I have the same model. My first new trumpet my parents bought for me back in the early 80s. It still plays great to this day, however it is no longer my main horn since the 300 series is their student model. Gave me many great years and memories though. I just love Getzen's valves!! I now play a Schilke B5 and a very nice restored Old's Recording from the late 50s.
I use this horn for small-group jazz combo stuff. The tone is rich and dark- more complex than many horns 10X it’s cost and more ! I paid $145-shipped for this trumpet, as you can see, it’s near mint. Not a horn for commercial work, but when I want to be sweet and smoky, this horn is GREAT!
@@SlenderRogerOficial the Music And Arts Branded Giardinelli pieces are trash. They are poorly balanced and don’t play well, especially in high ranges. The Greg Black “NY Classic” pieces are good. Of course, original Giardinelli NY (2 piece) pieces are the best, but those are getting very hard to find, they are expensive, often need new plating- ect. Greg Black can also customize the “NY Classic” piece line as you wish, the only limit being your imagination and wallet. I’d love to own a 7S with a 30 throat and a tighter backbore… I’ve got a bunch of other project pieces and project horns to work on before I look for yet another expensive custom mouthpiece.
How did you learn yours is a prototype? I also have a 90s 6345 that sure looks and feels like rose brass in the bell and leadpipe, and also has an unmarked bell. Wondering if I have the same thing.
@@Thesilverthunder777 I have the only one. I’m trying to decide which manufacturer would like to use it for a custom model. I have several other unique mouthpieces I’m also interested in allowing some company to produce, but of course this one is the most special.
I truly love the idea of turning squeaks into note. “Todays squeaks are tomorrows notes” is one of the best quotes ive ever heard. I went from squeaking random high notes out to being able to play dub g - dub D by just practicing and fooling around with squeaks. Sounds silly but true
I was messing around after our 2nd “Wizard Of Oz” show today, Played several triple Bb’s and then went for “max compression”… triple Eb, several times :D
Absolutely impressive, notes like that on trumpet are almost impossible to play, I assume it’s in the 7th octave ( C7 ), I heard you went a note higher which is even cooler ( D7 )😎. Keep up the great work 😀😀😀.
^After 6 hours of performing and practicing, and on a .470 XL bore horn….I encourage you do better and look forward to your examples! I’ll gladly take a lesson from you, as you sound well informed. What type of performance do you do for a living?
How does your Double C sound after performing/practicing for 6+ hours? Also, yea, My Iphone stock mic doesn’t properly pick up audio, but did you catch how my voice was inaudible, right after the 1st double C? That is indicative of the onboard Iphone mic being OVERBLOWN by volume of my playing, and automatically putting a digital gate on subsequent volume. Glad I could clarify. ;D
If I recorded this on my Nova, it would’ve been far louder. This was my new Kanstul French Besson Paris Meha, .470 bore. Not exactly the best horn for double C!! Much better as a jazz horn/dark horn.
I know that most of these horns were sold out of a store in California called “Lockie Music Exchange”. The Nova, and Hayes horns were similar, all sort of experiments. Many parts on these are Olds, there is also Buescher and Martin influence, with a touch of Conn in there too (my Nova has 2 straight point-to-point braces from leadpipe to bell, but the design is a bit different from Conn… possibly mine were custom made(?), unsure.) These horns are so rare and there were only several thousand made to begin with… many have probably died off. I don’t play this Hayes much, for some reason the upper register doesn’t work very well for me after about 1 hour playing on it. It’ll feel good for about 1 hour, then my chops get totally outta wack on it. Perhaps it needs tweaking.
There are also variants like the “Aleksandre” which are reverse 1st slide/bell, OR “standard wrap”. I have one of these as a project. I have about 6-8 project horns right now… haha. Gotta make some money aboard “Icon” so I can get some projects done. Also need to sell about 10 other horns!!
“What’s (my) horn worth?” Well… to ME… my Nova LA is basically irreplaceable. If I had the money, I’d have it insured for $7,500… because that’s provably around what it would cost to have a boutique horn builder build a modern-day equivalent of it… even if it was “copied”- the copies wouldn’t be made of brass that is as good as the 1948-1949 brass that mine is made out of…
Rest in peace, original creator of this meme Kathy Jarboe ?-2020 She created the meme in 1999 however, she has called many things over the years originally called jazz skull We don’t know much about her or even if she knew about it blowing up, but this seldom amount of conversations had with relatives imply that most likely she had never heard about the viral sensation of her creation, trumpet skull
ya better find some REAL professional trpt players and have a talk with them. This is how the octaves have been labeled since I was a professional. You can go woke all ya want, but it doesn't change the name of the notes in each octave
@@otmq professional?? You don't even know your octaves!! the 'double' range starts AFTER double 'C' and NOT before......end of story. Please get some help. By the way, I started playing professional trpt the summer after my 8th grade graduation, lead and jazz trpt in the Marine Corps Band at 17, and in the West Coast jazz scene after I got our in '74, was asked to play split lead for Woody Herman, did play lead for Stan Kenton and Bill Watrous. Old screamers know what we're talking about!!
Good question and not a lot of easy answers You keep practicing and let the horn speak for itself. Then in parallel build your brand with band leaders/conductors and booking agents. Not an easy problem to solve quickly. Last is move to LA or NYC. Again not easy
The problem is the “clique” is in every city for booking musicians. The bigger the venue and $$$ the bigger the clique influence to restrict gigs to “club members” alone
How does one side-step these toxic cliques? I am taking the only route I know, which is training and growing in power and skill until the cliques influence has absolutely no power over me.
that's just a HIGH 'A', or inaltissimo 'A'. if ya keep going to the 'c' above it, that's DOUBLE 'C' and everything continues to be 'double' until ya hit TRIPLE 'C'........got it???? If you ever become a professional you'll soon find that out. I've played all over Los Angeles outplaying studio cats, in some studios in Hollywood, lead with Stan Kenton and Bill Watrous........professionals will let ya know what range you're playing in. by the way, Cat Anderson used to blow the windows out with his TRIPLE 'C'. I consider him tons better than Maynard.
I’m a full-time artist already, my friend! I know what naming convention makes the most sense and which one doesn’t. Naming conventions that don’t change with each F# make no sense, they’re thrown out. Makes 0 sense to change the convention with each C…
what the heck are you talking about?? Are you a relative of 'word salad' Kamala Harris?? 'Conventions' is NOT a musical term. We perform for conventions, but we don't use the term anywhere in music. Our LOW 'C' (piano middle 'C'), to the next octave (normal trpt tuning note), and on up to the next octave isn't considered noteworthy. However, that octave 'C' is the start of the high range or HIGH 'C'. From HIGH 'C' to the next octave is considered the high range, and that next octave is the start of the DOUBLE range. From DOUBLE 'C' and all notes up to the next octave is the double range 'til you get to the next octave, which is TRIPLE 'C'. The guy played a HIGH 'A' (altissimo 'a') which is 5 whole tones ABOVE high 'C' and 1 1/2 tones below double 'C', and 8 1/2 tones BELOW triple 'C'. Got it? Fun fact: Cat Anderson played the loudest, fullest TRIPLE 'C's I've ever heard, and they were 'live', not memorex. Gregory Herbert (tenor sax) of Woody Herman fame played up to double 'G's on several recordings.
@@jayhaggin126 I don’t know anybody who names notes the way you do. You obviously have a gigantic chip on your shoulder and some sort of axe to grind, please do it elsewhere.
@@Ell0_sTadium66 …there isn’t another part… This was all one take, during a 2-3 hour practice session on (at that time) the largest cruise ship on planet earth.
I recently bought a Bach Mt. Vernon 6C… Exactly the same piece Chet used in the 1950’s and 1960’s…nice sound, but NOT an easy mouthpiece to play!! This Schilke Baker * is much better. I even have a Bach NY era 7 that plays easier, despite being deeper than the Mt. Vernon 6C… the Mt. Vernon 6C is not easy to play above high C at all! That exact inefficiency is what makes the piece give a player such a complex, rich tone.
“Special”- The horn in this video is an Olds SPECIAL!! NOT a “Studio”. The “Studio” has a mouthpiece receiver, and is knows for its two piece bell, with a nickel-silver flare. Studios were designed as a “commercial” horn, while this horn is more of a budget-all-around pro horn, some would call if an “intermediate” horn, but Olds in the LA period didn’t truly make either a “Student” or “Intermediate” horn, all their horns were built to an exacting tolerance.
I did not. They hired a less skilled and experienced player than I. When he folds in rehearsals, I won’t be there to take his place, because I’m taking another cruise contract! 💪 🛳️
@@otmq I have a Jerome Callet 'Jazz' (.470) and a 1952 French Besson Meha (.470), both excellent at shattering windows, with a standard Marcinkiewicz #8 that Joe modified for me. Can go to triple 'C' but have only gone up to double 'F's on live big band gigs. (that's 'F' above double 'C')
@@jayhaggin126 I don’t know anybody who plays on horns that big who is a full time professional performer. Maybe you’re just really full of hot air, so it’s easier for you to fill those gigantic trumpets? 🤷♂️
@@jayhaggin126 big bore horns are excellent for playing honking low and middle register notes. Correct trumpet technique and physics dictates usage of less air volume as one ascends… this is something that’s more difficult to do on an XL .470 bore horn. I’m too busy working 6-days a week for 7 month stints to bother engaging with you further- bon voyage! 🛳️
It was given to me by an elderly trumpeter in Chicago IL. I appraised his trumpet and gear, and also played the horn for him, pointing out several things good and bad about it. I inspired the man, and he allowed me to have 2 mutes and 1 mouthpiece from his small collection. I elected to take a “Tommy Dorsey” plunger mute, a 1940’s H+B Mica-mute, and this Schilke Baker mouthpiece.
