Need your help on a design issue. Everyone...please read.

Craig Swartz · Posted: Wed Feb 01, 2012 4:59 am Post subject:

I've alway thought a crystal bell would be neat so long as one took care of the horn...

Perhaps a built-in mic and a cord run back to you would help- you could easily experiment with this on a junker horn to gather feasibility, then have it incorporated into the design. It's just possible that its position along the length of the instrument could even enhance playability.

I'd also like to mention that in my experience, the room in which I perform also has a lot of affect on how well I can hear myself no matter which trumpet I'l playing, so in that regard if you feel the same, the mic would be the logical option. Of course you'll also need at least one ear bud or phones as well which will also add to what you are picking up, so long as you can hear the rest of the group. Good luck.

BrassEye · Regular Member Joined: 09 Sep 2011 Posts: 89

I agree with Craig; a monitoring system really is the way to go, unless you will only ever be playing acoustically. If you're playing with a rock band or something you should be using monitoring anyway really, preferably moulded isolating in-ears, to give yourself some protection from the rest of the band.
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ALaschiver · Heavyweight Member Joined: 26 Feb 2005 Posts: 639

Perfect

JDay · Veteran Member Joined: 21 Jul 2005 Posts: 190

Okay, here is my insanely stupid thought...

Have the bell custom formed so that the bell tail extends behind you and wraps around your neck almost like a sousaphone. That would put the bell flair somewhere near or even right by your head. Yeah, it would totally look like something out of Dr. Seuss... But it sounds like you are looking for something unique..

Ed Lee · Posted: Wed Feb 01, 2012 9:48 am Post subject:

Anyone ever tried wiring a clip on mike into a Yamaha Silent Brass console (no mute) to a good set of earphones to get feedback while practicing?

nieuwguyski · Posted: Wed Feb 01, 2012 1:45 pm Post subject:

shofarguy · Posted: Wed Feb 01, 2012 6:05 pm Post subject:

If it's feedback you are looking for, you don't need no stinking custom trumpet or snarfblat bell facing you! You just need one of THESE.

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yourbrass · Posted: Wed Feb 01, 2012 9:23 pm Post subject:

"NOT INTERESTED IN BUYING A PRODUCTION HORN"

Ok, so we've established that. You might consider having whatever trumpet that's built for you be in raw finish. That way, when you play it and think: "Gee, if only...", you can get it altered without the pain of a damaged lacquer or plated finish.

I don't know of any mindreaders out there. The only way it's really done is by trial and error; the player plays and the repairman builds.

crzytptman · Posted: Wed Feb 01, 2012 9:57 pm Post subject:

RandyTX · Posted: Wed Feb 01, 2012 10:41 pm Post subject:

It's really getting eery how *every* thread, in *every* forum eventually turns into a Wild Thing advertisement, once the post count gets reasonably large.

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crzytptman · Posted: Thu Feb 02, 2012 12:02 am Post subject:

You must have a lot of time on your hands to have researched that. I suspect it's all in your mind, though . . .

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tptfrbrains · Posted: Thu Feb 02, 2012 12:06 am Post subject:

I'm not interested in any "wild threads" or abnormally high post counts, but if someone wants to do or make something really unique - one of a kind, apparently - why would they be interested in the input from those of us that frequent this forum?
It would seem to me that the OP and the trumpet-maker of his choice should have some pretty strong and definite ideas of their own.
Otherwise it just seems like a lot of smoke.

r.

cb3 · Posted: Thu Feb 02, 2012 12:36 am Post subject: ok

david mickley · Posted: Thu Feb 02, 2012 7:05 am Post subject:

cb3 - I have a good friend and a great tech who once took a Shilke B1 and completely took the horn apart and then put it back together with very little tension in the horn at all. all the braces were re-bent and re-positioned when necessary to fit every piece with out putting any tension at all on the parts and he also did some other little things to the horn that he didn't share with me. That horn absolutely spoke and was the most responsive horn I ever played. It would have been great for a rock band or other "loud" venue. I really liked how it played but really didn't know where I could use such a horn. I think if you took a horn that is already a "bright" horn and removed all tension from the assembly you just might achieve what you are after. Good Luck
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shofarguy · Posted: Thu Feb 02, 2012 7:07 am Post subject: Re: ok

leahcim · Veteran Member Joined: 14 Apr 2011 Posts: 123

Ed Kennedy · Heavyweight Member Joined: 15 Jan 2005 Posts: 3187

ChopsGone · Heavyweight Member Joined: 20 Dec 2008 Posts: 1793

There seems to be lots of stuff getting into this thread that's based solely on one's perception, rather than experience. That sax-shaped DEG horn, for example: come on, it's a DEG, but it not only has unexcelled player feedback, the projection is also excellent. Play one before you diss it, OK?

And the Wild Thing: all right, I admit to owning three - short model cornet, flugelhorn, Bb trumpet. I don't know what "certain type of player" it takes to appreciate a Wild Thing, but I do, everyone I've let try my horns does, even my granddaughter does. And she's one of those very precise, soft-playing types. Sure, the design considered the requirements of outdoor large-venue playing without amplification, but it's also a very well-designed, flexible, controllable trumpet even if all you do is play for your own enjoyment in your man-cave. Again, play one before you start thinking there's some sort of Wild Thing conspiracy going on here.

And since there's an apparent lack of breadth in experienced horn variety, I'll echo the pocket trumpet suggestion (a large-bell CarolBrass is a good start, but if you've got the bucks to have a custom horn built, try a Benge or Kanstul as well). And then try specific models of horns which have very accurate feedback, which is more important than the sheer amount of sound coming back at the player. That would include the Wild Things, of course, but should also include some Calicchios (go for an R32 and a 1s/2 for starters), a Schilke or two (B-series, your choice). Then go back and try some of the finer vintage horns still available in good or restored condition - Olds Super, Recording, Super Recording, Symphony, Mendez, Custom Crafted, a good pre-Olds Reynolds or two, and definitely a handful of Parisian Selmers. Maybe an Aubertin for grins, to feel what a great trumpet can be while still being unique and recognizable. Yes, a few Conns, a Vocabell as well as some of the Coprion-belled models.

In other words, at the risk of getting into the CK-length category, experience some fine horns, study their designs, then find a builder who doesn't need to ask you how to address specific performance objectives.
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