Hey Don! A great Axe for sure. It's a dual Thayer contrabass trombone in F, made by a Swiss musical instrument manufacturer called HAAG. Some of the best instruments I have ever seen/played. haagbrass.com/collection/trombones/?lang=en
For me, Yamaha still makes the best sounding snare drum. There's a crispness to the sound when its tuned just right. Not sure what their formula is but it works. Just a thought.
@@PumilateVFX Last try -- you know what partials are right? What they are talking about could be two different things, 1) how the partials slot, or 2) how the partials line up. 1) slotting - Some horns "slot" into the partials really well. On some other horns, each partial is like the grand canyon, and once you're in a partial, you can move around with vibrato in that partial no problem because that partial is vast and wide. On other horns, the partials are like gutters really close to each other. You can fall into the gutter easily, but you can't move around in the gutter at all. So trying to use vibrato just makes you move to the next gutter like it's nothing. On yet other horns, the partials are like deep narrow gutters that are also far apart, so that not only can you not do lip vibrato easily, but it is also tougher to leave one partial and get to another. These are what you would call a very stable slot. Some people like one or the other. Grand Canyon Slots are good if you want to have lots of control with your lips and your accuracy sucks. You can fall into partials that are a mile wide. Close row gutter slots can be great if you want to move around the horn a lot like in this video. Spaced out gutter slots might be what an orchestral guy is after, do that they can slot in easily and not be affected by vibrato weirdness. I think they are talking about 1), slotting, and not number 2. 2) how the partials line up, is more about the adjustments you have to make to play in tune, like how sharp your F partial is vs your Bb partial.
How sad. Bill Watrous is one of the giants of trombone virtuosos. Why in the world did he adopt a style of sticking the microphone into the bell of the horn? He needed a close friend to tell him to stop, years ago. I suspect that happened more than once, and he refused to listen. The sound system in this case may be crappy, but the root of the problem is the terrible habit that Watrous adopted.
If everything was mic'd and mixed correctly it would sound fabulous. Unfortunately this is what you get with wrong mixing and output. Watrous played very softly and relied enormously on the sound system to convey his playing. He stepped into thousands of band halls, rooms, taverns, etc and he never knew what kind of sound system he would get.
