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LittleRusty Heavyweight Member
Joined: 11 Aug 2004 Posts: 12656 Location: Gardena, Ca
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Posted: Sat Dec 16, 2017 2:44 pm Post subject: |
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And that Mark IV tenor is a major bargain because pipe organs cost so much.
I have always found this tenet to be annoying. Yes trumpets are cheaper than other types of musical instruments but that does not make them a bargain. Just less expensive, |
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BadHomreSure Regular Member
Joined: 20 Jul 2020 Posts: 42
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Posted: Wed Sep 29, 2021 6:47 am Post subject: who is Mario? |
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Danbassin wrote: | razeontherock wrote: |
False. My Dad played in a big band with Mario outside of NYC. People brought Mario their horns to have him "Marionize" them. This cost an amount that was never determined until after it was done. It involved Mario feeling various places while playing, in conjunction with discovering playing problems, and adding weight as the solution. Quite a bit of experimentation went into each horn. People were always happy with the results.
Dave Monette worked with Mario before ever coming out with his own brand of horns. My Dad acted as liaison between the two.
I say this to Dave's credit, in that he didn't try reinventing the wheel from scratch, but built upon the success of at least one other. I would imagine there were other influences as well, but do not know. |
Hey - this is fascinating, but lacking some details to be really helpful in the forum...
Who's Mario?
He was adding weight at nodal points to conventionally-designed (Bach, etc) horns?
Who's yr dad, and what kind of groups did he play in?
More info please!
-DB |
I still want to know who Mario is. |
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J. Landress Brass Veteran Member
Joined: 29 May 2006 Posts: 425 Location: New York City
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Posted: Wed Sep 29, 2021 4:32 pm Post subject: Re: who is Mario? |
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BadHomreSure wrote: | Danbassin wrote: | razeontherock wrote: |
False. My Dad played in a big band with Mario outside of NYC. People brought Mario their horns to have him "Marionize" them. This cost an amount that was never determined until after it was done. It involved Mario feeling various places while playing, in conjunction with discovering playing problems, and adding weight as the solution. Quite a bit of experimentation went into each horn. People were always happy with the results.
Dave Monette worked with Mario before ever coming out with his own brand of horns. My Dad acted as liaison between the two.
I say this to Dave's credit, in that he didn't try reinventing the wheel from scratch, but built upon the success of at least one other. I would imagine there were other influences as well, but do not know. |
Hey - this is fascinating, but lacking some details to be really helpful in the forum...
Who's Mario?
He was adding weight at nodal points to conventionally-designed (Bach, etc) horns?
Who's yr dad, and what kind of groups did he play in?
More info please!
-DB |
I still want to know who Mario is. |
Mario Marcone was a NY craftsman and repairman who works for many big NY companies such as Carl Fisher, Rudy Muck (he assembled most of the trumpets out of York/ Blessing parts in the Carl Fisher building in Midtown), owned his own shop at one point and also worked at Giardinelli's. He was an excellent trumpet player and very into old Bessons as well. _________________ Josh Landress
J. Landress Brass, LLC.
38 West 32nd Street, STE 908, NY, NY 10001
646-922-7126
www.jlandressbrass.com |
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ericmpena Veteran Member
Joined: 17 Nov 2021 Posts: 259 Location: Kyle, TX
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Posted: Sun Mar 26, 2023 11:40 pm Post subject: |
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I had the chance to play some Lotus models at ITG 2022. I was only able to spend 10-15 minutes at the time, but my initial impressions weren't great.
Months later I learned Collins Music Center assembles Lotus trumpets for the US market. I drove about 2 hours to Katy, TX to try out a Universal Max, Solo Max, Classic, and Silver Flare.
4 hours later these are my summed up impressions:
Classic: Small and tight. Good slotting, small sound.
Universal Max: Open blow, big sound, loose slotting.
Solo Max: Open blow, dark tone, loose slotting.
Silver Flare: My favorite tone, open blow, loose slotting.
The Classic model had the most secure slotting. It was the only horn with Lotus' updated leadpipe.
Some downsides of Lotus are:
- Note resonance is not even. Open G is vibrant. G# sounds dead. Anything played with 2nd+3rd valve sounded dull.
- These are not "hand crafted" instruments. The pieces (bell, valve block, slides, leadpipe) are assembled by a repair tech (non-Lotus employee) and then sent off to local talent for play testing.
What other experiences have people had with Lotus trumpets?
Left to Right: Universal Max, Silver Flare, Solo Max, Classic, Thane Performance
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chiefgearhead Regular Member
Joined: 20 May 2017 Posts: 54 Location: Santa Cruz Mountains, CA
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Posted: Sun Apr 23, 2023 3:26 pm Post subject: |
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I'm joining this almost 6 year old thread because 7 months ago I put a deposit down on a SoloMax. I have been told that it is finished and that I'll have it by the end of the week.
I'm a re-entry trumpet player, in the 7th year of my return, and play 3rd chair in a local big band. My previous "big band" horn was a Yamaha Miyashiro, which was a fantastic horn. I'm also fortunate enough to have found a very nicely preserved '56 large bore Committee which I love for many reasons (not least of which is the sound) but which is obviously not a great horn for someone of my ability level in a big band. I'd been looking for a horn that combines the efficiency and accuracy of my Miyashiro, with a round, dark, buttery sound similar to the Committee.
I play an Adams F2 flugelhorn which I bought from the good people at ACB and had been talking to them about my interest in a new trumpet. I played some of the Adams horns (A4, their Committee "replica") at NAMM a couple years ago, and was discussing the Martin Boehme "Tumultus" as options. Then, last summer, Adam and Henrik came to the Bay Area with their mouthpieces and horns, and I was able to demo the SoloMax. I loved it, and decided it should be my new horn. To be candid, playing the trumpet is a "vanity project" for me. I'm retired and fortunate to be able to spend a little more on a horn which is ultimately above my performance level. That said, new Miyashiros are $5300 and I've sent some of the other horns (53 Olds Recording, Miyashiro) in my closet back in to the global rotation, and I had the funds to spring for the Lotus. With the Miyashiro in a new home I've been playing my Benge MLP in the big band, and occasionally using the Committee for solos. I've also been gifted a Corporation Bach 37 which I also play in the big band.
Whether or not the SoloMax is "all that" remains to be seen, but I am hopeful. The horn I played, the ones I saw, were beautiful and of extremely high quality and again, I loved the way it played.
My interactions with Adam, Henrik, and Charley have all been extremely positive and if for some reason the SoloMax and I don't bond, I know the guys will help me find something that works for me.
-tj in the Cruz Mtns _________________ In the gig bag
23 Lotus Solo Max
56 Martin Committee Deluxe (large bore)
18 Adams F2
In the closet
82 L.A. Benge MLP
71 Bach 37 Stradivarius
69 Courtois flugelhorn
1949 Blessing Artist
84 DEG Dynasty 2v G Bugle
74 Conn Director |
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Dkjcliff Regular Member
Joined: 12 Apr 2020 Posts: 97
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Posted: Sun Apr 23, 2023 4:23 pm Post subject: |
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I’m interested in hearing your review once you receive the horn. I love the way Ashlin Parker sounds on his. Though in general Lotus horns do strike me as sounding best with someone who can really peel paint. They sound great in the videos I’ve heard when they are being pushing up to and over the edge. The way they hold their intonation and tone quality when being played like that is impressive. They also sound like they are easy to play. _________________ Selmer Radial II
Yamaha YHF-635T Flugelhorn
Martin Indiana Cornet |
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chiefgearhead Regular Member
Joined: 20 May 2017 Posts: 54 Location: Santa Cruz Mountains, CA
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Posted: Sun Apr 23, 2023 5:18 pm Post subject: |
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I don’t know Ashlin….I’ll have to check him out. The only way I peel paint is with chemical stripper…so hopefully I’ll sound good on the SoloMax regardless.
-tj
Dkjcliff wrote: | I’m interested in hearing your review once you receive the horn. I love the way Ashlin Parker sounds on his. Though in general Lotus horns do strike me as sounding best with someone who can really peel paint. They sound great in the videos I’ve heard when they are being pushing up to and over the edge. The way they hold their intonation and tone quality when being played like that is impressive. They also sound like they are easy to play. |
_________________ In the gig bag
23 Lotus Solo Max
56 Martin Committee Deluxe (large bore)
18 Adams F2
In the closet
82 L.A. Benge MLP
71 Bach 37 Stradivarius
69 Courtois flugelhorn
1949 Blessing Artist
84 DEG Dynasty 2v G Bugle
74 Conn Director |
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Brassnose Heavyweight Member
Joined: 07 Mar 2016 Posts: 2047 Location: Germany
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Posted: Sun Apr 23, 2023 7:52 pm Post subject: |
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Hey chiefgearhead, a few posts up you say that the Adams A4 is Adams Committee model? Isn’t that the A9? _________________ 2019 Martin Schmidt eXcellence
1992 Bach 43GH/43
1989 Kühnl & Hoyer Model 15 flugel
1980/2023 Custom Blessing Scholastic C 😎
1977 Conn 6B
1951 Buescher 400 Lightweight
AR Resonance, Frate, Klier |
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chiefgearhead Regular Member
Joined: 20 May 2017 Posts: 54 Location: Santa Cruz Mountains, CA
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Posted: Mon Apr 24, 2023 7:43 am Post subject: |
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You're correct....I meant to say that I played and was considering the A4, and that I'd played Adams' Committee replica. Good catch!
-tj
Brassnose wrote: | Hey chiefgearhead, a few posts up you say that the Adams A4 is Adams Committee model? Isn’t that the A9? |
_________________ In the gig bag
23 Lotus Solo Max
56 Martin Committee Deluxe (large bore)
18 Adams F2
In the closet
82 L.A. Benge MLP
71 Bach 37 Stradivarius
69 Courtois flugelhorn
1949 Blessing Artist
84 DEG Dynasty 2v G Bugle
74 Conn Director |
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