A video, and some noise from the trumpet I made that inspired Trent's. Hope you like it. It is as good a sample of the sound of my horns that I could find, that is... until Trent makes a video, and then I will have two great videos.
TK1031 _________________ Schagerl "Gansch" Vienna Trumpet Schagerl "Gansch" Horsdorf Heavy
Schlub "Damar" 4 valve Flugelhorn
Zirnbauer Piccolo Bd/A
One_trumpet: I think Trent's trumpet is on par with teh Schagerl Vienna. That is the trumpet I play most of the time, and that is the trumpet that Trent' horn replaced for 4 days of rehearsals and gigs.
The Schagerl horn is amazing! ANd that has to do with the valves. I am using traditional German valves, they tend to have a little more restriction in them, but I also use a reverse main tuning slide, and my very own leadpipe... I wont say it is as good as... but I didn;t miss the Schagerl while I was playing this one. I won't say it is better... Because it does not have Zirnbauer valves in it, and I am not those guys.
It really wasn't my idea to make a Gansch Style trumpet. I wanted to make my own horn, and I did... but the people that liked what I made, wanted it to look cool too... The one thing about the Gansch style is it is very easy to hold, and play and be relaxed at the same time.
It is what it is, and doesn't pretend to be anything else. BUt the people that like it, like it a lot.
George TK1031 _________________ Schagerl "Gansch" Vienna Trumpet Schagerl "Gansch" Horsdorf Heavy
Schlub "Damar" 4 valve Flugelhorn
Zirnbauer Piccolo Bd/A
Joined: 24 Feb 2008 Posts: 1750 Location: vista ca
Posted: Tue Oct 11, 2011 11:13 am Post subject:
I love the sound of the horn that Jon Dante is playing the video....but I notice one odd thing with it. Now, PLEASE do not take what i am about to say as ANY sort of bashing or negativity!
I notice that the "tuning C" or 3rd space C is sharp almost every time he plays it, and you can see that many times he is holding it down. Have you noticed that lots of time getting a horn designed with really good overall intonation it scarifices that note? Like everything is great except you have to hold down that C?
Right now I am playing a horn that i threw together of and it has the same deal. And i really like it. Easy to play all around the horn matching to drones, except i have to sit down on that C. It very well could be that most horns are flat on that C so we sit "up" on that note out of habit. I have played horns that were like that for years at a time as well as horns that you had to sit "down on that note. (connstellation had to hold it up, 22B hold it down) so I am pretty used to it.
I am just wondering about your horn.... have you noticed that yet?.....if so, do you have a plan for dealing with it? I'm not saying that you need to, just wondering. It is perfectly possible to get used to the feeling of sitting down on that C. Especially cuz it kind of makes a Bb feel closer to a good C trumpet, which usually needs that same playing adjustment.
I loved the stop action video by the way that trent put up....any chance of ever seeing the full length video:) ?
Once again i love the horn and everything ive seen from your shop in singapore so far! _________________ Mouthpiece Maker
vintage Trumpet design enthusiast
All of my posts are done with my phone on the fly, and it will sometimes auto-correct in some pretty unusual ways. Think of it like a crossword:)
Joined: 03 Sep 2003 Posts: 9286 Location: Escondido California
Posted: Tue Oct 11, 2011 12:18 pm Post subject:
Well, it depends on what you are tuning to. Dante sounds amazing on everything he plays in that vid. His tuning is perfect. I think when you start messing around with freely resonating tubes, trying to force them into the compromised tuning of a piano or a tuner, you disrupt the qualities of a great playing and sounding instrument. What's important is that the instrument will allow the player to make the necessary adjustments to play in tune with the piano when he/she has to, but still resonate freely in the natural overtone series for maximum expression. _________________ Crazy Nate - Fine Yet Mellow Fellow
"Ow, my tin foil hat is too tight, but at least it covers my bald spot!"
I'll definitely let everyone know about the tuning experiences for me when I get them. I'm very sensitive to tuning these days playing my Shires and Adams stuff as it's very dialed in to my inefficiencies.
The Schlub horn is going to make a great compliment to these and I couldn't be more excited. George's talents are going to be proudly displayed at the shop and on my performances in the near future.
Joined: 06 Feb 2002 Posts: 1735 Location: Santa Cruz County, CA
Posted: Tue Oct 11, 2011 2:13 pm Post subject:
What's important is that the instrument will allow the player to make the necessary adjustments to play in tune with the piano when he/she has to, but still resonate freely in the natural overtone series for maximum expression.
Brass instruments have no "natural overtone series." They have periodic resonances that, through centuries of experimentation, have been jiggered around to line up pretty well with the harmonic series of a plucked string. The important thing to note is that they line up pretty well, not perfectly. That's why horns have some wonky notes that don't line up with any temperment system.
Here's a short paper, in fairly inscrutable language, about trumpet resonances:
Here's the clearest summary of what I've said, from the above paper:
"The frequency of any natural resonances of a trumpet is not necessarily related in any simple way to the frequency of any other resonance. Indeed it takes skill and lots of trials to make them appear to be harmonically related, and it should come as no surprise that no trumpet is perfect. It is a mistake to call the successive resonances of the trumpet harmonics, or even overtones."
The author, John T. Lynch (not the Asymmetric Mouthpiece designer), is a retired NASA scientist and well-respected brass repairman. _________________ J. Notso Nieuwguyski
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