Warburton backbores Tested on Schilke B6 Trumpet ..................................................................................................... These tests are ongoing and develop from month to month and horn to horn. Many have expressed interest in the Warburton Backbores - so these play tests - while subjective and not scientific - offer a unique overview of actual experiences.
The test results are in several paragraphs beginning with the newest. To review earliest reviews scroll to the bottom and work backwards. As of April 2008 I have reviews on: Warburton Backbores numbered: 1, 4, 5, 5 w/ 25 throat, Q, Q w/ 23 throat, 6, 8*, 9, 10*b
The latest test is with a 8* This was a breath of fresh air for me. It had the openness of the 5, and the 10*b, but it also maintained a more centered midrange with a pleasant presence around 3KHz.
This allows me to play my Baptist cup and rim and get a nice round full sound in the midrange and a very clear sound in the upper range. It is like having a similar timber to a Bach 1 1/2 until you open it up and climb where you here the clear lead sound of the Warburton #5.
Or another way of looking at it is having the core sound of Malcomb McNab and the lead sound of Rick Baptist. Well in theory - no one will ever sound like these two world class players:)
Test with #10*B & #9
The star means the 10 will blow more like the #9 and the B means the width is tapered so that it gives more gap . I was very happy with the sound and the feel. It was a big bright and full sound. I played with this for over a month including a solo appearance ending on a Double C.
I began to notice the dent in my top lip from my wound in the 70's was deepening. Although I believe it will not be damaging I decided to go back to the #9, but to open the exit with a flaring tool. This gave me a little bigger, brighter sound and has become my new choice for all round playing.
I have now been on this altered #9 for several weeks, and believe it is the best compromise. It does slot better, and is more flexible. The tiny amount of volume, and the slight resistance felt on double c and d is not worth the difference in weight on my dent.
I will add that the reason this dent opens up is that the tone contains more of the lower partials and this tends to push the chops apart. To which the embouchure responds with equal force. Had I never separated this spot I would not have the problem.
I really like the star concept - allowing you to push more air but maintaining the size smaller feel.
10-2007 gR
More WARBURTON BACKBORE TESTS:
Testing is not scientific in any way. It represents my opinions based on the core balance I prefer, and the sound I like. I do believe that these simple play-tests are valuable for general comparisons.
Since these tests I have returned to my Roy Stevens top. The freason was that I discovered the Stevens played equal to, or better than the Parke for me, with a #9 bottom. This was not so with any other combination.
With my Parke Baptist Top I played the 1,4,5, 6,9, and Q. Using a different, # 5 and Q; I opened the throats to a # 25 and then to a #23
• The #1 was a thin directional sound, reminiscent of the 1920’s sounds. • The 4 was very powerful and projecting. It was a bit nasal, and had excellent slotting up to and above double “c’. It also provided excellent endurance.
• The #5 was clear and free blowing. Very nice commercial sound with very even response from low to high. The sound was broad and yet projected well. The most consistent sound in all registers and volumes. Very articulate.
• The #5 with the 25 throat was a bit darker, and took more air in the upper register. Otherwise the same as the 27 throat (stock)
• The #5 with the 23 throat was bombastic. The sound spread even more and the upper register took more air than I could supply comfortably. The pressure on my chops was greater, and somewhat uncomfortable.
• The Q played beautifully in the low and mid range, and for the first day it played well into the upper range. After the first day the upper register was stuffy feeling. The Q maintained the same intensity of sound from low to high. The waveforms in Protools were consistent to double “c”. This was the only backbore that produced the same recorded volume from bottom to top. The sound was not as clear as the #5 but did slot very solidly.
• The Q with the 25 and 23 throats played bigger and broader and the upper register was not nearly as stuffy. However endurance was a problem, and they required much more air.
• The #6 played wonderfully with a more symphonic sound. The tuning was superior and the slots very stable.
I then experimented with my old Roy Stevens top and these same bottoms.
The results were similar, however when I used the #6 the sound came to life. A great commercial sound with a rock solid core. Endurance increased and the recorded sound far exceeded my expectations. After two weeks I find this combination to be the best, I have played – ever.
Although I will continue to try different combinations, I am very happy with the results this #6 Warburton bottom brought to my old favorite Roy Stevens. It has the flexibility and bigness of the Parke Baptist, with more projection, greater endurance, and the ability to perform classical technicalities I found difficult on the original Stevens. It does not “feel” small – in fact the Stevens now blows “bigger” than the Parke.
Newest test:
• The #9 is the most recent trial. This is a
backbore that several “workhorse” players use at Disney in Florida. The
guys use small, shallow mouthpieces, with opened throats and this
backbore. My conversation with the Warburton folks led me to believe
that the backbore with the most similarity to my favorite #5, was the
#7. After explaining that I was using a Roy Stevens Top, Ken suggested
I try the #9.
I was actually thinking of the #10 (because I played a
Schmidt backbore when I was on the road with my #24 Mouthpiece and X3
Trumpet. However Ken mentioned the guys a Disney using the #9 with the
smaller tops.
The mouthpiece arrived in 2 days – as usual – Although I
had set up my B6 with a combination of vintage and modern caps and
tops, the #9 PLAYED WONDERFULLY!
I was expecting to feel like I was
blowing into a bathtub, but the mouthpiece became rock solid. A huge,
but flexible sound. And it plays with a “pretty” sound at softer
levels. The upper register is open and free with very full sounding
F,G,A,Bb,C and double D.
The resistance was perfect and held my
chops in place with very little pressure. Above all it did not force my
chops to follow the air into the cup. A great help when playing all day
long.
I also tested the #9 with both of my Rick Baptist tops.
The brass top played big and a bit to legit. The bronze top played huge,
and could be a crossover mouthpiece. The Baptists played easier with
this #9 than they did with my #5 (the same set up Rick Uses) However I
am playing a B6 and he a B5.
