there are 3 basic tones from the Warburtons. A Clear / a very centered / a Teutonic. The #5 and #10B* are very good clear lead sounds. The #4, 9, and 6 are very centered, and suitable for all round playing. The #7,12, Q, KT are Teutonic.
This is just a starting place and my suggestion is to speak with them for their advice. I believe the Warburton backbores are wonderful, and most players would be assisted by them.
If your horn backs up on you in the upper register try loosening the spit valve screw or any other attachment screw a ¼ of a turn. If that is not enough then use a looser 3rd valve cap and hold in position with an o-ring.
If your horn feels like it is now pulling your chops in to the mouthpiece place a small washer made of brass in the first valve cap.
If you have trouble hearing yourself, loosen the 2nd valve cap.
There are many more ideas for tweaking the last 5% out of your instrument, and you will enjoy the knowledge you obtain about your chops and your equipment.
I believe the ultimate goal is to be able to play, relaxed, without excess pressure, with a clear open sound. The proper mouthpiece with the right backbore, matched to the right instrument will give you years of enjoyment.
