Hey all! I’m so happy to say that Episode 1 was a great success on the channel! To any new viewers tuning in-hope to see you stick around for the rest of the series :)
I play a pretty large mouthpiece and I play mostly big bands and salsa gigs..I have found that my Olds Super balances out the large mouthpiece very nicely.My super has a bell throat that flairs late and that’s where I feel like I get the needed resistance to help compensate for the large diameter mouthpiece.Also the tuning slide is kinda square shape which adds a bit of resistance too.These things really help me get thru 4 hour too freakin amplified and loud commercial gigs.Oh and I’m 70 years old..👨🏼🦳
Thanks for your comment, Larry. I’m in a similar boat, with my trumpet perhaps being “tighter” than conventional, balancing my large mouthpiece tastes. Also, not my main horn, but I have a fun little 1924-25 King Liberty that that has a similarly slow-flaring bell that definitely is fun to plug something silly like a Bach 1D or 1E into! Also, much respect for being able to survive four hour gigs at your age. I’m a third as old as you are and I don’t know if I could do it…
@@SamuelPlaysBrass the right tool for the job. I played Bach 43/43 my whole career, which included broadway musicals, big bands,and some orchestral gigs,and club dates too..Now days,as the gigs I play are mostly very loud I love the Super for a bell to mic horn that has a very fast attack (response) …My bachs have a slightly more complete rounder sound,but the olds has a fine sound, and an easier horn then my Bachs without a doubt.The olds people knew their stuff!
That makes sense. Renold’s writings were some of the most helpful in researching for this project, and I tend to really like the Schilke-inspired Yamaha designs.
Large bores in general have less acoustic impedance and they do not have as strong of resonances. The acoustic impedance does contribute to the "played" air flow resistance. So it is not only the mouthpiece throat that determines flow resistance when playing.
Yes 100% right. Some people that claim that the bore size doesn’t matter are misguided,Maybe some monsters like Arturo it doesn’t matter, but to normal trumpet players it sure does. Step bores or choked bells can make a large bore horn easier to deal with but a straight Benge 6x or a Wild Thing will definitely take extra energy away from the player during a 4 hour gig.
I think that’s a good way to put it, Darryl. The lessened impedance of large bores is part of the reason why I don’t sound good playing on them. The sound becomes tired and a little too unrestrained. The energy threshold to sustain the vibration is too high for me. I meant to allude to this concept while talking about how I don’t sound good on large bores.
Good point, Tom. That's another thing. My chops and approach require a rather wide mouthpiece diameter, which also decreases the efficacy of playing on a large bore instrument.
Really nice video sam. You explain everything very good to the details. Thanks to you I learnt something new about the intonation of my flugel vs my trumpet. I could never figure out why my high notes were so flat on flugel and so sharp on trumpet. And btw you have a very nice voice to listen to. Okay enough fuel for your ego. But thanks for all the videos.
Thank you very much. I appreciate your kind words greatly. Yes indeed-the flugel goes flatter in the upper register by virtue of the deeper mouthpiece cup and more conical bore!
Just discovered your channel with the (rare) review of my trumpet (YTR2335) and I must say I'm not disappointed, I just got back to playing after a 5y break and your content is extremely instructive in looking for my next instrument. Thank you for your work, cheers !
In the beginning of my lookout for trumpet models, I thought a large bore must be good and got a Yamaha 6340. While that was very easy to play and a really nice instrument overall, it didn’t deliver the full-bodied sound I was after. I now have a 732 with M bore size whims sound I like more. So one could think that M bore gives full sound and L bore makes it brighter? Of course not, my horn with the fattest sound is a ML CarolBrass, while a Yamaha 934 sounds very bright and elegant, but maybe a bit thin - also with an ML bore… My conclusion: bore size has absolutely no meaning on its own. Still I recognize that most trumpets in my collection have M bore.
I completely agree. I play and sound far better on an M bore due to the more conical bell section than the straighter taper of an L bore. However, this can vary from player to player. You and I are probably in the minority. :)
Do you have an opinion on the Wayne Bergeron LA II trumpet where sone feel it is more open playing than say other horns like a ML Bach, and others. Do you feel the lead pipe or other areas on the horn are larger than normal for other ML horns?
First off, I haven’t gotten a chance to play the Bergeron LA models. But what I will say is how “open” or “free-blowing” a horn is has extremely little, if any at all, to do with how “big” the bore is at any point. I find my M bore Yamaha 8310Z much more “free blowing” than almost any ML or L Strad, many of which lock up on me above the staff. To really target how “open” a horn is, you have to think more about variables like turbulence (how rounded the crooks are, etc.), impedance (mass and how it’s distributed) and a whole lot of other messy factors. I generally find Yamahas to have a much more open blow than Bachs, but it’s tough to pinpoint why and can vary from person to person based on the style of their blow as a player.
Hey all! I’m so happy to say that Episode 1 was a great success on the channel! To any new viewers tuning in-hope to see you stick around for the rest of the series :)
Episode 2 out so soon! You spoil us Sam!
@@James_Dawes I have a deadline to meet 😬😂
Great public service you're doing to the trumpet (and brass in general) community, looking forward to the next episodes.
Thank you very much. I’m glad you are enjoying the series so far.
I play a pretty large mouthpiece and I play mostly big bands and salsa gigs..I have found that my Olds Super balances out the large mouthpiece very nicely.My super has a bell throat that flairs late and that’s where I feel like I get the needed resistance to help compensate for the large diameter mouthpiece.Also the tuning slide is kinda square shape which adds a bit of resistance too.These things really help me get thru 4 hour too freakin amplified and loud commercial gigs.Oh and I’m 70 years old..👨🏼🦳
Thanks for your comment, Larry. I’m in a similar boat, with my trumpet perhaps being “tighter” than conventional, balancing my large mouthpiece tastes. Also, not my main horn, but I have a fun little 1924-25 King Liberty that that has a similarly slow-flaring bell that definitely is fun to plug something silly like a Bach 1D or 1E into!
Also, much respect for being able to survive four hour gigs at your age. I’m a third as old as you are and I don’t know if I could do it…
@@SamuelPlaysBrass the right tool for the job. I played Bach 43/43 my whole career, which included broadway musicals, big bands,and some orchestral gigs,and club dates too..Now days,as the gigs I play are mostly very loud I love the Super for a bell to mic horn that has a very fast attack (response) …My bachs have a slightly more complete rounder sound,but the olds has a fine sound, and an easier horn then my Bachs without a doubt.The olds people knew their stuff!
Great video-very helpful. So much I never knew even after many years playing.
@@michaelfreeman3329 So glad it helped, Michael! Thanks for watching.
excellent and informative. The Yamaha step bore designs initially were/are courtesy of Mr. Ren Schilke's contribution and collaboration.
That makes sense. Renold’s writings were some of the most helpful in researching for this project, and I tend to really like the Schilke-inspired Yamaha designs.
I seem to recall I used to see a lot of talk about bell material. ... So ... brass trumpets with more copper in the bell. (on Trombones too... AFAIR)
Funny you should mention that on Episode 2, because that’s precisely what I talked about on Episode 3!
Brilliant breakdown.
Thank you, Sean!
Large bores in general have less acoustic impedance and they do not have as strong of resonances. The acoustic impedance does contribute to the "played" air flow resistance. So it is not only the mouthpiece throat that determines flow resistance when playing.
Yes 100% right. Some people that claim that the bore size doesn’t matter are misguided,Maybe some monsters like Arturo it doesn’t matter, but to normal trumpet players it sure does. Step bores or choked bells can make a large bore horn easier to deal with but a straight Benge 6x or a Wild Thing will definitely take extra energy away from the player during a 4 hour gig.
@@tomchojnowski9215 yes, what players don't realize is that less resistance also means less efficiency. The player must balance their preferences.
I think that’s a good way to put it, Darryl. The lessened impedance of large bores is part of the reason why I don’t sound good playing on them. The sound becomes tired and a little too unrestrained. The energy threshold to sustain the vibration is too high for me. I meant to allude to this concept while talking about how I don’t sound good on large bores.
@@SamuelPlaysBrass Large bore plus large mouthpiece is a brutal combination.
Good point, Tom. That's another thing. My chops and approach require a rather wide mouthpiece diameter, which also decreases the efficacy of playing on a large bore instrument.
Really nice video sam. You explain everything very good to the details. Thanks to you I learnt something new about the intonation of my flugel vs my trumpet. I could never figure out why my high notes were so flat on flugel and so sharp on trumpet. And btw you have a very nice voice to listen to. Okay enough fuel for your ego. But thanks for all the videos.
Thank you very much. I appreciate your kind words greatly. Yes indeed-the flugel goes flatter in the upper register by virtue of the deeper mouthpiece cup and more conical bore!
Very informative! Thanks Sam
Thank you Mike! Glad you thought so.
Just discovered your channel with the (rare) review of my trumpet (YTR2335) and I must say I'm not disappointed, I just got back to playing after a 5y break and your content is extremely instructive in looking for my next instrument. Thank you for your work, cheers !
Thank you for your kind words! Glad you stumbled upon the channel and I hope to see you stick around. Best of luck getting back into playing!
Great information! Thanks for posting. Wish I had watched this before I bought my trumpet (I love it anyway).
There is a lot I wish I had known before getting mine as well! Hoping I can save some future trumpet players!
In the beginning of my lookout for trumpet models, I thought a large bore must be good and got a Yamaha 6340. While that was very easy to play and a really nice instrument overall, it didn’t deliver the full-bodied sound I was after. I now have a 732 with M bore size whims sound I like more. So one could think that M bore gives full sound and L bore makes it brighter? Of course not, my horn with the fattest sound is a ML CarolBrass, while a Yamaha 934 sounds very bright and elegant, but maybe a bit thin - also with an ML bore… My conclusion: bore size has absolutely no meaning on its own. Still I recognize that most trumpets in my collection have M bore.
I completely agree. I play and sound far better on an M bore due to the more conical bell section than the straighter taper of an L bore. However, this can vary from player to player. You and I are probably in the minority. :)
Do you have an opinion on the Wayne Bergeron LA II trumpet where sone feel it is more open playing than say other horns like a ML Bach, and others.
Do you feel the lead pipe or other areas on the horn are larger than normal for other ML horns?
First off, I haven’t gotten a chance to play the Bergeron LA models. But what I will say is how “open” or “free-blowing” a horn is has extremely little, if any at all, to do with how “big” the bore is at any point. I find my M bore Yamaha 8310Z much more “free blowing” than almost any ML or L Strad, many of which lock up on me above the staff. To really target how “open” a horn is, you have to think more about variables like turbulence (how rounded the crooks are, etc.), impedance (mass and how it’s distributed) and a whole lot of other messy factors.
I generally find Yamahas to have a much more open blow than Bachs, but it’s tough to pinpoint why and can vary from person to person based on the style of their blow as a player.