Experience - Kanstul 1603 "Committee"

trumpetplanet · Posted: Tue Oct 18, 2016 8:00 am Post subject:

Fair enough, thanks for responding. I'm actually quite curious about what lead you to choosing a mouthpiece, like that, in general. But it's probably too off-topic for this thread. Do you find that the huge throat helps with the excess face tension?
_________________
UK-based professional trumpeter.
Proponent of the Superchops/TCE.

https://neotericbrass.com/
https://trumpetpla.net/
https://tonguecontrolled.info/

shofarguy · Posted: Tue Oct 18, 2016 1:57 pm Post subject:

trumpetplanet · Posted: Wed Oct 19, 2016 4:49 am Post subject:

If you don't mind continuing this conversation, I'm going to take it over to the mouthpiece section.
_________________
UK-based professional trumpeter.
Proponent of the Superchops/TCE.

https://neotericbrass.com/
https://trumpetpla.net/
https://tonguecontrolled.info/

dimkr · Posted: Wed Oct 19, 2016 12:32 pm Post subject:

I think the 1603 works best when played efficiently, especially with a medium-size, medium-depth mouthpiece (3C or smaller diameter). The extra depth of my 3B makes gives it more projection and power when played aggressively, at the cost of less brightness and reduced flexibility in tone color (i.e. it's still easy to play quietly, but harder to reach that Chet Baker style smoky, airy whisper unless you're used to the deeper cup and the more open feel of the backbore).

I kinda like the Gustat 2, its shallow V cup, thin rim and strong bite make it easier to exploit the endless possibilities of the Committee feel, including the open, flexible high register which rises like a flame. You can do all the fun stuff you can do with a medium-bore flugel, in a trumpet - so much fun!

I think it's only good as a solo mouthpiece, though - the 1603 doesn't blend very well even with a "legit" mouthpiece and the V cup makes things much, much worse.
_________________
Dima Krasner

Kanstul 1603
Carol Brass 3200H
Bach 3B or Yamaha 17B4

Carol Brass CFL-6200-GSS-SLB
Blessing 3FL or Bach 1.5CFL

"When you decide to be something, you can be it" (Frank Costello, in The Departed, 2006)

Louise Finch · Posted: Fri Oct 21, 2016 12:22 am Post subject:

Hi

What I am about to post is more in relation to how the discussion turned to Brian's choice of mouthpiece in his clip. I started typing it on the related thread in the mouthpiece forum, then decided that it would make better sense here.

People remarked that they wanted to hear a sound clip on the 1603 and Brian was kind enough to put one up.

I strongly believe in dialling in the set-up to suit the player, and although I fully agree with changing mouthpiece parameters to suit different playing situations, we all have our own sound, which probably prevails to a reasonably large extent.

We heard a clip of Brian playing the 1603. If people don't mind me saying so, I don't think it would have mattered in the slightest whether Brian had used one of his other mouthpieces in the clip.

The problem with these type of clips, and I can't see how you can really get away from it, is that the player's inherent sound prevails. Steve Dillard and Trent Austin sound great on anything in my opinion, and the multiple clips of them playing enable you to hear the variation in the sound of the same player on different equipment, which is a good thing if you simply consider how these differences are going to relate to your playing and sound. The problem with this, and I mean absolutely no offence, is that I am not particularly familiar with how Brian sounds on any trumpet. For me personally to ascertain the sound qualities of the 1603, I'd probably need to hear Brian on a range of different makes and models of trumpets, which of course isn't particularly practical. I would have thought Brian's choice of mouthpiece would be largely irrelevant.

We heard the 1603 in Brian's hands. It is difficult to ascertain from just this one clip, but I can't imagine me sounding anything like Brian on the 1603. This is no criticism of anyone's playing. I sound largely like me on all trumpets. I'd love to have a go on the 1603 and although it would probably sound different to me than my other trumpets, and most probably plays very differently to my Xeno II (descriptions of the playability of the 1603 suggest almost the opposite), I bet that people who know my playing well, would instantly hear Lou.

All the best

Lou
_________________
Trumpets:
Yamaha 8335 Xeno II
Bach Strad 180ML/37
B&H Oxford
Kanstul F Besson C
Yamaha D and D/Eb
- James R New Custom 3Cs
Flugel:
Bach Strad 183 - Bach 3CFL
Cornets:
Yamaha Neo + Xeno
Bach Strad 184ML
B&H Imperial
- Kanstul Custom 3Cs

shofarguy · Posted: Fri Oct 21, 2016 12:35 pm Post subject:

The Real Deal

UPS arrived, just an hour or so ago, bringing a true, all original, unrestored Martin Committee Deluxe made somewhere between 1954 - 1957. Thank you Winghorn for heeding the call and for your unending generosity to allow me to sample your treasure.

I still have the Kanstul for another two weeks. Jack thought a side-by-side comparison with a real Martin was worth the extra time and let me hang onto the Handcraft until my next trip to LA at the end of the month.

So, look here for various updates, as I get to know this venerable sage of our industry. I'm SO excited!
_________________
Brian A. Douglas

Flip Oakes Wild Thing Bb Trumpet in copper
Flip Oakes Wild Thing Flugelhorn in copper

There is one reason that I practice: to be ready at the downbeat when the final trumpet sounds.

21trumpet · Posted: Fri Oct 21, 2016 12:39 pm Post subject:

shofarguy · Posted: Fri Oct 21, 2016 1:02 pm Post subject:

chuck in ny · Posted: Fri Oct 21, 2016 2:02 pm Post subject:

dimkr · Posted: Sat Oct 22, 2016 2:23 am Post subject:

It's been about 2.5 weeks since I got the horn and the first valve button is stained:

Also, I switched to Botti grip. (That's the way I used to play until I switched to a horn with a non-adjustable ring, but now I find it very inconvenient with my small hands, because of the finger ring position and length. I have absolute pitch and find it easy to play the low D and C# perfectly in tune without using the slide with pretty much any pro horn, so it's fine.)

More photos here.
_________________
Dima Krasner

Kanstul 1603
Carol Brass 3200H
Bach 3B or Yamaha 17B4

Carol Brass CFL-6200-GSS-SLB
Blessing 3FL or Bach 1.5CFL

"When you decide to be something, you can be it" (Frank Costello, in The Departed, 2006)

Louise Finch · Posted: Sat Oct 22, 2016 5:21 am Post subject:

dimkr · Posted: Sat Oct 22, 2016 6:01 am Post subject:

Louise Finch · Posted: Sat Oct 22, 2016 6:29 am Post subject:

shofarguy · Posted: Sat Oct 22, 2016 6:37 am Post subject:

Guys, neither of the horns I have had for this thread have had MoP finger buttons. They are nickel plated brass. The horn that "dimkr" has looks and sounds (in the way it is described in his posts) like it may be the very horn I played for the original article.
_________________
Brian A. Douglas

Flip Oakes Wild Thing Bb Trumpet in copper
Flip Oakes Wild Thing Flugelhorn in copper

There is one reason that I practice: to be ready at the downbeat when the final trumpet sounds.

Louise Finch · Posted: Sat Oct 22, 2016 6:50 am Post subject:

dimkr · Posted: Sat Oct 22, 2016 10:27 am Post subject:

Brent · Posted: Sat Oct 22, 2016 7:49 pm Post subject: 1603

Has anyone had playing experience with the 1603 and the Schilke Handcraft, by chance?

Even though they're both extra-large bore horns, much of the feedback with the Schilke is how easy and efficient the horn plays.

Brent
_________________
Brent

shofarguy · Posted: Sat Oct 22, 2016 10:09 pm Post subject: Re: 1603

shofarguy · Posted: Mon Oct 24, 2016 8:40 pm Post subject: Re: 1603

shofarguy · Posted: Mon Oct 24, 2016 8:55 pm Post subject:

These are photos I took today of the Kanstul Handcraft and the Martin Committee Deluxe that Winghorn sent to me. You can see the similarities and differences. I have some deeper tech-type observations, if anyone wants me to post them. From what I can tell, and you can't see this in any of my photos, the Martin's nickel inner slide tubes make up the only difference in sound and response between these two trumpets. I have rarely, if ever, played two horns that are so identical in sound and response. They aren't exact in everything. The nickel (I'm guessing it's the nickel based on past experience with brass and nickel parts) gives the Martin the smallest bit of harshness in the sound and stiffness in its response.

The Kanstul uses yellow brass for all its inner slide tubing, which gives the Handcraft a more smooth timber and response. The way the sound of each horn interacts with various rooms is not predictable. Sometimes the Martin seems to command the room in a broad way, other times it seems to project in a more focused way compared to the Kanstul. But, all the time, I am aware that these horns, even though they have been manufactured by two different factories 60 years apart, play as close to identically as any two can get.

_________________
Brian A. Douglas

Flip Oakes Wild Thing Bb Trumpet in copper
Flip Oakes Wild Thing Flugelhorn in copper

There is one reason that I practice: to be ready at the downbeat when the final trumpet sounds.