you could. but that could be a variety of reasons. It could just be your face physically is slower moving than his muscles so you arent as responsive. It could also be mouthpiece choice and mp compatability with your face and the horn because not every mp is suited to everyone the same way nor to every horn, even examples of the same model line. tone wise could be a variety of variables of your muscles, mouthpiece, and very possibly the horn itself. you can practice and fine better mp pairings, but maybe the tone of this particular 6h is more to your liking than the one you own. there is quite a variation from horn to horn after all. I would suggest you start with maybe testing more different mouthpieces and doing some more of those lip slur exercises that might improve quickness in responsiveness of your embouchure.
The Conn 6H is a great horn for use in big bands, or even in R&B bands, rock bands, and typical commercial recording. I have a Constellation which is very similar and it plays wonderfully. Many in Los Angeles have either one of these, or a Conn 110H which is the regularly produced version of the Larry Minnick version of a .500 bore Conn trombone. I used to have work done by Larry Minnick and he alerted me to his initiative of using Conn parts to make an idealized tenor trombone. He also had versions of Bass Trombones which used parts but were built using his craft. Conn eventually issued this same design as a production model.
Keith, I need your help with picking a jazz trombone. I have narrowed it down to a Shires Michael Davis or the Shires Marshall Gilkes. The sound quality’s I want is to have a nice warmth but super bright, to really project, a nice core sound, a crisp articulation, but most importantly to really be a unique and recognizable sound. The setting is lead in a big band and sometimes lead in a trombone quartet. My current setup is a Shires custom Twin Valve. Thanks, Carter
Are you thinking primarily a .500” bore? For some large bore tenor players the .500” can feel a bit stuffy, where the .508” can potentially be a bit more natural. With that said with what you are describing I could see either the Gilkes or the Davis Plus as good fits; the Gilkes has a unique depth of sound and with the right air/energy concept can certainly have a bright bite in its timbre, while the Davis Plus has a nice warmth and openness in its sound, with a balanced lightness that lets it brighten up fairly quickly, but it may not have quite the same unique complexity of the Gilkes… Feel free to email me at tromboneshop@schmittmusic.com and I would love to chat further :)
You sound great on it. Your comments are spot on. I have a 6H. It kills my left hand worse than my Duo Gravis.
Thanks for the insights!
I have a Conn 6H, too, but the one you demonstrated plays faster, higher, and with better tone than mine. Should I have it checked by a technician?
you could. but that could be a variety of reasons. It could just be your face physically is slower moving than his muscles so you arent as responsive. It could also be mouthpiece choice and mp compatability with your face and the horn because not every mp is suited to everyone the same way nor to every horn, even examples of the same model line. tone wise could be a variety of variables of your muscles, mouthpiece, and very possibly the horn itself. you can practice and fine better mp pairings, but maybe the tone of this particular 6h is more to your liking than the one you own. there is quite a variation from horn to horn after all. I would suggest you start with maybe testing more different mouthpieces and doing some more of those lip slur exercises that might improve quickness in responsiveness of your embouchure.
The Conn 6H is a great horn for use in big bands, or even in R&B bands, rock bands, and typical commercial recording. I have a Constellation which is very similar and it plays wonderfully. Many in Los Angeles have either one of these, or a Conn 110H which is the regularly produced version of the Larry Minnick version of a .500 bore Conn trombone. I used to have work done by Larry Minnick and he alerted me to his initiative of using Conn parts to make an idealized tenor trombone. He also had versions of Bass Trombones which used parts but were built using his craft. Conn eventually issued this same design as a production model.
Thanks for the insights!
Keith, I need your help with picking a jazz trombone. I have narrowed it down to a Shires Michael Davis or the Shires Marshall Gilkes. The sound quality’s I want is to have a nice warmth but super bright, to really project, a nice core sound, a crisp articulation, but most importantly to really be a unique and recognizable sound. The setting is lead in a big band and sometimes lead in a trombone quartet. My current setup is a Shires custom Twin Valve.
Thanks,
Carter
Are you thinking primarily a .500” bore? For some large bore tenor players the .500” can feel a bit stuffy, where the .508” can potentially be a bit more natural. With that said with what you are describing I could see either the Gilkes or the Davis Plus as good fits; the Gilkes has a unique depth of sound and with the right air/energy concept can certainly have a bright bite in its timbre, while the Davis Plus has a nice warmth and openness in its sound, with a balanced lightness that lets it brighten up fairly quickly, but it may not have quite the same unique complexity of the Gilkes… Feel free to email me at tromboneshop@schmittmusic.com and I would love to chat further :)
Tasty
Thanks a lot Zelde!