I really enjoyed this video, and particularly appreciated knowing about Christian's friend, the dentist, who freelances as a bass trombonist. For a while, I struggled with "I didn't make it as a full-time professional player, so now what?" and it's good to hear of others who are continuing to find success in music while in careers not directly-related to the trombone. Lot's of great things here. Thanks for sharing.
So at 15:25 Ian suggests the new Getzens are ‘very nearly’ same quality as the old Elkhart Conns & Mt Vernon Bachs? That’s an admission of failure right? Why is he using this new instrument then??
I have a Getzen Super Delux. From what year, I do not know. I use it for jazz. Andrew Williams, a jazz trombonist, advocates using a big bore horn with an F attachment. I am thinking about it.
Fastest click on a video I've even done. Been really interested in Peter's playing since I heard his story on RU-vid. Looking forward to the full video of Howard's concerto!
In the video, Ian Busfield refers to competitors "instruments that have been put together from outsourced, cheap parts, and just thrown together". It is difficult to interpret it as anything other than that it is Conn and Bach you are referring to. Is this a statement Getzen and Edwards stand for?
Of course, I have no idea is this is a statement that Getzen stands for, but he may be referring to companies such as Shires who outsource the construction of some of their Q horns to China?
@@epicwaluigi7773 Maybe, but the horns they explicitly refers to is from Elkhart and MtVernon, very good back then but not today, due to this production method, must be what he means. Which is not only wrong, but silly. What Bach outsource today for they 42s, as far as I know, is the excellent Hagman and Meinlschmidt valves. Nobody would concider that as cheap parts.
I have this horn, i love it. The sound doesnt get brassy it just stays fat and projects. The high range resonates so well. I think versatility with this horn is the winning factor. It blends well in a section and is nice for solo work but also has the power to play 1st bruckner and mahler.
What a shame is 'low-brass-self-esteem'. Your playing a 'brass' instrument! Do you think for a moment that a woodwind player is ashamed of their 'woodiness'? The 'patina' of brassiness, come at lower volumes, is what allowed orchestras in the early 20th century to shimmer and shine without employ of an 'excess' of volume such as too much perturb the expectant composer's orchestration. That being the case, in days gone by you could actually hear the other voices during orchestral tuttis in Strauss, Mahler, Bruckner and Wagner, and the effect seemed no less loud but was...far more exciting and radiant! Now the sound just engages with the halls acoustic to cause...textural opaqueness. Now, inner voices are obscured, and so then too is the intended sound and music. Oboes and clarinets haven't gotten any louder. Why then do trombone players aspire to nothing but volume? They would do better to evolve and sooner come to defeat, by technique and craft, the mechanical challenges that , despite acquiring range and technique, they long ago unnecessarily and unmusically accepted and entrenched as being obligated to their instrument. That's why trombonists are typically only titled and paid as 'principles' rather that 'solo' trombone: they haven't yet 'earned the musical right, and what is worse, they never will because nobody, not other musicians nor conductors, even expects them to. A few have, but few are following them.
6:56 - First time I tried a Rath Contrabass Trombone I blew out all my air quickly. I had to think, "not a Tenor or Bass, not a tuba", different approach, different air. After realizing that I tried again and got a decent sound.
Too lazy to hold the phone horizontally. I hope you put more effort into making the horns. You are not doing yourselves and favors by posting really shitty videos about supposedly high quality instruments.
