RU-vid Channel for the Schmitt Music Trombone Shop, featuring product demos, discussions, resources and everything trombone! The Trombone Shop has one of the largest selections of new and used trombones in the United States, along with mouthpieces, cases, accessories, music, and expert guidance in all of your trombone questions and needs.
@SchmittMusicTromboneShop Hi Keith, thank you for your time in making this nice review. Recently bought a 48H and everything you mentioned is true. Which famous jazz players actually used this horn?
We all approach playing differently and not every makers design concepts will fit us all the same; out of curiosity what Yamaha models have you played and what do you prefer with your instrument?
@SchmittMusicTromboneShop I prefer Bach and Shires. There are a lot of brands I haven't tried but would like to, such as Greenhole. I've played the Xenos and various other Yamaha largebore tenors plus a couple of bass trombones. I couldn't tell you the exact models. They were usually provided to me by the military.
These play significantly better if you leave the tuning slide in an the way. I cut each tuning leg down 3/8" on mine and the intonation is perfect except for the 7th (Db) partial, as you'd expect. You need to play long on the slide, obvs. Don't forget that the Bb valve is actually for lip trills. You can do your Eb lip trills on the alto side, and all the "tenor" lip trills on the Bb side. The Shires TIS ones obviously have the best intonation but the hand slide is far too heavy on them.
Yeah, the Bb valve is a better option than forcing a half or whole step descent -- you get all the Eb lip trills, and most of the Bb (tenor) lip trills. In the low range you get a few rotor assisted fake trills, and you also get the greatly expanded low register.
I’ve played trombone for almost 8 years but I’ve only ever used a small bore trombone. Would this trombone be a good idea to get as a junior in high school, or should I save some more money and get something else?
The YSL - 448G could certainly be an option depending on how you play and what your future playing aspirations are; what are you hoping to do with your Trombone playing in high school and beyond? Depending on your thoughts I may have some other insights; feel free to reply here or email the shop at tromboneshop@schmittmusic.com :)
@@SchmittMusicTromboneShop in high school I’m going to keep doing jazz and concert band, but I also am now joining another jazz band and I go to a symphonic band camp every summer, after high school I hope to do more jazz stuff mostly, or what ever can get me some money and is available
Hello! I have a questión about this. If I had a Q series Bass trombone, I am able to exchange for CUSTOM parts. For example, change the mecanism for the true bore valve system and keep using the Q series bell, slide and tunning slides. Thanks in advance!
Thanks for your comment! I actually have all three models in the shop at the moment (which doesn’t happen all the time) ; I should go back and do a head to head comparison again sometime :-)
This definitely looks like a superb 508 trombone that I would definitely consider purchasing if I so desired Question though, this is something that is confused me for as long as I've known of the XO brand. Do you by chance happen to know where all the XO instruments are made?
Thanks for watching the video! XO Brass is the professional line from Jupiter, which in turn is part of the larger company KHS. All Jupiter and XO instruments, student to pro, are made in Taiwan (which has developed a strong wind instrument manufacturing tradition; for example, Taiwanese saxophones are held in high regard in the saxophone world.)
I started my music career on a slide trunbone. After learning the valve trombone I progress to all other brass instruments that had valves, Base cliff and trouble. Cliff. Turn out to be an easy scholarship for college
I’ve been on a standard 882O since 7th grade and am in 11th grade now. Out of all the tenors I’ve played, it’s definitely my favorite. Beats an Edwards T350 that I played.
To see exactly what differences changing the various parameters made in 'matching' the impedance of a given mouthpieces to an instrument that I 'wanted' to be committed to (a 'good' mint condition Williams Model 6, that I had waited so long to get), I bought a 'double' set (to enable A/ B comparisons) of Warburton mouthpieces in a single size: two each of three cup depths(s, m, l) they offer for 'that' size, along with all 6 throats (1-6, smallest to largest), each in both their tapered and un-tapered back-bores. Then I set about making an accounting of how varying one parameter at a time changed either the feel or the sound, in hope of finding 'the one' that matched the physical properties of this instrument. As a long ago retired orchestral player (who was a brides-maid rather than a bride in more principle auditions than I was able to suffer), I had no preconceived notion of how I wanted or 'should' sound: one needs only to sound 'like' a trombonist for anyone else to care. I only wanted the physics to 'work'! It is depressing that no one on the major trombone forums expressed any interest in the results. Trombonists are, it seems, so much committed to their brands as fans, that they simply don't care. All that matters is that a well known player sponsors it! But here is the problem: the biggest take away from the test was that when I was in shape...I WAS SO STRONG, THAT IT DIDN'T MATTER WHICH COMBINATION I USED, I WAS STRONG ENOUGH TO 'MUSCLE' OR 'WRESTLE' ANY COMBINATION WITH LITTLE CONCIOUS EFFORT! How then do 'great' players, such as might be sponsored by mouthpiece manufacturers, as strong as 'they' are, bring anything of use to the table? Well, it came to pass that having recovered my embouchure after decades away from the horn, I had to stop playing again' for a few years and lost it, and it occurred to me that my newly acquired 'weakness' might, for its need of 'help' be a more dependent partner, revealing the slight differences come of changing mouthpiece dimensions. It was.
[Note: Cut a pasted from another Schmitt video.] To see exactly what differences changing the various parameters made in 'matching' the impedance of a given mouthpieces to an instrument that I 'wanted' to be committed to (a 'good' mint condition Williams Model 6, that I had waited so long to get), I bought a 'double' set (to enable A/ B comparisons) of Warburton mouthpieces in a single size: two each of three cup depths(s, m, l) they offer for 'that' size, along with all 6 throats (1-6, smallest to largest), each in both their tapered and un-tapered back-bores. Then I set about making an accounting of how varying one parameter at a time changed either the feel or the sound, in hope of finding 'the one' that matched the physical properties of this instrument. As a long ago retired orchestral player (who was a brides-maid rather than a bride in more principle auditions than I was able to suffer), I had no preconceived notion of how I wanted or 'should' sound: one needs only to sound 'like' a trombonist for anyone else to care. I only wanted the physics to 'work'! It is depressing that no one on the major trombone forums expressed any interest in the results. Trombonists are, it seems, so much committed to their brands as fans, that they simply don't care. All that matters is that a well known player sponsors it! But here is the problem: the biggest take away from the test was that when I was in shape...I WAS SO STRONG, THAT IT DIDN'T MATTER WHICH COMBINATION I USED, I WAS STRONG ENOUGH TO 'MUSCLE' OR 'WRESTLE' ANY COMBINATION WITH LITTLE CONCIOUS EFFORT! How then do 'great' players, such as might be sponsored by mouthpiece manufacturers, as strong as 'they' are, bring anything of use to the table? Well, it came to pass that having recovered my embouchure after decades away from the horn, I had to stop playing again' for a few years and lost it, and it occurred to me that my newly acquired 'weakness' might, for its need of 'help' be a more dependent partner, revealing the slight differences come of changing mouthpiece dimensions. It was.
These instruments don't really have a place though. They're too expensive for what they are, when you could just get a legit trombone for that price. For less than half the price you could get a much better sounding Chinese horn.
Beautiful sound from a.525- .547 bore- phat, beautiful overtones! Love my Getzen 3047, play in commercial/ jazz, love it. Note- my main horn is bass trombone Yamaha bylaws 613g with Doug Yeo mouthpiece. Appreciate your playing Keith, and your commentary!
We do not have one in stock at the moment, but we can certainly chat about ordering options; feel free to email us at tromboneshop@schmittmusic.com and we can chat about more details :-)
I bought a 3B+ with gold brass bell and F attachment in the early 1980s and still have it today. Unfortunately I don’t play it enough but now I want to bust it out and bring it to my next practice! Great playing.
Great video of a great horn. I had a King that I used for marching band so I wouldn’t destroy my Olds Recording. I wish I could remember the model. I do remember it was all silver. I was a kid so I may not have even cared about the model.
i gotta go back [in a year or 2] to see what other carbon fiber brands were mentioned. love the pBone since it's so light. GOTTA SAY BRASS STINKS IN DIRECT SUNLIGHT-- CAN'T SOMEBODY MAKE MATTE FINISH OR ??? hate glare/reflections off shiny metallic. it's like staring directly into the sun. maybe find an old brass trombone with all of the shiny stuff thats fallen off? but it's too heavy
Great video! This explains why some Italian operas have technically difficult licks for trombone, such as the Act I opening notes of Verdi's La Traviata and the ending of Mascagni's Cavalleria Rusticana. They were probably often played on the valve trombone.
Traded in my Yamaha Xeno 822g (with the typical too deep mouthpiece engagement problem) for a Q36GR. I also tried the Yamaha 835 (vanilla without detachable bell) and a bog standard Shires Custom. To say I was disappointed with the Yamaha would be an understatement. As with the 835GD I tried a couple of weeks ago, the bottom was easy, but sounded nowhere as round, deep as the 835GD. But as opposed to the 835GD, the basic tone was hard, even shrill, even at low dynamic levels. Then came the Shires custom. The response on the Custom was like playing through a wet blanket and even though it had a yellow brass bell - the standard one - I didn't feel the sound wanted to project at all. Just fell out of the bell onto the floor. Then came the Q36GR - what a difference. Very easy response without me getting the feeling I'm falling into the horn. And the upper range slotted so much better than the 822g. Finally I can play the high gs in the Elisabeth Raum piece without scratching them. Using a custom 1.5 leadpipe improved the higher regsiter even more, but lost a little precision in the low register. The valves are amazing. No real difference I could tell between the open horn f in 6th and a G-flat paddle in -2 or f paddle f iT1, for example. Then, a wave of "Buyer's remorse" washed over me. So despite being on vacation in an AirBnB, I pulled it out yesterday morning and this morning and ... nope all there like in the sales room. McCarty pages 1 & 2 were a breeze. As was the first page of the Lebedev Concerto in one movement. Can't wait to get back from vacation to put in some real time on it.
