The people wanted trombone videos, so the people shall have trombone videos! The Conn Connstellation line is pretty cool and I’ve already got a couple more videos on Connstellation instruments and mouthpieces lined up-stay tuned!
The 48h Connsellation is a horn that I don't need, probably would almost never use in a live setting but have to have at some point. It would be a perfect horn to have for teaching or recording because of the sounds you can make with them!
Yep, you hit the nail on the head there. Nobody *needs* a 48H - I could (somewhat uncharitably) say it doesn't do the whole big band thing well because of its more diffuse, slow-to-respond nature. But truth be told it is still a ridiculously fun horn to play because of its ludicrously wide tonal compass. Like you said, a great demo tool for students to hear what different air input can do to the tone!
Thanks for the shout out Sam. The 48H with (light weight slide) is PERFECT for outdoor and indoor music. Sweet & dark for delicate and bold solo work with or without a microphone. BTW- Keith H at Schmitt Music also has a very thorough review of the 48H. Nothing will be a light & nimble King 2 or 3B or as warm and romantic as the Bach 16, 12, 8, 6....yet the Conn 48H (like the 6H) has it's place in Jazz as a bold and powerful trombone. As you've mentioned, I have a few hundred trombones and have played many. Nothing is like the 48H and shouldn't be ignored as a valued member of any professionals arsenal.
@@ronzgarage Spot-on assessment. An unparalleled trombone for recording and playing outdoors. A little wonky in a section, though, I’m sure. Things like this really justify the existence of gearheads-like you said, so many people play on a King 2/3B or Bach 12/16 (I rarely hear of the 6 or 8) because those are what plainly WORK for the job, but the 48H truly sets itself apart in sound.
This horn is more better than the 2B’s and 3B’s. I own all. This horn has a much wider range of capabilities and feels more powerful in the upper register. That being said- you gotta have the air for it. Not a beginner horn.
@@bwd480 It’s a great horn, but I have to disagree to some extent-not “better” per se. I think both the 2B and 3B are stronger choices for playing in a jazz band trombone section, particularly the upper chairs. A lot of the time, what you really want in an ensemble is a consistent tone color that blends with the section. The 48H is a great solo trombone, but the absolute antithesis of blend. It changes drastically based on player input. For someone like you or me who is sound-guided, it works well. But for someone who just needs to play and not think, I don’t think it’s appropriate.
Exactly. I would probably almost never choose this horn over a 2B or 3B (especially not over my 3BFSS), but still this horn has a certain charm that I can't resist.
Nice video! It would be interesting to compare a 48H with a King 3BSS and see how each performs in different popular music environments. I know they are 2 very different machines, but it would be interesting to see what benefits each one has. It would also be interesting to make this same comparison with a Conn 6H and a standard King 3B instead of a 48H and a 3BSS
I don't know if this horn is still at the shop and I've never once gotten to even see a 6H in person unfortunately. I wish I could just demo a 6H and 48H back to back. That would probably be the most productive comparison, although to be fair a 6H vs. 3B comparison wouldn't go amiss either.
How do you major in something outside of band and still stay so involved, I'll be graduating highschool soon and still want to participate in band without majoring in it
@@seebo6461 Good question! Two important factors: picking a college that has plenty of non-major ensemble opportunities and going to college in an area that has a good local music scene.
The people wanted trombone videos, so the people shall have trombone videos! The Conn Connstellation line is pretty cool and I’ve already got a couple more videos on Connstellation instruments and mouthpieces lined up-stay tuned!
The 48h Connsellation is a horn that I don't need, probably would almost never use in a live setting but have to have at some point. It would be a perfect horn to have for teaching or recording because of the sounds you can make with them!
Yep, you hit the nail on the head there. Nobody *needs* a 48H - I could (somewhat uncharitably) say it doesn't do the whole big band thing well because of its more diffuse, slow-to-respond nature. But truth be told it is still a ridiculously fun horn to play because of its ludicrously wide tonal compass. Like you said, a great demo tool for students to hear what different air input can do to the tone!
Thanks for the shout out Sam. The 48H with (light weight slide) is PERFECT for outdoor and indoor music. Sweet & dark for delicate and bold solo work with or without a microphone.
BTW- Keith H at Schmitt Music also has a very thorough review of the 48H.
Nothing will be a light & nimble King 2 or 3B or as warm and romantic as the Bach 16, 12, 8, 6....yet the Conn 48H (like the 6H) has it's place in Jazz as a bold and powerful trombone. As you've mentioned, I have a few hundred trombones and have played many. Nothing is like the 48H and shouldn't be ignored as a valued member of any professionals arsenal.
@@ronzgarage Spot-on assessment. An unparalleled trombone for recording and playing outdoors. A little wonky in a section, though, I’m sure. Things like this really justify the existence of gearheads-like you said, so many people play on a King 2/3B or Bach 12/16 (I rarely hear of the 6 or 8) because those are what plainly WORK for the job, but the 48H truly sets itself apart in sound.
This horn is more better than the 2B’s and 3B’s. I own all. This horn has a much wider range of capabilities and feels more powerful in the upper register. That being said- you gotta have the air for it. Not a beginner horn.
@@bwd480 It’s a great horn, but I have to disagree to some extent-not “better” per se. I think both the 2B and 3B are stronger choices for playing in a jazz band trombone section, particularly the upper chairs. A lot of the time, what you really want in an ensemble is a consistent tone color that blends with the section. The 48H is a great solo trombone, but the absolute antithesis of blend. It changes drastically based on player input. For someone like you or me who is sound-guided, it works well. But for someone who just needs to play and not think, I don’t think it’s appropriate.
Great video. Beautiful tone.
Thank you very much!
Definitely a bucket list horn for me, even if there's very little chance of it replacing my Silvertone 2B for any ensamble.
Exactly. I would probably almost never choose this horn over a 2B or 3B (especially not over my 3BFSS), but still this horn has a certain charm that I can't resist.
@@SamuelPlaysBrass I’d love to get a 3BSS or a 10H for some super rich tone stuff or lover chair playing. They really have no equal.
@@SamuelPlaysBrass Same thing with my 1902 C. G. Conn custom artist model lol. Very nice playing trombone but will likely not see a ton of use.
Nice video!
It would be interesting to compare a 48H with a King 3BSS and see how each performs in different popular music environments. I know they are 2 very different machines, but it would be interesting to see what benefits each one has.
It would also be interesting to make this same comparison with a Conn 6H and a standard King 3B instead of a 48H and a 3BSS
I don't know if this horn is still at the shop and I've never once gotten to even see a 6H in person unfortunately. I wish I could just demo a 6H and 48H back to back. That would probably be the most productive comparison, although to be fair a 6H vs. 3B comparison wouldn't go amiss either.
The King SS is a solid sterling silver bell = brilliant Screamer, 48H = Dark, Deep and screaming when required. Not really comparable.
Great video Samuel 👍👍
Thank you Peter!
@@SamuelPlaysBrass You're so welcome
I’m still waiting for the YHR-671 review! 📯
@@domepiece11 That reminds me-still gotta get some B-roll of that horn! Totally slipped my mind when I borrowed it.
How do you major in something outside of band and still stay so involved, I'll be graduating highschool soon and still want to participate in band without majoring in it
@@seebo6461 Good question! Two important factors: picking a college that has plenty of non-major ensemble opportunities and going to college in an area that has a good local music scene.