K-modified

[Star1pup]

What does K-Modified mean?

[DavesTrumpet]

Means it was a Selmer shipped to the US that had been "modified" (leadpipe installed) by Keith Eckert. I think he worked out of Elkhart, IN, or so I've been told. The horn being marketed for US trade.
_________________
Dave M

www.electrotheremin.com/bach.html
www.soundcloud.com/davestrumpet
www.facebook.com/DavesTrumpet
www.youtube.com/DavesTrumpet

[jadickson]

Dave is correct. My understanding is that the biggest modification was the mouthpiece receiver. Not all mouthpiece shanks have the same shape, and apparently the old French Selmer trumpets had receivers that were a bit too big for most American mouthpieces (e.g. Bach pieces). The American mouthpieces would bottom out and not be gripped by the receiver. So, he installed a receiver that fit the American mouthpieces better.

I have a ML bore (24B) circa 1967. The lacquer is worn off all over the place... she doesn't look like much, but she's got it where it counts. What a sound. Valves like greased lightning. I love it.

[Albert Parrott]

Not to turn this into a fan page, but yes, I love my K-Mod. It's a 24B also, about 1963 vintage. The valves are nice.

Now that the secret is out, what Selmer mouthpieces work with the K-Mod? I've never used a French Selmer mouthpiece that I can recall. I see them on ebay from time to time, but don't even know what sizes correspond to the Bach equivalents. What would a Bach 3C be in Selmer?

[Star1pup]

I just bought a K-Modified 24B and can't wait for it to get here. I had a new one in about 1954 and it had a great sound. The sound of the Selmer was better than my Mendez.

[DavesTrumpet]

[jadickson]

[gelatinshoehorn]

Yea, you're right, it's not a K-Mod fan forum. Too bad. It strikes me as a hard sell trying to convince the Bach crowd what wonderful horns they are. I just lucked into mine a number of years ago, and it's spoiled me for other instruments.
-S
ps. I love the "secret marking" thing. Makes the world of Paris Selmer seem even more mysterious and underground than it already is. Shouldn't we have a secret hand shake ?
_________________
paris Selmer K modified
Conn 20A flugel
Benge 3X+

[DavesTrumpet]

[Star1pup]

Mine is also a 24B, but I'm still waiting on it. PayPal took a long time to set up, but everything should clear tomorrow and I'll have my horn on it's way via UPS.

I played a Selmer Paris in the mid-50s and it had a great sound. Hope this one is the same.

[Star1pup]

My Selmer Paris arrived today and it sounds as sweet as it looks. I was always told that my Selmer had a sweeter sound than my Mendez, but I guess that's just a matter of opinion.

Anyhow, I'm a happy trumpeter.

[Goldplate]

[sunburstbasser]

I've always liked the way the K-Mod looks, but how is the sound? More specifically, how does it sound compared to common trumpets like Bach 37s or 72s? I've kind of wanted a K-Mod for a while, but haven't gotten to play one. Since this is sort of a fan thread, maybe you guys can enlighten me a little!
_________________
Kanstul 1600
Kanstul 1510
Calicchio 1s/2
Selmer 24B Lightweight K-Mod

[jadickson]

[Albert Parrott]

[sunburstbasser]

Since my 1600 is an excellent fit for me, any horn I buy would have to be more specialized. It would need to do something better than my 1600, at the expense of not fitting as well in other situations. The descriptions of the K-Mod I've heard lead me to believe that it isn't too hard to get a good jazz combo sound out of it. For reference, this is what I think of when I say "jazz combo sound:"

http://www.youtube.com/watch?v=G5po44lZItQ

I can play that stuff on the 1600, but the sound just doesn't quite do it for me. It doesn't have the smoky factor (what I call it).

So, any of you guys do jazzy stuff on your K-Mods? How do you like it?

I'm pretty sure I'll own one someday; right now I'm mostly figuring out what order to buy horns in rather than which ones to buy!
_________________
Kanstul 1600
Kanstul 1510
Calicchio 1s/2
Selmer 24B Lightweight K-Mod

[Trptbenge]

Dave, there were two other rumors I heard about Keith Eckerts work. First, besides the receiver he cleaned any overruns of soldering inside the horn. The second thing I read somewhere was if a horn was particularily good it would have an X on the receiver. I don't know if either one of these things are true but I have heard or read them somewhere.

I will say a great K-Modified is well, a great horn.

Mike
_________________
It's the sound that makes the difference!

[MrJackson]

I have a '59 K large bore (25 on the receiver)
She has a real smokey sound, the sonic equivalent of a satin pillow. Real rich presence of low overtones so the sound has little bite, but rather a softer shape. Id also say that the sound seems more confined to the area that the bell projects as opposed to the "fill-the-room" projection of some other models. The feedback is very unique compared to other horns: it almost seems like it compresses three dimensions into one (does that make any sense?) That's the sound palette.

As far as playability goes, well, it's EXTREMELY uneven in pitch and timbre. Response, especially as soft dynamics, as a joke. Each valve combo seems tuned to a different standard A, none of which are 440. Totally closes down up high and getting loud. Sounds how it wants to sound-very hard to shade or color pitches and sound. Doesn't blend well in a section of modern (or even vintage version of modern) horns. IMO, a one-dimensional horn that doesn't execute its one dimension. There's a reason I replaced it and have relegated the K- to gigs where Im outside or there's drinks involved. My Chicago blows it out of the water in terms of playability, pitch, and how I can color it.

As far as the marking, I, too, can vouch (on pretty good authority) about the X marking on the receiver - seen one, played it, and they do exist.
FWIW
_________________
Yamaha Chicago Bb
Yamaha Chicago C
Schilke E3L
Schilke P5-4 B/G

[jadickson]

[jadickson]