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What is core in the sound?


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jmcclaymusic
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Joined: 14 Jan 2019
Posts: 5
Location: North Carolina

PostPosted: Sun May 26, 2019 5:31 pm    Post subject: Reply with quote

Good concepts for sure. I just like to think about a full, resonant quality of sound that takes up the room. If that's there I consider that to be a sound with a good "core."
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grune
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Joined: 04 Mar 2019
Posts: 67

PostPosted: Sun May 26, 2019 8:29 pm    Post subject: Re: What is core in the sound? Reply with quote

BuzzFest wrote:
I have heard a lot of people say that they are looking for 'core' in their sound. In your opinion, what is core? Does that mean "pure sound with no fringe on it", or is it something else?

(Mods, if this should be in "Horns" or somewhere else, please feel free to move it. I wasn't sure)


As you see, "core" is subjective. Like "timbre": "the psycho-acoustician's multi-dimensional waste-basket category for everything that cannot be labelled pitch or loudness." (McAdams and Bregman 1979, 34; cf. Dixon Ward 1965, 55 and Tobias 1970, 409).

Three important variables: the player, the mouthpiece, the trumpet. Alter any one of the variables, and you may hear a difference in brightness, timbre, core, or whatever other descriptor you choose; depending on the level of the player.

However, I have noticed one factor that seems to result from the trumpet only: projection. Some horns have better "direction", some have better "dispersion": these factors are not related to loudness. I had a Selmer once, ca 1970, which was a very nice horn to play; but it had not the projection of other horns. I had a Getzen, ca 1970, that had a "bright" sound with less audible overtones, which projected very well; in fact it projected too well and hampered blending with the orchestra. The best overall solution for me, at the time, was the Bach Strad: with it, depending on the mouthpiece, I could produce a "symphonic" sound or a "lead" sound.
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rothman
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Joined: 23 Jan 2014
Posts: 326

PostPosted: Thu May 30, 2019 1:43 am    Post subject: Reply with quote

grune wrote:

Three important variables: the player, the mouthpiece, the trumpet. Alter any one of the variables, and you may hear a difference in brightness, timbre, core, or whatever other descriptor you choose; depending on the level of the player.


Horn designs, m-pieces, and plethora of various criteria can make a noticeable difference, but the idea that if you took a hundred good players and had them sort through leadpipes, equipment, etc., that they would suddenly have a sound as 'focused' as Zig, or Harry...sorry, but very few have come close to even doing that.
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rothman
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PostPosted: Sun Jun 30, 2019 1:22 am    Post subject: Reply with quote

Bump..



https://youtube.com/watch?v=EBTgJIINDfc
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trumpetobsession2
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Joined: 16 Jul 2019
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PostPosted: Wed Jul 17, 2019 5:28 am    Post subject: Reply with quote

I tend to believe that a player with " core" in their sound is a someone who has control over their sound production and is CHOOSING to sound a certain way. All of the great players in the country have this ability, and I believe that is one of the things that separates the pros from the amateurs. Once a player gains control over their sound production, that is when nuance can be added to the sound which differentiates the great players.
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hvarf9
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Joined: 20 Jun 2011
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PostPosted: Wed Aug 07, 2019 5:40 pm    Post subject: Reply with quote

rothman wrote:
Bump..



https://youtube.com/watch?v=EBTgJIINDfc


That's fantastic!
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Richard III
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Joined: 22 May 2007
Posts: 2610
Location: Anacortes, WA

PostPosted: Wed Aug 07, 2019 6:56 pm    Post subject: Reply with quote

trumpetobsession2 wrote:
I tend to believe that a player with " core" in their sound is a someone who has control over their sound production and is CHOOSING to sound a certain way. All of the great players in the country have this ability, and I believe that is one of the things that separates the pros from the amateurs. Once a player gains control over their sound production, that is when nuance can be added to the sound which differentiates the great players.


I don't agree with the idea that great players chose their sounds. I believe most stumbled on something that works and kept doing it. Most had no idea what was going on and when asked how they did it, simply shrugged.
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