#Frank holton amp co trumpet full

But think - what cuts through the orchestral texture more – the bass trombone,(not blasting) cimbasso (not blasting), euphonium (Planets, Heldenleben, Quixote], narrow bore F tuba, old really narrow bore BBbs or our beloved humangeous, weight-lifters’ monsters. If we feel better ‘heard’ then that is no harm. I think we were influenced by the Sousa bell, ‘bigger is better’ and those monster instruments really made for commercial reasons in the old days.

But that is how we hear them close up or without the effect of string basses and timpani. Arnold Jacobs called them his ‘amplifiers’. I think we have become, as I posted elsewhere, string bass players forced to play cello parts.Īgainst every tubist and manufacturer in the world, I am convinced that large bells and huge bore tubas are deceptive.

But was this the sound the composer wanted? Only Russians etc and 20th century.

#Frank holton amp co trumpet full

Obviously contrabass sound broader than bass and huge instruments sound 'bigger' but do they make any difference in a full orchestral passage - if absorbed by basses, bones and others? Yes, in an exposed passage we can hear a broad, organ-like sound. Surely we must invent a gadget to solve this problem no one had noticed since 1400s. That is two per bone - and they move relatively as the slide goes in and out. Every trombone has a moving venturi at the end of the inner slide stockings. Similarly, this venturi nonsense needs answering. But when we see a bright copper, goldbrass, silver, raw brass bell - our minds seize up and mouths and pockets open. Basically, he proved absolutely scientifically - that trombone bell material, plating etc made no difference - blindfold. I just quoted him from 1977 in another post on Bell size. A great scientist player worked for Boosey and Hawkes in the 1970's. The more I study this the angrier I get - on our behalf.