I think your main set up sounds great: the Committee + the TA mouthpiece. Seems responsive and balanced for your playing style, almost like you could create differing tones and colors with ease
Thanks, that’s one of the things I like about the way that setup plays, very flexible. That’s a part of each horn/mouthpiece that I could’ve gotten deeper into if I wanted to use a jazz standard or a ballad as my model phrase of music.
All right honestly I think that the student trumpet sounded the best it was crisp and clear and the notes slotted well😊 but all in all of the trumpet sound great
Useful video, and you sounded great on all combinations Bob! I played British baritone horn on and off for nearly 30 years but then quit baritone about 4 years ago to concentrate on trumpet. A couple of years ago I upgraded from a Yamaha student trumpet to a Bach Strad, 180/37 model, it was a 50th birthday treat 😃. I immediately noticed the playing difference between the Bach and the Yamaha (a 4335 2nd generation model), the Bach was much freer blowing, maybe a tad richer toned too. So I’m settled on my Bach but the opposite is the case with mouthpieces …. I just can’t settle on a model or rim …. I’ve tried Bachs, Denis Wicks, Yamaha’s, schilke’s …. Warburton’s, Curry’s, Lotus and Monette too, and others …. Alliance Brass, Stomvi …. You don’t want to know how many I’ve got, or what I’ve spent!! 🙄🤪. Buying trumpet mouthpieces is addictive! I do favour larger mouthpieces probably in terms of embouchure comfort and rich sound but then find a bit of a double-buzz issue in my low register 😬. If I switch to smaller mouthpieces, 16.5mm diameter, I can play ok on those but don’t like my tone so much, they are a bit tight on my lips, a tad. I always revert to a 17mm+ size but still can’t settle on one …. Very frustrating Bob! Happy frustrating though I guess, I just love playing my Bach whatever I’ve got stuck in the receiver 🤪 …. But I should be settling on something really as my regular go to mouthpiece! I guess I’m really just ‘venting’ off Bob, but any advice at all please Bob? Kind regards, Donald 🎺🏴
Love the velvety tone of the MC. I think B5 is the best, but i assume the endurance may suffer. I think your point is taken about how hard work is the best way to improve your sound. I know a lot of lousy players with $6000 horns hoping to skirt practice and lessons.
I usually use this simple rule: when I have to play as a soloist or classical music I choose equipment that Improves my sound and my volume; When I have to play commercial I choose the most confortable and lightweight equipment to increase easy playing and resistance. Of course I have also a "crossover" equipment that is lightweight horn and big mouthpiece
The Martin Committee has a sort of compact dark and diffused sound that most Jazz players loved back in the 40s, 50s and 60s. Miles Davis, Kenny Dorham, Dizzy Gillespie, Chet Baker and many others have played Committees in their careers. But be careful when using vintage horns, sometimes the receivers take a strange taper mouthpiece and sometimes you would have to use the original mouthpiece that came with the horn and modify the modern mouthpiece shank/taper if you want the most optimal playing for that vintage horn.
I liked the sound of the PNT 700 the best. I would have liked to have heard that in combination with the Bobby Shew mouthpiece to see what kind of sound it gave you.
I agree with all you say. Also the martin setup sounds superb and a little different to the others even with the same mouthpiece. I agree what you say re shallow mouthpieces. They give little if any extra range. I use them when I play lead though because they give more endurance and cutting power in the relevant part of the register. Also more volume on those notes above the staff. They have to be carefully managed though, they're not a quick fix or easy to play If you're not used to them or get tired you can fall into the mouthpiece or swell and cut the sound off entirely. Also you have to extensively practice low notes to make them full or else you get the exact mirror image effect of a big mouthpiece where in this case the high notes are fat but the low ones are thin and weedy.
I think your main set up sounds great: the Committee + the TA mouthpiece.
Seems responsive and balanced for your playing style, almost like you could create differing tones and colors with ease
Thanks, that’s one of the things I like about the way that setup plays, very flexible. That’s a part of each horn/mouthpiece that I could’ve gotten deeper into if I wanted to use a jazz standard or a ballad as my model phrase of music.
All right honestly I think that the student trumpet sounded the best it was crisp and clear and the notes slotted well😊 but all in all of the trumpet sound great
Useful video, and you sounded great on all combinations Bob! I played British baritone horn on and off for nearly 30 years but then quit baritone about 4 years ago to concentrate on trumpet. A couple of years ago I upgraded from a Yamaha student trumpet to a Bach Strad, 180/37 model, it was a 50th birthday treat 😃. I immediately noticed the playing difference between the Bach and the Yamaha (a 4335 2nd generation model), the Bach was much freer blowing, maybe a tad richer toned too. So I’m settled on my Bach but the opposite is the case with mouthpieces …. I just can’t settle on a model or rim …. I’ve tried Bachs, Denis Wicks, Yamaha’s, schilke’s …. Warburton’s, Curry’s, Lotus and Monette too, and others …. Alliance Brass, Stomvi …. You don’t want to know how many I’ve got, or what I’ve spent!! 🙄🤪. Buying trumpet mouthpieces is addictive! I do favour larger mouthpieces probably in terms of embouchure comfort and rich sound but then find a bit of a double-buzz issue in my low register 😬. If I switch to smaller mouthpieces, 16.5mm diameter, I can play ok on those but don’t like my tone so much, they are a bit tight on my lips, a tad. I always revert to a 17mm+ size but still can’t settle on one …. Very frustrating Bob! Happy frustrating though I guess, I just love playing my Bach whatever I’ve got stuck in the receiver 🤪 …. But I should be settling on something really as my regular go to mouthpiece! I guess I’m really just ‘venting’ off Bob, but any advice at all please Bob?
Kind regards,
Donald 🎺🏴
Quite interesting and helpful
Love the velvety tone of the MC. I think B5 is the best, but i assume the endurance may suffer. I think your point is taken about how hard work is the best way to improve your sound. I know a lot of lousy players with $6000 horns hoping to skirt practice and lessons.
Bingo
I usually use this simple rule: when I have to play as a soloist or classical music I choose equipment that Improves my sound and my volume; When I have to play commercial I choose the most confortable and lightweight equipment to increase easy playing and resistance.
Of course I have also a "crossover" equipment that is lightweight horn and big mouthpiece
The Martin Committee has a sort of compact dark and diffused sound that most Jazz players loved back in the 40s, 50s and 60s.
Miles Davis, Kenny Dorham, Dizzy Gillespie, Chet Baker and many others have played Committees in their careers.
But be careful when using vintage horns, sometimes the receivers take a strange taper mouthpiece and sometimes you would have to use the original mouthpiece that came with the horn and modify the modern mouthpiece shank/taper if you want the most optimal playing for that vintage horn.
It’s a good point, some mouthpieces play better than others with the vintage horns.
thanks for the vid, I play a King 601, with a 16E4 mp, I feel very comfortable, I prefer a dark sound, it's my style!
I liked the sound of the PNT 700 the best. I would have liked to have heard that in combination with the Bobby Shew mouthpiece to see what kind of sound it gave you.
Monet B5 sounds best to my ears but it’s a lot to do with your ability !🎺🎺which is very accomplished and cultured 👏👏👍👍🎶🎺🎶
Thanks, Ken!
Wow, that Martin is so full in tone!
The second time that you played your Committee with your Austin, it sounded different.
I agree with all you say. Also the martin setup sounds superb and a little different to the others even with the same mouthpiece. I agree what you say re shallow mouthpieces. They give little if any extra range. I use them when I play lead though because they give more endurance and cutting power in the relevant part of the register. Also more volume on those notes above the staff. They have to be carefully managed though, they're not a quick fix or easy to play If you're not used to them or get tired you can fall into the mouthpiece or swell and cut the sound off entirely. Also you have to extensively practice low notes to make them full or else you get the exact mirror image effect of a big mouthpiece where in this case the high notes are fat but the low ones are thin and weedy.
The Martin really has a smoky sound, I like it the best.
The easiest to play it is important. I am sure you can make a P trumpet sound excellent but the feel and performance.
The truth can set you free they say. . . yet I’m still dreaming of that Tumultus at J Landress!
Clark Terry on a garden hose with a funnel attached...lmfao 🤔🤣🤣🤣
Very informative video.
I'm just wondering are you using your martin for lead chair?
Thanks!
When talking about guitars, you forgot the most important thing to the sound for electric guitars. Gold coated plugs.
That A2 is very whiny and clicky.