So many have tried to copy the Committee, but despite our modern tech the sound is impossible to recreate. I love my Committees. Would love to try the Handcraft Committee. One day. 🥰
I got some stickers in the order when you sent me a trumpet but I want a sticker that has your logo of your caricature face/thumbs up logo. Could you make that happen, please?
Your playing is exceptional as always, Trent. Having owned and compared both. In my opinion the 36B beats the A6 hands down. For me the A6 is not versatile at all and feels tighter in the upper register. For example, I would not play the A6 in a Big Band, it cannot match the volume of a section of Bachs. The 36B, being a choice of both Tom Harrell and Brian McDonald, displays the versatility of this instrument. Warm down low and lights up with the right mouthpiece and gap. I've played this Lead, 2nd chair and in some commercial bands. You can hear the tone is more open and it has a laser focus when needed. I find the A6 a nice horn to improvise in a small group, but its lost in a big band (for me). The lightweight Constellation (36B) did indeed come with a trigger after about 1964 but I prefer my earlier one without. The Conn feels solid and the Adams feels 'light'. The Conn's valves can be a pain to service if threads get stuck and corks wear, but its worth it. Happy Practicing!
's funny, i always said I'd never have a bach, but I've got a challenger l and, as the name implies, it 'challenges' bach. and i love it, love love love it. i don't care how it compares to bach, the leadpipe, the bell flare, the valve block, nothing, i don't care at all, i just know I'd take a B&S over a bach any day if the week.
Belief is dampened by the fact that it is attached to one of the valve slides, which is not even involved in the wind stream for the notes you were playing. The only thing I can think of is that it pulls the center of gravity back a wee bit, reducing the energy needed to balance the horn on the chops. Otherwise, it feels like snake brass to me. I will imagine attaching one to my trumpet and see whether I can find the sweet spot.
It’s not a matter of believing. It’s just physics. Not understanding physics doesn’t mean it doesn’t exist. I am sure you can feel how a different amount of gap changes the intonation and resistance of a trumpet. I’m equally sure you wouldn’t know how to explain in a proper scientific way how this physical phenomenon works. Yet… we all agree this is a thing. Ask Trent to send you one for trial, then I’ll be happy to make a video session with you to teach you how to use it. Then I’ll happily publish a video of how it went here on RU-vid. Deal?
Think you could do a video where you spend some time finding the “sweet spot” on a horn that you haven’t found it on yet? Would be cool to see that process.
I am experimenting with this on an Adams A4 LT... the brace means that you cannot attach with one elastic, so I had to attach with 2 elastics on each side of the brace. Makes it more difficult to find the sweet spot when using 2 elastics, I find. I do find that there is a difference but haven't found the sweet spot yet.
Thank you! I really appreciate your perspective and straightforward review. I was wondering if it might provide different feedback to the player in terms of the color of the sound and have less impact out the end of the bell?
