Report On The Overhaul And Gold Plating Of
Trumpet B6 # 7160
By Pat Hund and The Team At Schilke
And Of Course Anderson Plating.


The plating was outstanding. The horn could be sold as new.
The modifications included removal of the spit valve apparatus and a beautiful hex shape brass over-seal. The weight the same as the spit valve, thus retaining the balance of the horn,

The brass tubing on each slide was either replaced or stretched back to original specs. The compression test originally indicated a low reading of just 0.5. After adjustments the reading was 2.5, and the valve compression is remarkable. New oversize valves were installed. A new third valve bow was installed.

In 1966 I received Mr. Schilke’s own original B1. The 2nd valve was so tight that I could place my finger over the valve cap with the valve depressed, and when released it would not move, until I pulled my finger from the valve cap vent.

#7160 is now almost that tight. I quickly realized that a drop of oil is sufficient. Any more and the valves hang up. It has been 2 weeks now with 3 to 4 hours a day playing, and the valves have not been oiled, but remain as smooth and tight as first played.

The slides are each securely fitted and yet operate easily.In addition I am using the replacement valve stems rather than my Brass stems from Curry - predominantly because of the gold plating on the replacements, and my assesment that the gold may have achieved the same result as the brass.

The blow is pure, rich, centered, flexible, and the same throughout the entire tessitura. I was wise in having Pat send along a complete set of new valve caps. I was surprised they were weighted on the inside, with #3 marked and heavier.

My first play tests were with the 2 antique caps and the Curry C Cap on the first vale with two washers. I quickly moved the Curry to #3 and shortly thereafter replaced the antique caps with the #1,2  Schilke new caps.

This resulted in an enormous sound, but I soon realized it was not centered properly. At this point, I placed a.58 mm triangle of brass between the two washers in the Curry cap, thus rendering the valve vent opening to one half the size. This size was now similar to the 1 and 2 Schilke caps. The difference was very noticeable. The core of sound had the typical “thud” of the Monette, Dave made for me in the 1980’s. I enjoyed the sound, but became convinced that it was not the true Schilke sound I wanted.

Faced with a new choice I put all 3 Schilke caps on (#3 weighing slightly more) and spent the next evening in a long slow soft warm up. Acclimating my Core Balance to the perceived slight increase in backpressure.

Having made the physical accommodation to the blow, I then played several more hours getting the horn into my “kinetic” sense. I now had a good mental image of the sound as a straight tube moving through the horn and into the air. I the past I have ALWAYS had the image and sense that I was breathing through a conical tube beginning at lead pipe diameter and culminating in the diameter of the bell ring.

This new cylindrical view has been very enjoyable, and extremely consistent in pitch, flexibility, and tonal production. The sound does no spreading as I play either higher or louder; it in fact simply intensifies or de-intensifies. It is much easier to mentally picture the vibration at the mouthpiece as a continuously energized plane of molecular activation. By not having to alter the image of the vibrating surface as the range or volume changes dynamically, I believe I understand why Roy Stevens referred to a “static” vibration.

Now into several days of playing with this set up I am happy to report that my playing is stable and consistent. My mid range technical facility is improved, and the upper range is quite well centered from C to Double D. The ability to slur and tongue repeating wider intervals from G above Hi C to A, A#, B, Dble C, C# and Dble D. The sound is pure and unlike any typical “lead” sound, I have heard. The only other player producing this quality that I have heard is William Pruyn. His Dble D’s sounded like pure Hi D’s only an octave higher. Not spread one iota, and not diminished similarly. The core of internal intensity being the same, thus producing a very musical sound. I am reminded of the consistent tone color of playing from F in the staff to G above the staff on my Piccolo Trumpet.

The difference being: this is from Low F# to Double D with a Schilke Bb Trumpet.

At this point, I must commend the Roy Stevens #2 mouthpiece with a #26 throat and a slightly opened 2nd cup. This matched with a Warburton B*10 Bottom. Similar to a Bach #117 Backbore, but with a slightly faster increase from throat to max diameter.

The mp3 clip above was made with this backbore – I have sinced returned to the #9. The sound is more controllable and flexible. I may continue to use the 10*B for loud jobs, where technique is secondary to big sounds – go figure, whatever the job demands☺

Another interesting find is that the 3rd valve screw somewhat determines the amount of lower partials in the sound. The farther in, the darker, and converse. I have it between 2/3rds and 3/4s out. I believe Bob Malone has done some work on these screws, including drilling out weight. The 3rd valve is poorly designed on all trumpets, my kingdom for a designer that bring it out the same side as the second valve and then do something creative from there. It should be opened up a few thousandths as it exits the casing  on the out, then tapered back to standard as it enters the casing. The slide could be wrapped towards the bell and just above the tuning slide.

The “stepping bore” of the slide would allow it to “slot” nicely like the 1st and 2nd valves, and compensate for hands touching it. The grip on the well-balanced horn is critical. On my B6 my left pinkie rests under and between the 2nd and 3rd caps; the ring finger and middle finger form a v with 3rd valve slide between it, and barely touching the slide while gently supporting on the casing.

This grip allows the horn to rest on the left pinkie and alleviates deadening on the casing at critical areas.

I also notice that it takes only a few days of practice before the Leadpipe must be cleaned, thus preserving the clearness of the tone.

Ever since 1974, I have returned repeatedly to the Stevens #2 – Because of the way it laid on my damaged lip. (AN ORBICULARIS ORBIS muscle separation from 1973 caused by over blowing a double A on a Schilke X3 with a # 24 Schilke mouthpiece with a Schmidt Backbore!)

As time passes and I learn more I will pass it along.
gR