Christopher Smith wrote:
On Jun 21, 2006, at 9:05 PM, Carl Dershem wrote:
And I use a King 2b Liberty (dual .581/.591 bore)
You must have meant .481/.491, as .581 is ENORMOUS, like contrabass
trombone bore.
True. My horns vary a lot, from a .445 trumpthe .508 valve trombone,
the .525 trombone, and the .447/.462 trombone, and the .470 baritone;
and my fingers just naturally go to the ".5xx" when discussing the
trombones.
for jazz leads and a lot of small combo work to blend with (usually) 1
sax or a sax and trumpet - the bigger horns would not blend well at
all, and the .547 would not be nimble enough to solo on.
Talk to Slide Hampton and Robin Eubanks about that; they might disagree!
Yes, but they are special. Bill Reichenbach plays great jazz on a bass
'bone, but the vast majority are not *quite* as masochistic. :)
I personally find it easier to be flexible when using a lighter
airstream, which is easier when using a smaller horn.
Smaller bore instruments don't necessarily sound all that different,
they just make it easier to obtain the kind of sound jazz players tend
to like better, for longer periods of time. They also play more easily
in the high register. I have exactly the same range on bass trombone as
on my pea-shooter Bach 16M tenor trombone, but I last WAY longer above
the staff on the pea-shooter.
I have a very different sound on each horn, but then again I use
diferent mouthpieces on each horn. With (for example) a 6 1/2 AL, the
sound would be more similar, but that often defeats the purpose, as that
'piece makes playing below the staff much harder, and thins the sound
out in the low range.
Homogenization is mostly a theoretical pursuit - orchestras go in one
direction, jazz players go another, and the studio cats do whatever
they want (if you want to see a wide variety of horns, go to a
commercial scoring session some time!)
In some circles, session players all play the same model of horn,
according to who is playing lead. For example, in Toronto when trombone
players are called for a session, they ask who else will be there, and
if a certain guy is playing lead, then they all bring their King 2Bs to
match him, and another horn for a different lead player. Sound weird to
me here in Montreal, but there is no doubt that the section blend is
extraordinary from what I have heard.
True, but my studio experience is almost entirely in L.A. and San Diego,
where guys will bring in whatever they want, and make it sound different
by sheer acts of will, apparently. Then again, in L.A. they hire the
player whose sound they want, rather than hiring players for playing
ability and then asking for a particular sound. That's why it's such a
pain getting work there! :o
cd
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