Although S.E. Shires and Edwards create wonderful trombones, Conn 88HCL and the Lindberg Valve has the most open and rich sound that I find to be the best in the industry. Wonderful to finally see 88HCL come to light again where most F-attachment trombones have fallen back to traditional rotors with shepard's crook or Hagmann/Thayer Valves for open wraps. The 88HCL is still very underrated among the professional trombone community! Can't agree more with Christian that it's the "Ferrari" of Trombones.
Trubore valve is closer to a Hagmann Valve repositioned as it has a piping on its base instead of its curved surface resulting in a more resistance than a Lindberg valve.
The valve just looks like a Larry Minic from the 70's. Does anyone know why trombonists go on and on about ever greater allowances of volume, as if it were a requirement of musicianship, when modern oboes and flutes, who live in the same orchestral environment, aren't themselves worrying about getting any louder, and nevertheless they continue to enjoy more enthusiasm and attention from composers and audiences?
When we look at the most famous orchestral brass excerpts (for low brass), we often find wonderful resonant chorales or incredibly loud and aggressive lines that are almost magic. I think this is why trombonists in particular are obsessed with the idea of volume, as a resonant and rich sound is what everyone looks for when these kinds of features are preformed.
It's not new. Instruments have been increasing in volume for centuries. Pianists in Beethoven's time (including him) overpowered their instruments (which until that time were built with wooden frames) so much that piano makers began switching to iron frames. The quest for greater volume has probably never stopped. Brass instruments are always called upon when the sound of the orchestra needs to be as large as possible, and it's a condition of their employment that they be able to deliver that. The same is not true of woodwind instruments. Almost any half-decent trombone will play very loudly, but the sound often becomes harsh and noisy because the design of the instrument isn't quite adequate. A trombone that will respond smoothly and gracefully when played very loudly is better for everyone, not just trombonists. A musical sound instead of an unmusical one is the goal.
I have been wanting this trombone for quite a while!
Ur sound is a heaven maestro🙏🙏🙏🙏
Amazing. Muy buena entrevista para conocer más de cómo nació este modelo. Gracias Conn
0:27 Mark II? I thought it was the Mark VI
Although S.E. Shires and Edwards create wonderful trombones, Conn 88HCL and the Lindberg Valve has the most open and rich sound that I find to be the best in the industry. Wonderful to finally see 88HCL come to light again where most F-attachment trombones have fallen back to traditional rotors with shepard's crook or Hagmann/Thayer Valves for open wraps. The 88HCL is still very underrated among the professional trombone community! Can't agree more with Christian that it's the "Ferrari" of Trombones.
How does it compare to the Shires trubore valve?
Trubore valve is closer to a Hagmann Valve repositioned as it has a piping on its base instead of its curved surface resulting in a more resistance than a Lindberg valve.
The valve just looks like a Larry Minic from the 70's. Does anyone know why trombonists go on and on about ever greater allowances of volume, as if it were a requirement of musicianship, when modern oboes and flutes, who live in the same orchestral environment, aren't themselves worrying about getting any louder, and nevertheless they continue to enjoy more enthusiasm and attention from composers and audiences?
When we look at the most famous orchestral brass excerpts (for low brass), we often find wonderful resonant chorales or incredibly loud and aggressive lines that are almost magic. I think this is why trombonists in particular are obsessed with the idea of volume, as a resonant and rich sound is what everyone looks for when these kinds of features are preformed.
It's not new. Instruments have been increasing in volume for centuries. Pianists in Beethoven's time (including him) overpowered their instruments (which until that time were built with wooden frames) so much that piano makers began switching to iron frames. The quest for greater volume has probably never stopped.
Brass instruments are always called upon when the sound of the orchestra needs to be as large as possible, and it's a condition of their employment that they be able to deliver that. The same is not true of woodwind instruments.
Almost any half-decent trombone will play very loudly, but the sound often becomes harsh and noisy because the design of the instrument isn't quite adequate. A trombone that will respond smoothly and gracefully when played very loudly is better for everyone, not just trombonists. A musical sound instead of an unmusical one is the goal.
うま！！！
Great video but You should give maestro new shiny trombone for presentation