| View previous topic :: View next topic |
| Author |
Message |
Trumpetingbynurture
Heavyweight Member
Joined: 18 Nov 2015
Posts: 898
|
 Posted: Wed Aug 15, 2018 4:55 am Post subject: Yamaha Viz mkII |
 |
|
Anyone tried the new Vizzutti mark II? There's a video from NAMM 2018 on this trumpet, but it's pretty uninteresting... They asked him what some new features are and the guy basically said "it has gold trim". lol
https://www.youtube.com/watch?v=rT9quFm8kWw |
|
| Back to top |
|
 |
jazzvuu
Veteran Member
Joined: 22 Feb 2010
Posts: 200
Location: Houston, TX
|
| Posted: Sat Aug 18, 2018 7:27 pm Post subject: |
|
|
I tried at ITG in May. The verdict was I sold my Schilke S32-L and got one. I was playing on Yamaha artist models for my other keys anyway. It is a very rich tone that rewards a relax playing approach (which has been what I been working towards). It slots well with fat lows and sparkling vibrant higher register. I find that it deadens in sound when you try to muscle it instead of really relying on air and sound concept to lead you (or maybe that is every trumpet).
Yamaha implies that it is like the NY II model with a few tweaks for more resistance but not so slotted as a Chicago II. I was thinking I wanted the Chicago II because I had tried before with positive experience and play a Chicago I C. I went with Vizzutti though because it was a bit more vibrant in tone from behind the horn where as the Chicago was broad and warm. Unfortunately all the NY II were sold out by the time I was able to attend ITG so I could not compare that one in the mix. |
|
| Back to top |
|
|
Trumpetingbynurture
Heavyweight Member
Joined: 18 Nov 2015
Posts: 898
|
| Posted: Sun Aug 19, 2018 3:01 am Post subject: |
|
|
Thanks for the additional info.
I have heard good things about the original Vizzutti model, but I found that NAMM video pretty hilarious. They probably could have given some more interesting details than 'it has gold finger buttons...'
Obviously, one can hear how Vizzutti sounds on one, but he's always had a very bright sound due to his rather shallow choice of mouthpieces, so it's hard to know what the trumpet would sound like in anyone else's hands.
Enjoy your trumpet!
It's one of the ones on my wish list, along with a Schagerl James Morrison Meister and a few others. |
|
| Back to top |
|
|
LSOfanboy
Veteran Member
Joined: 08 Jul 2018
Posts: 347
|
| Posted: Sun Aug 19, 2018 4:02 am Post subject: |
|
|
| Trumpetingbynurture wrote: | Thanks for the additional info.
I have heard good things about the original Vizzutti model, but I found that NAMM video pretty hilarious. They probably could have given some more interesting details than 'it has gold finger buttons...'
Obviously, one can hear how Vizzutti sounds on one, but he's always had a very bright sound due to his rather shallow choice of mouthpieces, so it's hard to know what the trumpet would sound like in anyone else's hands.
Enjoy your trumpet!
It's one of the ones on my wish list, along with a Schagerl James Morrison Meister and a few others. |
Hi,
It is funny you should mention that, as it reminds me of a discussion following a Vizzutti masterclass in London a year or so ago. Please note that I am not criticising Vizzutti as a player or musician, he has had an outstanding career and undoubtedly pushed the limits of trumpet playing and technique!
Vizzutti was playing his new model (they had been developing the prototype for some years before the model was officially released) and was giving a masterclass to 5 or 6 students from around London; there was some variation in standard but there were a couple of strong young players from both the Royal Academy of Music and the Guildhall school. Vizzutti was enthusiastic and helpful, and benefitted all the players involved; however, following the class (and Vizzutti's departure!) a discussion amongst a good number of the staff, students and audience virtually unanimously agreed that the 'tone' quality of the two or three stronger students was noticeably superior to Vizzutti and the interest quickly became diverted to what trumpets those students were using- ironically, the Yamaha-sponsored masterclass ended up encouraging greater interest in Bach and B&S trumpets than their own!
Again, please don't miss the (slightly humorous) point I am trying to make here. I regard Vizzutti as a legendary figure in the world of trumpet playing and my relaying of this event is not intended in anyway to disrespect his astonishing career and achievements, and when all is said and done, he has nothing to prove at all!
Anyway, hope this benefits the discussion!
All the best |
|
| Back to top |
|
|
jazzvuu
Veteran Member
Joined: 22 Feb 2010
Posts: 200
Location: Houston, TX
|
| Posted: Sun Aug 19, 2018 4:47 am Post subject: |
|
|
| I play a 2c 10-2 /24 pickett setup. I would not describe it as bright. I used the word vibrant several time because the sound just sparkles more than my schilke S32-L did on the same piece. Now with the Vizzutti piece that is include, it does lose some richness and core to the sound for me but it is a specialized piece for Vizzutti and what he does. What you are describing i believe is more about mouthpiece characteristic than the horn itself. Vizzutti mouthpiece lets him play the way he does without ever looking like he is tense or forcing it, something i have not learn to do consistently. You have to remember that the Vizzutti model is a tweaked NYII that Bilger plays. Bilger sounds amazing in his performance as Vizzutti is astounding on his. |
|
| Back to top |
|
|
Ximo_molina
Regular Member
Joined: 11 Aug 2018
Posts: 68
Location: Spain
|
| Posted: Sun Aug 19, 2018 4:52 am Post subject: |
|
|
Several years ago I had the pleasure of attending a master class by A. Vizzutti at my university. He was touring Spain and he was playing for us at the gates of the Alhambra, Granada. (simply wonderful) during the days of class, I was totally amazed with its quality of tone throughout the range and its ease, but above all with the projection of its sound. If I had wanted, I would have demolished the entire Alhambra, it was fascinating.
of the live trumpeters that surprised me most, along with A. Rapa, T. Gansch, M. lovatt ... I know what your post was a joke and anecdotal. 
_________________
Yamaha 8335LA Gen2
Bach Bb43 ML Malone leadpipe
Carol brass Hero Bb
Carol Brass Toreador Bb
Bach C 239 Malone leadpipe
Yamaha631 flugel
Yamaha Xeno Cornet
Stomvi Titán piccolo
Stomvi élite Eb
GR mouthpieces |
|
| Back to top |
|
|
Harry Hilgers
Heavyweight Member
Joined: 16 Jun 2015
Posts: 637
|
| Posted: Sun Aug 19, 2018 5:47 am Post subject: |
|
|
| Trumpetingbynurture wrote: | | .............. and the interest quickly became diverted to what trumpets those students were using- ironically, the Yamaha-sponsored masterclass ended up encouraging greater interest in Bach and B&S trumpets than their own!
|
I also regard Vizzutti as a legendary figure who has nothing to prove at all! I still use his books in my daily practice routines.
I am three years into my come-back. At some point I ordered on try-out several Bb trumpets over a six month period (in random order): Bach, Yamaha, Schilke, Kanstul. Meanwhile my oldest son let me hold on to his Adams A5.
After those 6 months I came to the following conclusion:
Even though TO ME all these horns were excellent, there where a few that TO ME stood out above the others.
They are (in random order):
The Kanstul 1500A. With the un-weighted tuning slide for a swing-band sound and the weighted slide for a concert band sound.
The Kanstul 1537. This feels like my now-very-corroded-back-in-the-day-original-love-Bach-37. I use it to not "look different" when most the trumpet section uses Bach's.
The Schilke B6. TO ME it is perfect for my chamber music playing. I suppose this is due to it's medium bore, but that is only a guess on my part.
The Kanstul 991 Mariachi "Kanstulation". It gives me an excuse to buy a sombrero  . I also like it for very low volume playing. This is probably also due to its medium bore but again this is only a guess on my part.
After my son's Adams A5 went back to the Adams factory in the Netherlands (thank you Trent Austin) TO ME it was a close second to the above group.
If you were to ask me what specific details made me choose the above horns over Bach and Yamaha, I really can't answer that question anymore because it's been too long and I simply forgot. I seem to recall I had intonation problems with all the Bach's and I could not make any the Yamaha's "sing". However that latter is completely due to me as I have heard direct and up close the singing sound of many Yamaha horns. Like say Greg Spence. He can sure make them sing.
The final conclusions:
Soooo many great horns, not enough music talent and trumpet skill-sets on my part 
I hope this adds constructively to the discussion. |
|
| Back to top |
|
|
Trumpetingbynurture
Heavyweight Member
Joined: 18 Nov 2015
Posts: 898
|
| Posted: Mon Aug 20, 2018 2:51 am Post subject: |
|
|
| LSOfanboy wrote: | | Trumpetingbynurture wrote: | Thanks for the additional info.
I have heard good things about the original Vizzutti model, but I found that NAMM video pretty hilarious. They probably could have given some more interesting details than 'it has gold finger buttons...'
Obviously, one can hear how Vizzutti sounds on one, but he's always had a very bright sound due to his rather shallow choice of mouthpieces, so it's hard to know what the trumpet would sound like in anyone else's hands.
Enjoy your trumpet!
It's one of the ones on my wish list, along with a Schagerl James Morrison Meister and a few others. |
Hi,
It is funny you should mention that, as it reminds me of a discussion following a Vizzutti masterclass in London a year or so ago. Please note that I am not criticising Vizzutti as a player or musician, he has had an outstanding career and undoubtedly pushed the limits of trumpet playing and technique!
Vizzutti was playing his new model (they had been developing the prototype for some years before the model was officially released) and was giving a masterclass to 5 or 6 students from around London; there was some variation in standard but there were a couple of strong young players from both the Royal Academy of Music and the Guildhall school. Vizzutti was enthusiastic and helpful, and benefitted all the players involved; however, following the class (and Vizzutti's departure!) a discussion amongst a good number of the staff, students and audience virtually unanimously agreed that the 'tone' quality of the two or three stronger students was noticeably superior to Vizzutti and the interest quickly became diverted to what trumpets those students were using- ironically, the Yamaha-sponsored masterclass ended up encouraging greater interest in Bach and B&S trumpets than their own!
Again, please don't miss the (slightly humorous) point I am trying to make here. I regard Vizzutti as a legendary figure in the world of trumpet playing and my relaying of this event is not intended in anyway to disrespect his astonishing career and achievements, and when all is said and done, he has nothing to prove at all!
Anyway, hope this benefits the discussion!
All the best |
That doesn't surprise me particularly, although anyone who knew Vizzutti's playing at all would know that it's nothing to do with the trumpet.
Vizzutti is a monster player! But he is playing everything on what is close to a 14a4 mouthpiece. As such, whenever he is playing soft and low, his sound loses focus and richness and he basically sounds like he's playing on a lead mouthpiece, which he is by many peoples' standards.
I feel like a total twerp writing that, and Allen, if you every see this, I apologise sincerely.
I mean, I don't know many other players that can triple tongue Low C up to a Double C and back down fast as lightning, but personally, I would love it if he played a deeper mouthpiece for 90% of his playing, even if it meant he had to leave off a few gratuitous extreme upper register notes here and there.
[Again, sorry Allen. It's just one dude's opinion on the internet, who only *wishes* he could play as well as you do. So, go on about your day and don't think twice about it.]
That said, I bet the horn is a good one. Shame you all didn't get to try them out. Allen would sound like he does on any trumpet, and there's old videos of him on a Benge, and he sounds that same. But put a normal C cup mouthpiece in there, and you'll like the sound a lot more. That's the down side of playing on an E cup. No matter how amazing you are, you're still playing on an E cup. The only person who ever made that work for legit playing was Dokshitzer, and even then, sometimes it still sounded wrong. His classical period repertoire sounded... unorthodox. |
|
| Back to top |
|
|
|
|
You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot vote in polls in this forum
|
Powered by phpBB © 2001, 2005 phpBB Group
|
