CarolBrass "slippery" quality?

[abundrefo]

Hi,

I'm thinking about ordering a CarolBrass cornet. But I've been doing a lot of research first.

One of the things I see is a large number of people really happy with their CarolBrass instruments. That's good!

But, by watching a lot of videos (including trumpet videos), I've noticed sort of a pattern in the way that most CarolBrass horns play. There is something with the connectivity between notes, specially slurs, that seem very slippery -- as opposed to a Bach Stad or a Yamaha Xeno, that almost articulate for you.

I also noticed that in all the CarolBrass cornet videos I could find. The connectivity between notes don't seem very precise as well. Sort of a cornet sound but with the agility and precision of a flugelhorn...

Have you noticed that?

Or is it just the videos I've watched and maybe the mouthpiece selection of the players on these videos...?

Thanks

[benlewis]

I have a CarolBrass C cornet and it seems to slot well for me.

HTH

Ben

[kehaulani]

I used a CarolBrass pocket trumpet (big bell) and never noticed anything wrong. That's compared, at the time, to a Connstellation, Schilke, and Committee. BTW, all three horns had precision valve adjustments. Carol did not.
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[abundrefo]

It's not that something is wrong with these instruments...

...and, of course, my perception is based strictly on the videos I've watched, but sometimes it feels like the results you get when you use valves springs that are softer than they should be.

How do the valves fell under your fingertips?
Do you get a firm bounce up?

[HaveTrumpetWillTravel]

All the videos I've seen have been jazz/pop type recordings. It would be interesting to see someone play a classical piece. Could playing style account for the sound?

[nowave]

I owned a lightweight Carol at one time (can’t remember the model, it was the one Chris LaBarbera recommended) and I don’t remember the slotting being especially loose or tight. Really good horn with exceptional valves.

[LittleRusty]

I am not sure I understand what is being asked. In the original post I pagree with the responders that are responding as if the question was about slotting. I personally don’t believe I could hear whether a horn has loose slots or not. Especially from a recording.

So I initially doubted my understanding.

Then in the OP’s second post he brings up soft springs and bounce and now I am pretty sure I am not understanding.

I do see the OP is from Brazil so it may be normal issues in communicating between different countries.

[etc-etc]

[abundrefo]

[abundrefo]

[Bflatman]

I constantly work on creating a range of playing effects that include note bending and glissading, and yes you can glissade a cornet or a trumpet without touching the valves at all but it is very difficult to cultivate the skill and it takes a lot of practice. Valving makes it far easier.

It is entirely embouchure strength, player ability, and lipping ability that allows us to use and control this tone effect.

It is possible to manipulate the articulation of an instrument and impose these effects on any instrument with enough practice. Some instruments are more flexible and more responsive than others however.

The player is the most influential part or the player / mouthpiece / instrument setup in valving bending and glissading.

I find Cornets to be more responsive than trumpets and it does not surprise me that flugels are more slippery than either trumpet or cornet.

The player influences the horn enormously and the strength of the horn to slot can be overcome by lipping and valving with enough practice.

Lipping bending and glissading is the stock in trade in the box of tricks of a blues musician.

I perform sliding and bending notes effects pretty much in almost all the pieces I perform and one thing I can guarantee is that you cannot draw any conclusions about the flexibility of an instrument by watching a musician perform on it.

You do not know the skills and ability of the player.

Each player should be in control of the horn and the skill and strength of the players embouchure is the dominant factor in note bending.

We can play a relaxed embouchure and rely upon the instrument to slot for us or we can use a stronger embouchure and take control of the instrument in its slotting.

I recall well a surprising moment playing on a jazz instrument right after successfully practicing some note bending on a strongly slotting instrument.

I was shocked to find the slotting on the jazz instrument was all over the place all the notes were sliding around. I had to change my embouchure and take control of the slots and then the problem disappeared.

It is the player you were watching not the instrument.

The only way forward for you here is to play test the instrument before you purchase. You will never know if it suits your playing style until you play it.
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