TromboneChat

After a short foray into a Schilke 60, I determined that it just isnt for me.

I'm sticking with my 1.5G. I love it. It pops in all registers.

Also, I have a question.

What kind of mouthpiece does Dave Taylor play? I can't find it any where.

I think a Stork 1.5 but not 100% sure

I think Ben Griffen knows for sure.  

If I remember correctly, he mentioned at one time that Taylor plays on some kind of custom 1 1/2G thingabob.

QuoteWhat kind of mouthpiece does Dave Taylor play?

He was playing a bored out 1.5 G when I was in NY in the early 90's.  I've heard that he's playing a Stork now.

FG

I've also heard Stork. See if you can coax it out of griffinben or sabutin.

All the pictures I've seen him in look like a Stork's in the horn. I just wanted to get a confirmation.

Hmm, a pro like David Taylor plays a 1.5G.

And buckets are the standard mouthpiece for professionals.

Psht.  

The Dave Taylor piece rumor I hear is that he has a box of different flavored Stork 1.5's that he plays with.  Recently I hear that he's working with a mouthpiece maker on a custom model.  I don't know who the maker is or anything about the piece.  From what I heard, DT wasn't shelling out any info until a deal was worked out on the piece.
-->grub

Quote from: "tbonegeek07"
And buckets are the standard mouthpiece for professionals.

No one said "buckets" are the standard issue for the pros.  

People play what works for them whether it's a Bach 2G or a Laskey 95D.  

Just because a few of the big guys in the bass trombone world play on the 60 sized stuff doesn't mean every pro out there does the same.

Wait. I have a really old 1.5G and tryed a new one. Different!?!? NEw one felt good! though it was on a different horn. 50B

Well, I recently was offered another Mt Vernon 1 1/2G which I failed to resist !
Another great mouthpiece, but as usual, different to the others I have. Funny how these old Bach pieces are all so different, but all so good. Outer shapes varied quite a bit. The one constant is the sound.... which I find just perfect.
Chris Stearn.

I have been playing on a 60 since I switched to bass trombone last summer. I used the 1.5G that came with it for a while. I then bought the 60 as an experiment, and liked it enough to stick with it.

I have been considering going back to something like a 1.5:
-There are times when I feel I am not projecting well,
-It would be nice to have an easier range, though I have a lot more "silly low" stuff than high,
-I have not always liked the sound, and was interested in something shallower,
-Not always focused.


I just bought a horn from a forum member some time ago. I had been going through horn hell before that, and had not been practicing much, regularly, or at all (hard without an instrument).

I have been practicing quite a bit since I got it (finally!) and am in decent shape (why aren’t I practicing now!), and I have decided that instead of going smaller, I legitimately, and seriously, want to go LARGER.

Everything has been working out with the 60 for some time- I'm being heard in the audience, range isn't a big problem any more, I find large rims so comfortable, and.….

I LIKE what I am hearing, and I want more of it.
After listening to the German Brass goes Bach (for like the 15th time!), I have become completely enamored by the sound of the bass/contra player on his contrabass trombone.
I have read reviews on JK contra mouthpieces that say when used in a bass they can evoke a slightly contra-esque sound.

(Hopefully) sooner than later, I will be trying some of the F contra mouthpieces. I don’t want to go too large, as I will probably end up using this for mostly everything.
I also feel that going to this will let me put as much air as I can through the instrument (I like to fight a little bit), making projection a zero issue.
I play some stuff that extremely quite/loud pedals down to C, so obviously this will help.


But honestly, this change will be for the sound. When I play a 1.5, it sounds too much like a tenor trombone to me. Unlike most people, I switched to bass trombone from euphonium/tuba rather than tenor trombone. I had played some tenor, but very little compared to the other instruments. I don’t think I have a “tenor sound concept” in my head, either.

Bob---I am not sure about your going with a contra-bass trombone mouthpiece, fulltime in your Getzen trombone. I would be very leary of having some pitch problems develop with that mouthpiece, as your Getzen was designed to play properly with something like the standard Bach 1.5G or slightly larger.

If you are playing with an unaltered shank on your Schilke, you are also asking for some serious pitch problems. Most Schilke 60's were supplied with a Conn Remington tapered shank and do not fit into a Bach tapered receiver, like is on the Getzen slide section. When I used Schilke 59's, I always had Schilke supply mine with the custom Bach shank, as you had to order the Schilke's with the Bach shanks and over-all length. An easy and better solution is to use the latest Schilke Symphony Series, as these are produced with the correct over-all length and a standard Bach tapered shank. Another option is to check into ex-Schilke mouthpiece designer, Karl Hammond's new line of mouthpieces.

BTW, what kind of ensemble are you playing in, that either the conductor or your sectionleader or sectionmates will put-up with you sounding like a contra-bass trombone on a bass trombone?  I would be interested to know that answer, before going any further with this post?

I am sure Chris Stern (blast) will offer-in on this topic, also. As he and Doug Elliott would be people who I would trust for accurate mouthpiece information and suggestions and I would trust their knowledge over mine, any day of the week!

Steve Ferguson stated on his website that Schilke changed the shank on all their models to the Bach style shank.

Quote from: "tbonegeek07"Steve Ferguson stated on his website that Schilke changed the shank on all their models to the Bach style shank.
That's only on the Symphony Series, I believe the standard ones still have the old long tapers.

Quote from: "Steve Ferguson"These are very well made mouthpieces; an excellent alternative to Bach, in limited sizes, with custom options. Schilke large shank trombone mouthpieces have longer dual taper shanks, and may stick out farther than a similar large shank Bach mouthpiece would. These do tend to fit better in Remington (old 88H) style receivers. Schilke mouthpieces with Bach style or other custom shanks are available for $23 extra in 2-4 weeks. Part # Schilketb

Update July 2006: Schilke has changed their shanks to the now common Bach style.  We may have both in stock depending on model.  As Schilke runs out of old blanks, they will use the new shape at the same price.  If you care which shank you receive, please ask.

my new schilke 53 also has the bach taper...i just ordered one with large shank and received a 53 with bach shank.

Ah ! Denny wants me to chip in on that previous post... well... to each his own is my first thought.
I started this thread as a serious review of the 1 1/2G Bach mouthpiece (Mt Vernon in particular) and where it fits into the modern bass trombone world.
It fits (at least to my mind) in many player's ideal package, even after all the more recent 'developments'..... but there is room for all in our world, and if a player wants to go 'contra' then be it on his own head... he may be way ahead of the rest of us, or it may be a blind ally.
Concept is king at the end of the day..... I am still enjoying the memory of the duet session I had with Gabe Langfur at ITF.... that Laskey 93D seemed to help him create a wonderful rich, compact Premru- like sound that was so easy to play with... pure joy.
Some people were made to use big gear.... but I wanted to sound a note for the many who would be far better off with a mouthpiece that lets them sound like a bass trombone, when popular trends push them towards mouthpieces that limit their results and create sounds that many of us do not recognise as those of a bass trombone.
Not a move to limit or restrict players....
Just a plea for open minds in a time of polarisation.
Chris Stearn.

P.S.  I still like my 1 1/2G  

Quote from: "blast"Concept is king at the end of the day..... I am still enjoying the memory of the duet session I had with Gabe Langfur at ITF

Me too, me too...I only wish we had more time.

Chris makes a plenty big, broad sound on his 1 1/2 G. I always strive for clarity and focus of pitch center no matter what I'm playing.

We all have to make equipment choices that balance our needs, and whatever choices we make, we have to practice. I have to practice for focus, and I have to be very diligent about keeping my high register in shape or I lose it FAST. I think Chris has said he has to work harder to maintain the low register with the 1 1/2 G than he does with larger pieces.

Practicing is a constant...what and how you practice may vary a bit depending on your equipment choices and playing demands.

Jay Friedman has written some good things about equipment size:

http://www.jayfriedman.net/reflections/20040108Equipment_-_Size_does_matter.php

From this article:

Quote from: "Jay Friedman"I have no problem with focus because I've always been a fanatic about it. I wish more people were, especially many bass trombone players. Everything they play softly has a hole in the middle of the sound. That is NOT a big sound!

         

There's another article on his site about different methods of practice that apply to smaller instruments (like trumpet) as opposed to bigger (like tuba). I think some of the ideas apply to how we might practice when we choose smaller or larger equipment on bass trombone as well:

http://www.jayfriedman.net/reflections/20040411Trompete.php

Poke around on his site - these monthly columns are great.

Quote from: "miranda"I think a Stork 1.5 but not 100% sure


That's my new baby. I love the Stork 1.5.   I play it exclusively.


DG

Quote from: "Bob1062"I have been playing on a 60 since I switched to bass trombone last summer. I used the 1.5G that came with it for a while. I then bought the 60 as an experiment, and liked it enough to stick with it.

I have been considering going back to something like a 1.5:

You may want to find a middle ground.  I have tried a number of mouthpieces and found that the Griego .75 works best for me on the 1062.  Anything bigger and my sound spread.  The Schilke 59 is slightly smaller but still about between a 60 and a 1 1/2.  If you really like the 60 you may want to try the Yeo which is a much improved version and just a hair smaller.
I have also heard good thinga about the G&W pieces but have not playtested any for trombone; I own 2 for tuba.
Word is that Loud Mouthpieces (aka Joe Murphy) will soon be making a couple of new stainless mouthpieces that are roughly the size of the Griego .75 but with a few tweaks; and one version will have a shallower cup but with the same diameter for things like Haydn and Mozart.

Bigger isn't always better......
Ideal size (so far) for me on a King 6B is a 1.5G. Have to be in shape to be able to use pedals in big band charts (when they show up), but it's doable. Anything bigger (for ME on THIS horn) is pretty much useless above the staff. Tuning sucks, can't find the "centre" of the sound, etc. Even a 1.25 H king I've got is enough bigger to feel lost.  YMMV.........

I tend to play pretty standard sizes on most of my horns (5GS on a Bach 42, King 29 on an old red brass symphony, currently a 12c on my small horn, probably going bigger). There's a reason the "standards" are the standards....

This advice is worth exactly what you paid for it!    

Quote from: "denny seifried"BTW, what kind of ensemble are you playing in, that either the conductor or your sectionleader or sectionmates will put-up with you sounding like a contra-bass trombone on a bass trombone?  I would be interested to know that answer, before going any further with this post?!

It's not unknown for some of the players in the top brass bands here to use contra mouthpieces in basses. Gareth Sykes at Reg Vardy (formerly Ever Ready) does, and I think so does Paul Warder at Leyland, who once posted somewhere that, when he first arrived there, he was told that the 1G that he was using was too small, and that he would have to change it! Extraordinary...
I can't say that the results are what I aim for in my bass trombone sound.

I had a new student come to me last week.... second study bass, first study tenor. He had just bought a Holton TR 181 that came with a Bach 1G megatone. He sounded like a slide tuba. I had him play with his tenor mouthpiece (a Wick SM4) on the Holton.... and it sounded much more like a trombone... even he had admit that..... but he said that it didn't work as well down low as the Bach... and it wasn't a bass mouthpiece.
SO.... sound comes in second to instant result (in the long term you can play low on any good size mouthpiece...tenor players do it all the time ) and it has to be called a bass mouthpiece for him to feel ok using it. Interesting.
I will make up something for him that is smaller than the Bach 1G (which he really cannot handle) with a similar rim to the SM4 (flat) and see if we can engage the musical brain to start thinking of a good bass sound.

I asked him why he chose his tenor mouthpiece, and sound was the major reason, yet when he looks at the bass, ease of low note production comes top of the list..... I suspect he is not alone amongst the younger generation.

Chris Stearn.

How about one of your patented flat-rimmed Minick L's?!
-->grub <back to range-building longtones>

My second study student is trying a slightly larger mouthpiece than I would normally recommend.... second study players, and doublers in general can have slightly different requirements.... he needs to have a workable low register on bass, even when playing tenor most of the day... so needs a little more help down low than a first study player. I won't say what it is, as I think it is an unusual choice... but out of the selection that I presented to him, it gave the best sound with ease of low register, whilst retaining a good upper register.... for that player on that horn with the afore mentioned requirements.
The test was done with no prompting from me... I just gave him mouthpieces, but I agreed with his conclusions.... a good sign.
We're at over 7,000 hits on this topic !!!

That's more than a couple of people interested in this stuff.  

Chris Stearn.

Despite what Said earlier I'm back on the 1/2 G  

A lot of people complain that the low register 'backs up' on them when using a 1 1/2G.
I had to try some bigger mouthpieces last week (briefly) and really had to think about low register when returning to the 1 1/2.... AIR.... YOU REALLY HAVE TO GET YOUR AIR RIGHT ON A 1 1/2G.... it's so easy to put too much air through and have a 'back up'... or to put to little through and lose quality... it has to be JUST RIGHT.
Bigger mouthpieces seem to have a wider envelope of suitable airflow... 1 1/2 size pieces give you virtually no choice. Get it really right and the sound gets big and projects like crazy... wrong and you think you need a bigger mouthpiece.
Just a thought.

Chris Stearn.

Really interesting thread this guys, and one that got me thinking.
 
I switched from tenor to bass trombone about 2 1/2 years ago, initially starting with a Bach 1 1/2GM. As you can imagine, my low register needed a hell of a lot of work, and I opted for the quick fix. Initially going for the Rath 1 1/4W, as I found the rim to be more comfortable. After using this for about a year, I still wasn't satisfied, and was looking for what I thought was a bigger sound, so opted for the Rath CB1B. I have been using this mouthpiece for nearly a year, pleased with the fact that my low register could be loud, and it added a few more notes down below.
 
A week ago I was given an old G trombone, something I've fancied learning for a while, however that only mouthpiece I could find to fit it was a Wick 4 with a small shank. Looking for something bigger, I wondered about turning the Bach 1 1/2 down to fit the G. When I'd located the Bach, I thought I'd try it out on my regular Bass........
 
Loved the sound, more focused and centred, OK, so I've lost the 3 tones below the pedal Ab I could reach, but I don't see any reason why I can't work on that.
 
I've since used it at a band rehearsal, and found it just as easy to project, and easier to blend with the tenors. My articulation and intonation seemed to improve as well.
 
Anyone out there in the market place for a big mouthpiece? I may just have one for sale.

Careful Birdy.... if the guys in other bands see what you are playing on, they won't think that you are a real bass trombonist 
That CB1B is a mega bucket... basically, made because they just KNEW someone would ask for one.
Funny how so many people come back to the Bach 1 1/2G and re-discover an old friend... then find they can do everything they need on it... and most of it easier... George Flynn said just this to a forum member recently.
Chris Stearn.

Quote from: blast on Nov 27, 2006, 01:23PMCareful Birdy.... if the guys in other bands see what you are playing on, they won't think that you are a real bass trombonist 
That CB1B is a mega bucket... basically, made because they just KNEW someone would ask for one.
Funny how so many people come back to the Bach 1 1/2G and re-discover an old friend... then find they can do everything they need on it... and most of it easier... George Flynn said just this to a forum member recently.
Chris Stearn.

Hi Chris,

To be honest, I'm more bothered about whether people think I sound like a Bass Trombonist

Secondly, it does now leave me with a problem of how to deal with the fff pedal Db in Northern Lights, then again, if it helps get 99% of the part sounding better, it's not such a bad trade off. I had a funny feeling that the CB1B wasn't meant as a serious addition to mouthpiece choice. Definately  going to get lessons instead, it's got to be money better spent.

Lessons will be the better investment, true. Now you have to choose a teacher   
Chris Stearn.

Great topic. I won't defend what I am playing on now. Just will talk about the 1.5G.

As a kid, I remember sitting down at a table with George Roberts, pulling my mpc out of my pocket (a Bach 1.5G) and asking him if that was a good mpc. He did the same, put his mpc right next to mine, and we spent the next hour (trading drinks, he was 30+, I was 21+) talking mpcs, etc.

Many years later, I was taking lessons from the legendary Jeff Reynolds (LA Phil, what a great musician), he sold me for $15 his number 2, Bach 1.5G. Picked from several.

A few years later, Larry Minick was making his copies from a Mt. V. 1.5G [he labeled that mpc -- V] I bought that one.

Later, I sold them all to students while I was on the quest to the better mpc 

I sincerely wish I still had them.

Mr. Blast [Chris Stearn], you recreated a Rath mpc, like the 1.5G. Could you please remind us what that mpc is, and if there are newer versions of that.

Man, I really, really wish I had not sold my good stuff like that (trombone included).

The consolation is that I sold them to good musicians who will make good music with that stuff. I guess that is the best part about that.

Is there something to be said for having the extra room to play even louder, even if your not going to use the extra volume? Obviously size of the mouthpiece isnt a direct corelation to volume, but you get the point.

its funny, i got bigger and bigger on tuba, and for some reason, the larger pieces always helped my high range. Funnier still, when i practice high range on a bass bone piece, i gain range on tenor.

Quote from: CRWV on Nov 30, 2006, 12:27AMIs there something to be said for having the extra room to play even louder, even if your not going to use the extra volume?Having that extra room moves the maximum volume that you actually use further away from the top limit. This I would compare to going 90 mph in a vehicle that's capable of 150, versus going 90 in a vehicle that's not capable of going 100. A smoother quieter ride.

Quote from: CRWV on Nov 30, 2006, 12:27AMIs there something to be said for having the extra room to play even louder, even if your not going to use the extra volume? Obviously size of the mouthpiece isn't a direct corelation to volume, but you get the point.


I am not sure what your point is. Your first sentence implies that extra room allows you to play louder and the second sentence implies that mouth piece volume does not help in a direct way to increase volume.

Quote from: CRWV on Nov 30, 2006, 12:27AMIs there something to be said for having the extra room to play even louder, even if your not going to use the extra volume? Obviously size of the mouthpiece isnt a direct corelation to volume, but you get the point.

its funny, i got bigger and bigger on tuba, and for some reason, the larger pieces always helped my high range. Funnier still, when i practice high range on a bass bone piece, i gain range on tenor.

Your second sentence answers your first one. There is no evidence that I know of, that mouthpiece size and potential volume are linked, and I have not found any evidence in all my years of playing bass trombone mouthpieces of all sizes.
Therefore, your question is no longer a question.

Chris Stearn.

Quote from: bigbells on Nov 30, 2006, 05:32PMHaving that extra room moves the maximum volume that you actually use further away from the top limit. This I would compare to going 90 mph in a vehicle that's capable of 150, versus going 90 in a vehicle that's not capable of going 100. A smoother quieter ride.

A car is an active system... it does things.
A trombone mouthpiece is a passive system... it allows an active system(the player) to do things.
Therefore not the best kind of comparison.
Refer above to my view.

Chris Stearn.

Quote from: JP on Nov 28, 2006, 05:52PMGreat topic. I won't defend what I am playing on now. Just will talk about the 1.5G.

As a kid, I remember sitting down at a table with George Roberts, pulling my mpc out of my pocket (a Bach 1.5G) and asking him if that was a good mpc. He did the same, put his mpc right next to mine, and we spent the next hour (trading drinks, he was 30+, I was 21+) talking mpcs, etc.

Many years later, I was taking lessons from the legendary Jeff Reynolds (LA Phil, what a great musician), he sold me for $15 his number 2, Bach 1.5G. Picked from several.

A few years later, Larry Minick was making his copies from a Mt. V. 1.5G [he labeled that mpc -- V] I bought that one.

Later, I sold them all to students while I was on the quest to the better mpc 

I sincerely wish I still had them.

Mr. Blast [Chris Stearn], you recreated a Rath mpc, like the 1.5G. Could you please remind us what that mpc is, and if there are newer versions of that.

Man, I really, really wish I had not sold my good stuff like that (trombone included).

The consolation is that I sold them to good musicians who will make good music with that stuff. I guess that is the best part about that.

The Rath 1 1/2W (the 1 1/2 was nothing to do with me) is a copy of a wide rimmed Mt Vernon Bach 1 1/2G I picked up a few years ago. I re-worked the rim until I was happy with it, and Adrian at Rath made a screw shank for it. After some experimenting, we settled on a shank/backbore that blew a little easier down low and projected a little better. With the work and refinishing, the cup is a little wider than the original Bach, but not by much. Overall, it's a nice mouthpiece that is unlike anything else out there at the moment.
I am in the middle of a project to design a whole range of mouthpieces for another company at the moment. This will include a take on the conventional rim 1 1/2G mouthpiece. I hope this too, will find some fans. Stay tuned.

Chris Stearn.

Who in their right mind?

Not me...I'm not a good enough bass trombone player.

But...I just sat in a little room with three french horn players, a good tenor trombonist and the great bass trombonist George Flynn. They are the brass section of the B'way production of Lion King and I went to watch the show because I am going to be subbing on George's bass trombone/tuba chair. They are in a room by themselves and receive the conductor's wavings and some sort of dull representation of what is going on in the pit and stage by TV monitor.

Why? Don't ask me. It's Broadway.

Anyway...I'm sitting there, and George is popping bass notes so hard on his beautiful old gold plated (converted to dependent double valves) .565 single bore 70H that I'm glad I remembered to bring my my earplugs. Really. The attacks HURT sometimes. I'm talking trigger pedals here, not just the usual trigger notes and middle pedals.

On what?

A 1 1/2G.

PLUS an absolutely gorgeous mid-register sound and relative ease up top.

Now...the "right mind" thing?

I'm not sure that ANY of us would qualify.

I mean...who in their right mind would even TRY to play a trombone? Let alone a BASS trombone, which is just a big tenor that has been forced down into ranges for which a Bb instrument was simply never designed.

But can it be done?

You bet your AIRPLANE it can be done.

Later...

S.

Don't you think that someone of "sound" mind would choose a 1 1/2?  I have since discarded my Stork and returned to a toggle of my Marc 3 and a Rath 2 (with a modified rim to match the Marc).  But, I still love the feel of the 1 1/2.  I just don't prefer the articulation. 

perhaps i'm getting closer to a "right" mind...instead of a "sound" mind?

DG

Quote from: sabutin on Mar 02, 2007, 10:10AMWho in their right mind?

Not me...I'm not a good enough bass trombone player.

But...I just sat in a little room with three french horn players, a good tenor trombonist and the great bass trombonist George Flynn. They are the brass section of the B'way production of Lion King and I went to watch the show because I am going to be subbing on George's bass trombone/tuba chair. They are in a room by themselves and receive the conductor's wavings and some sort of dull representation of what is going on in the pit and stage by TV monitor.

Why? Don't ask me. It's Broadway.

Anyway...I'm sitting there, and George is popping bass notes so hard on his beautiful old gold plated (converted to dependent double valves) .565 single bore 70H that I'm glad I remembered to bring my my earplugs. Really. The attacks HURT sometimes. I'm talking trigger pedals here, not just the usual trigger notes and middle pedals.

On what?

A 1 1/2G.

PLUS an absolutely gorgeous mid-register sound and relative ease up top.

Now...the "right mind" thing?

I'm not sure that ANY of us would qualify.

I mean...who in their right mind would even TRY to play a trombone? Let alone a BASS trombone, which is just a big tenor that has been forced down into ranges for which a Bb instrument was simply never designed.

But can it be done?

You bet your AIRPLANE it can be done.

Later...

S.

EXACTLY.
Sorry, I tried for irony in the topic heading... also hoping that it might bait some of the big iron club... and yes, we're all mad anyway, so what the flying Ferguson's, the 1 1/2G (in a good example) ROCKS.
When I was young, I heard lots of great playing on 2G's and 1 1/2G's.... better sounding than 95% of what I hear now.... so I wonder why so many have been sucked down that big piece road, even though they sound like something other than a trombone.
It's not a rule for everybody... doublers like a little bigger to help with getting around down low, and filling out down low on what is essentially novel equipment... and usually sound fine.. often better than regular bass players on the same mouthpiece...
And some folks just sound stunning on big gear (Gabe, and Mark Frost over here aside from the Vernons of this world)but 95% hits my ears the wrong way.
Actually, why should I wonder... I went there myself... 15 years on a Schilke 60 is hardly a passing fad.... and all the time, the sound wasn't what I really wanted... but I thought I could never make the 1 1.2G work.... until I really started to understand airflow, and how to use it. Even now, the 1 1/2G is harder work down low... but worth the extra effort.
Who in their right mind .......

Chris Stearn.

Suppose Chris had titled his original post "Who in their right mind plays a Bach 6.5AL??"
     Wouldn't the responses to the topic be similar? I'll venture the opinion that any mouthpiece included as standard equipment with the purchase of a new instrument is going to have a lot of negativity associated with it. It's natural for any right-minded trombonist to think that a mouthpiece considered ideal by the manufacturer for the typical player could not possibly be good enough for old number 1.
     Sort of like Yogi Berra's non sequitur: "Nobody eats at that restaurant any more. It's too crowded."

Right mind?

I asked George how he plays Lion King without completely ruining his playing (that book is REALLY extreme) and what he told me is that he gets to the theater early, practices hard for 2 or 3 hours, and then plays the whole show as a warm-down.

Right mind?

Not a chance  


By the way Sam, did he have the 70H that we put Shires valves on goldplated, or was it his old goldplated 62H?

Quote from: sabutin on Mar 02, 2007, 10:10AM
...

But...I just sat in a little room with three french horn players, a good tenor trombonist and the great bass trombonist George Flynn. They are the brass section of the B'way production of Lion King and I went to watch the show because I am going to be subbing on George's bass trombone/tuba chair. They are in a room by themselves and receive the conductor's wavings and some sort of dull representation of what is going on in the pit and stage by TV monitor.

Why? Don't ask me. It's Broadway.

Anyway...I'm sitting there, and George is popping bass notes so hard on his beautiful old gold plated (converted to dependent double valves) .565 single bore 70H that I'm glad I remembered to bring my earplugs. Really. The attacks HURT sometimes. I'm talking trigger pedals here, not just the usual trigger notes and middle pedals.

On what?

A 1 1/2G.

...

S.

Posts like this make me grin from ear to ear, seriously. 

BTW, anyone in the "know" know who's playing Little Mermaid when it opens? Am I right in guessing the Beauty and the Beast players will most likely be called? Speaking of, there's another 1.5G player with monster chops - Paul Faulise. AND a tuba doubler on his book...

If I could only have one trombone (which I already do, but.... uhh... anyways) it would be a .547 and I would definately use a 1.5G on it often. My favorite horn with that combo was actually a 42B. When I first bought a bass just under 2 years ago, I had only planned to use it for trombone choir and community band. I never thought I'd become good at it. I tried a Blessing 88 with a 1.5G expecting it work, but it just didn't. Don't know why.

The low range (on the 42B/.547) was just so much fun. I could pop everything, it still sounded very much like a trombone, and it was just a blast ( ) to play. I would probably keep a 6.5 or something around for higher "tenor" stuff, but I think the 1.5G would get the most use.

When I was having horn problems last year, I seriously considered getting a .547 and using a 1.5G instead of a bass. I finally found a bass that I liked and I do play bass in an orchestra, so finally I went for the bass.


If I were to back to when I bought my bass and do it over again, I very well might have gone with the 42B/1.5G combo.





Sam, do you still play tuba? What do you use? How about George Roberts? I'm always interested to hear what great players double on.

I actually use a 1 1/2 G for jazz band playing. I find it to be a very good mouthpiece.

Quote from: doug420 on Mar 22, 2007, 04:43PMI actually use a 1 1/2 G for jazz band playing. I find it to be a very good mouthpiece.
Welcome Doug420,
A nice first post. Simple and true.I can only assume that you are in your right mind.... you might just be the person I was looking for ! 
Chris Stearn.

may I ask a question?

does it really matter who in their right minds plays a 1 1/2G?

isn't the idea just to find the best fit for you and run with it?