The Kanstul CG personal has a #20 drill throat. The Marcinkewitz offers a #22 throat as well as #20. They also have a Benge CG 3. Claude played on the Kanstul with a #20 throat. I got mine from Claude in 1982. I still play it on all my different keyed horns except for piccolo.
This was a fascinating video from me. The concept of impedance matching, would I have called resistance, is something that I have been asking questions about for years! I hope that in the near future, I can come visit your shop and broaden my concept.
No se, si desde Harrelson criticar una boquilla Yamaha es algo sano. A mi me gusta más el sonido de la boquilla Yamaha 16C4 que las otras probadas en el video, que me parece tienen un sonido más apagado y pobre que la Yamaha. Esta boquilla es la utilizada por la gran trompetista francesa Lucienne Renaudin Vary, y su sonido es espectacular, también es verdad que utiliza una trompeta de la marca Stomvi -Titan (española) y juntas consiguen un tono lleno de matices... Yo también toco con esta boquilla Yamaha y la riqueza en el sonido me sigue sorprendiendo...
Thank you for talking sense. As an individual with expertise in the physics of acoustics I'm grown tired of trying to convince hobbyist and amateur players (those most keen to 'buy' talent they have not earned or been gifted with), that the materials used for an instrument, correctly fashioned 'mathematically' to a purpose to 'cause' the correct physical propagation, make little or no difference. Its the air column 'inside' the instrument that vibrates, not the horn (whose mass reflects of damps vibration). Which is why Morris Murphy playing on a Yamaha student model trumpet with the included mouthpiece sounded...EXACTLY LIKE MORRIS MURPHY! When asked, he said only that it felt...'unfamiliar', so he was conscious of working...'differently' to create...THE EXACT SAME SOUND!
Hello Jason- I love my summit and can't imagine the muse being more efficient. Is this true or are you referring to the fact the muse has more capability to make adjustments?
Well done, thank you for all this years working for it. Nice job ! Curious about if the weight/thickness/density of alloys can change sound, pitch (even placed in specific points) or it’s just translate in harmonic partials ? Because of the vibration on tubes & bell, the more lighter will resonate more, showing this high partials, will “move” the nodal points of frequency, unlike the heavy / dense ones ? And it’s “tuning pitch” ? In other words, can a added height braced or Ring applied in specific places, change the tuning of some notes, like the sharp middle E or high G ? Thanks 👏
When I had my Summit run through spectrum analysis several years ago at CMEA, the technician was floored by the nearly perfect amplitude with slow rolloff across the overtone series up to and beyond the 12th overtone with a low Concert C being sounded. No dips in energy at any overtone. Just a slow rolloff as the frequency went up.
You are correct. Noting the fundamental is an octave below the note that is sounded has been very confusing to much of our audience. We discuss the partials with the first one starting on the note that is heard (rather than the fundamental) for simplicity, which makes thinking about the entire overtone series easier.
@@harrelsontrumpets We are on the same page, the nth partial is n x the fundamental frequency hence the 1st partial is the fundamental. To add confusion, the trumpet had the fundamental one octave below C under the staff ;-)
@@hervehornung5092 yeah, we think of each partial as part of a formula to produce the frequency: 1/1, 2/1, 3/1... but most trumpet players stop listening when I explain how this works. 🙂
did I miss something or are the only stainless steel parts the tuning slide and bracing? How does that result in a stainless steel trumpet??? Wouldn't a stainless steel trumpet have stainless steel piping, valves, lead pipe, bell etc???
Those who have been following this project for the past year or so know that the entire trumpet will eventually become a variety of new materials. Rome wasn't built in a day ;)
@@harrelsontrumpets I do understand process and development so yes, I'd agree that Rome was not built in a day. Stainless is a strange metal, of which there are over 600 alloys. I have had a big variety of high brass instruments all different in tonality and harmonics. While in jr high, Leblanc gave me one of their "600" model gold plated trumpets. It was very heavy, and had a dark but rich tone. It was a big reach from the ML Strad I had in 9th grade. I also have a pre production King Silver Flair pre release silver bell trumpet that is quite exceptional. They only made 125 of these horns. Regardless, building a trumpet out of a stainless steel alloy will be a challenge. Deciding what kinds of alloy mix to achieve the best harmonics and tone with be an interesting and demanding process, as noted. Thanks for taking the time to respond.
Привет Джейсон! Цвет видео отличный кстати!...Болею за тебя! Пусть Бог даст тебе сил! Согласен почти со всем! Слушай, кто вы по гороскопу - ты и твой отец. Мне интересны нюансы взаимоотношений. Говоришь то, как есть на самом деле! Ты гений!
Amazing Jason! That’s a beautiful-looking horn. Don’t fill it in. It looks very cool like that. If you fill it, use the same material to make the colorful caps. That way, it has color. If you fill it with wood, use Ebony wood or Honduras Rosewood.
Great work ! I see one or two French trumpet players investing in Harrelson trumpets around me, great players… great horns ! I can’t wait to see the nylon ones :)
