Shires Q&A, what would you like to know?

ttf_griffinben
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Post by ttf_griffinben » Mon Aug 01, 2016 7:32 am

Quote from: cigmar on Aug 01, 2016, 06:56AMThanks Ben.  What, if any, adverse effects might be realized by not having the shank insert within the ideal range?

In general, the further in to a leadpipe the mouthpiece sits the more open the instrument feels. 

Some people prefer a mouthpiece that sits deeper and some prefer a mouthpiece that sits further out.  It's all personal preference.  Some folks have experimented with mouthpiece depth using teflon tape or paper around the shank of the mouthpiece to tailor the feel to what suits them best.

My feeling is that if you haven't noticed any adverse effects one way or the other, I wouldn't worry about it.  But don't twist your mouthpiece while pushing down into the receiver.  That's a sure way to start stretching it out ASAP.
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Post by ttf_modelerdc » Mon Aug 01, 2016 1:17 pm

Ben, will the BB (Bolinger) tuning slide fit an existing Shires with the standard tuning slide? I've got a C tuning slide on mine, how would the BB compare, playing wise? Thank you.
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Post by ttf_griffinben » Mon Aug 01, 2016 3:16 pm

Quote from: modelerdc on Aug 01, 2016, 01:17PMBen, will the BB (Bolinger) tuning slide fit an existing Shires with the standard tuning slide? I've got a C tuning slide on mine, how would the BB compare, playing wise? Thank you.

The Bollinger tuning slide will fit any of our bass trombones.  If for some reason it doesn't (or if any tuning slide doesn't) do NOT force it into place.  Bring it to a tech.  The tuning slide receiver or bell receiver may need to be lapped or even honed.

Most people find that they get more focus or power from the Bollinger.  Some people like the feel, some hate it.  There seems to be little middle ground.
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Post by ttf_trombonehawaii » Mon Aug 01, 2016 3:41 pm

Quote from: griffinben on Aug 01, 2016, 03:16PMThe Bollinger tuning slide will fit any of our bass trombones.  If for some reason it doesn't (or if any tuning slide doesn't) do NOT force it into place.  Bring it to a tech.  The tuning slide receiver or bell receiver may need to be lapped or even honed.

Most people find that they get more focus or power from the Bollinger.  Some people like the feel, some hate it.  There seems to be little middle ground.

Have people tried a seamed version of the BB tuning slide? How would it compare to a standard BB and a BYB? Thanks!
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Post by ttf_Euphoni » Mon Aug 01, 2016 7:41 pm

Quote from: harrison.t.reed on Jul 21, 2016, 11:04PMI had this going on on my instrument. Before blaming the fit or finish on the instrument, make sure the all the modular connections are locked properly. Make sure the slide lock is not loose. Make sure the valve cap is not loose. Make sure the valve screws are not loose and properly lubricate the valve, ball joints, and saddle. Make sure the saddle screw is tight. Take off all the tuning slides and clean them and clean the neckpipe and bell. Reapply new tuning slide grease, especially Hetmans. For me, it was the tuning slides that were ringing. If you do all the stuff above, I have a hunch the extra ringing will go away.

Thanks for the suggestion, but that didn't work. 

What I wound up doing was wedging a piece of cork inside the bell hole in which you stick and screw the rotors on.  Ringing went away.

I'd still like to know what would cause a bell to just start ringing all of a sudden a year after... Anybody?  Poorly made, defective, or is that common?
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Post by ttf_griffinben » Tue Aug 02, 2016 10:26 am

Quote from: trombonehawaii on Aug 01, 2016, 03:41PMHave people tried a seamed version of the BB tuning slide? How would it compare to a standard BB and a BYB? Thanks!

No.  I have a feeling it would be a very tight and unbalanced tuning slide.
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Post by ttf_griffinben » Tue Aug 02, 2016 10:48 am

Quote from: Euphoni on Aug 01, 2016, 07:41PMThanks for the suggestion, but that didn't work. 

What I wound up doing was wedging a piece of cork inside the bell hole in which you stick and screw the rotors on.  Ringing went away.

I'd still like to know what would cause a bell to just start ringing all of a sudden a year after... Anybody?  Poorly made, defective, or is that common?

Okay, if the cork solved the problem than there is likely a fit issue somewhere within the bell.  What changed?  Most likely is some outside force acting upon the instrument.  Things generally don't "suddenly" change. 

It is possible that the bell may have been "played in", the same as people used to do with old Conns and such.  If this is the case, the bell is likely more "live", ringing freer and easier. 

In either instance, it is not likely from being poorly made.  If you would like, we'd be happy to look at here at the factory.
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Post by ttf_harrison.t.reed » Tue Aug 02, 2016 9:23 pm

Quote from: Euphoni on Aug 01, 2016, 07:41PM
What I wound up doing was wedging a piece of cork inside the bell hole in which you stick and screw the rotors on.  Ringing went away.

I'd still like to know what would cause a bell to just start ringing all of a sudden a year after... Anybody?  Poorly made, defective, or is that common?

So, it is a modular connection point, as I suspected.

Could it be that you're just playing better or with more power recently? The problem may have been there the whole time and it is only recently that you're playing in a way that causes the vibration.

I had a similar buzzing problem a while back (valve cap and F tuning slide buzz). The techs swore up and down that they couldn't find the buzz. They just weren't playing the trouble notes in a way that caused the vibration.

Sounds like your buzz is an easy fix to me.
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Post by ttf_John Beers Jr. » Mon Sep 05, 2016 9:47 am

Hi Ben,

I asked this in the other thread, but it got locked before anyone could reply. Do you know if the new Artist Custom cases coming out from Shires will fit a dependent-axial valve section?

Thanks in advance.
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Post by ttf_JohnL » Mon Sep 05, 2016 10:09 am

Quote from: Euphoni on Aug 01, 2016, 07:41PMI'd still like to know what would cause a bell to just start ringing all of a sudden a year after... Anybody?  Poorly made, defective, or is that common?How often was the connection disassembled/reassembled during the time before the ringing began?
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Post by ttf_griffinben » Tue Sep 06, 2016 7:13 am

Quote from: John Beers Jr. on Sep 05, 2016, 09:47AMHi Ben,

I asked this in the other thread, but it got locked before anyone could reply. Do you know if the new Artist Custom cases coming out from Shires will fit a dependent-axial valve section?

Thanks in advance.

A dependent bass axial set will not fit in the new cases.  We've sold exactly one dependent bass axial set in the last four years, so we opted to make the case more compact and lighter, rather than accommodate every permutation.  (The new and tenor cases feature a polyurethane hard shell for weight purposes; they are not easily modified.)  If someone orders a new bass with dependent axials will find an equitable solution at that time.

-Ben
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Post by ttf_mr.deacon » Tue Sep 06, 2016 11:24 pm

I'm just curious... is it really that uncommon for people to order dependent setups? 
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Post by ttf_griffinben » Wed Sep 07, 2016 5:33 am

Quote from: mr.deacon on Sep 06, 2016, 11:24PMI'm just curious... is it really that uncommon for people to order dependent setups? 

Yes.

Most people that order dependent set-ups from the factory usually opt for rotors.  Those will fit in the new case.

- Ben
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Post by ttf_20Posaunen » Thu Sep 08, 2016 3:25 pm

Hi Ben,
Could you please tell me whether a Shires tenor with Trubore valve fits into the Protec PRO PAC Contoured case (PB306CT)?

http://dawkes-images.s3.amazonaws.com/mid/48000572.png

Thanks,
Daniel
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Post by ttf_griffinben » Fri Sep 09, 2016 6:45 am

Quote from: 20Posaunen on Sep 08, 2016, 03:25PMHi Ben,
Could you please tell me whether a Shires tenor with Trubore valve fits into the Protec PRO PAC Contoured case (PB306CT)?

http://dawkes-images.s3.amazonaws.com/mid/48000572.png

Thanks,
Daniel

Hello Daniel,

I cannot say for sure, but I am hopeful it will.  We have been using ProTec ProMax cases.

Ben
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Post by ttf_Bassmentbone » Sat Sep 10, 2016 6:12 am

G'day Ben,

Could you please explain when a BII 7YLW would work better over a BII 7YM (in general)?

Also the same question with BI vs BII
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Post by ttf_Gabe Langfur » Sat Sep 10, 2016 6:45 am

Quote from: Bassmentbone on Sep 10, 2016, 06:12AMG'day Ben,

Could you please explain when a BII 7YLW would work better over a BII 7YM (in general)?

Also the same question with BI vs BII

The most popular bass trombone bell these days, by far, is the BII 7YM. That's what I play. I also have a BII 7GM I like a lot.

Of course, that doesn't mean it's the best for everyone. If you want a more focused feel you might opt for a BI bell of some kind; I tend to like BI bells with unsoldered beads like the BI 2YM. If you want even quicker response and an easier burn to the sound you might go towards a BII 7YLW or 7GLW.
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Post by ttf_Bassmentbone » Sat Sep 10, 2016 1:58 pm

Quote from: Gabe Langfur on Sep 10, 2016, 06:45AMThe most popular bass trombone bell these days, by far, is the BII 7YM. That's what I play. I also have a BII 7GM I like a lot.

Of course, that doesn't mean it's the best for everyone. If you want a more focused feel you might opt for a BI bell of some kind; I tend to like BI bells with unsoldered beads like the BI 2YM. If you want even quicker response and an easier burn to the sound you might go towards a BII 7YLW or 7GLW.

How do you describe the difference between a 7YM and a 7GM?

Also, could you elaborate more on the whole BI thing?
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Post by ttf_Gabe Langfur » Sat Sep 10, 2016 6:56 pm

Well...very generally, gold brass changes timbre more with dynamic changes - it's sort of rounder at low dynamics than yellow and more brilliant at high dynamics. Some people feel they can play louder on gold brass, but I think that's because gold brass will get sort of buzzier at higher volumes, and they hear it as louder. Other people feel they can play louder on yellow brass, and I think it has to do with differences of concept as much as anything - those people avoid the buzziness, so they don't feel comfortable pushing the gold brass bell.

Many people feel that yellow brass tracks better than gold, in the sense that it responds more similarly at different dynamics and in different registers. 

Other dimensions are more important, though, in my opinion - mostly the thickness of the bell and how that thickness varies over the length of the bell. I like both yellow and gold brass IF the thickness profile is where I like it. The type 7 bells vary a bit more than the original type 1 bells that Steve Shires made, due to the methods they use to form them, and I tend to like the lighter versions of both the 7YM and 7GM. As long as that's right for me, I can happily go either way. I have a BII 7GM I like, and 3 or 4 months ago I picked up a BII 7YM I like a little better.

The BI bell has a slightly different shape to the taper: a little smaller in the throat before the final flaring. It feels more focused to play and can sound a little smaller, all else being relatively equal. It's just one of the many factors that can be manipulated to get the sound and feel you want. When I played BI bells, I liked the bead unsoldered, which got the breadth of sound I like in a different way from the soldered BII bells I have played for the last few years.

Another way to think of it is by reference to older manufacturers. The BI shape is like late Elkhart era Conn bells; the BII shape is like Bach 50 bells. The same thing is true of the TI and TII tenor bells; TI = Conn, TII = Bach. They each have their place.
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Post by ttf_Bassmentbone » Sun Sep 11, 2016 4:16 am

Quote from: Gabe Langfur on Sep 10, 2016, 06:56PMWell...very generally, gold brass changes timbre more with dynamic changes - it's sort of rounder at low dynamics than yellow and more brilliant at high dynamics. Some people feel they can play louder on gold brass, but I think that's because gold brass will get sort of buzzier at higher volumes, and they hear it as louder. Other people feel they can play louder on yellow brass, and I think it has to do with differences of concept as much as anything - those people avoid the buzziness, so they don't feel comfortable pushing the gold brass bell.

Many people feel that yellow brass tracks better than gold, in the sense that it responds more similarly at different dynamics and in different registers. 

Other dimensions are more important, though, in my opinion - mostly the thickness of the bell and how that thickness varies over the length of the bell. I like both yellow and gold brass IF the thickness profile is where I like it. The type 7 bells vary a bit more than the original type 1 bells that Steve Shires made, due to the methods they use to form them, and I tend to like the lighter versions of both the 7YM and 7GM. As long as that's right for me, I can happily go either way. I have a BII 7GM I like, and 3 or 4 months ago I picked up a BII 7YM I like a little better.

The BI bell has a slightly different shape to the taper: a little smaller in the throat before the final flaring. It feels more focused to play and can sound a little smaller, all else being relatively equal. It's just one of the many factors that can be manipulated to get the sound and feel you want. When I played BI bells, I liked the bead unsoldered, which got the breadth of sound I like in a different way from the soldered BII bells I have played for the last few years.

Another way to think of it is by reference to older manufacturers. The BI shape is like late Elkhart era Conn bells; the BII shape is like Bach 50 bells. The same thing is true of the TI and TII tenor bells; TI = Conn, TII = Bach. They each have their place.

The reason I ask is that I am looking for a more 'plain vanilla' bell for my bass. I am not ready to be fit to a custom shires because I know my playing will change, but I and my teacher(s) believe I've been fighting my horn for the last 6 months and it's getting out of hand. I''m not looking for MY sound more than I want a good solid horn that isn't making me put in a lot of unnecessarywork.

Currently blowing on a frankenbone - Edwards 1147CF Red brassheavy weight bell, Shires Dependent Axials, Bach 50 Tuning slide and hand slide with Bach 50 'open' pipe.' Oh yeah, Doug Yeo mpc.

I want to get this horn back to an all Shires bell section so I am trying to determine what bell and tuning slide to purchase.  I want a clear and pure, powerful sound with 'T' articulations (my horn now makes me REALLY put in the work to do that while others I've tried didn't at all).

I've briefly played on a BII 1Y recently and currently find it bland. I need more color to my sound. Between low notes and high notes there has to be some difference in color but also in dynamic range. I want to start a note and still be able to manipulate the color of it for musical purposes. Having said that the bell needs to stay managable up in the FFs and beyond and I do have a personal feeling of 'home' on a yellow brass bell.

For the tuning slide I feel my horn be a little unstable at times, uncentered and un focused so something to help dial that in and make notes feel more secure would be great.

Thanks for the help Gabe, and Ben, and anyone else.
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Post by ttf_Bassmentbone » Sun Sep 11, 2016 7:59 am

Also, looking for components that aid in a little more feedback behind the bell...
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Post by ttf_Gabe Langfur » Sun Sep 11, 2016 8:09 am

I'd recommend a BII 7YM and a standard yellow brass B tuning slide. And then ditch the open pipe and use either the standard Bach 50 leadpipe or get one of the Bach replica leadpipes from BrassArk. I haven't tried them all, but for the most straightforward, standard response, just go with the standard drawn yellow brass versions.


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Post by ttf_Bassmentbone » Sun Sep 11, 2016 8:16 am

Sounds good!

I tried the MV50 replica pipe and dindn't get the results after 6 months so my teacher recommended going back to my only other pipe. I'll look into the NY50.
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Post by ttf_Gabe Langfur » Sun Sep 11, 2016 8:19 am

Quote from: Bassmentbone on Sep 11, 2016, 08:16AMSounds good!

I tried the MV50 replica pipe and dindn't get the results after 6 months so my teacher recommended going back to my only other pipe. I'll look into the NY50.

You might try it again when you have a different bell and tuning slide. It's all part of a system. What works with one bell might not work with another, and vice versa.
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Post by ttf_HouBassTrombone » Sun Sep 11, 2016 9:05 am

A horn is not just a sum of its parts. That is a major reason a frankenbone is a bad idea.
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Post by ttf_Bassmentbone » Sun Sep 11, 2016 9:07 am

Quote from: Gabe Langfur on Sep 11, 2016, 08:19AMYou might try it again when you have a different bell and tuning slide. It's all part of a system. What works with one bell might not work with another, and vice versa.

Will do!
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Post by ttf_wgwbassbone » Sun Sep 11, 2016 12:14 pm

Yeh you've got a lot of horn going on there for a HS student no matter how good you are.
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Post by ttf_Bassmentbone » Sun Sep 11, 2016 12:41 pm

Quote from: wgwbassbone on Sep 11, 2016, 12:14PMYeh you've got a lot of horn going on there for a HS student no matter how good you are.

Couldn't agree with you more!
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Post by ttf_Duffle » Mon Sep 12, 2016 1:07 pm

Colin Williams - standard or dual bore rotor?....
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Post by ttf_griffinben » Mon Sep 12, 2016 2:57 pm

Quote from: Duffle on Sep 12, 2016, 01:07PMColin Williams - standard or dual bore rotor?....

Standard rotor
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Post by ttf_bigeg » Tue Sep 13, 2016 7:31 am

Hi Ben,
I've just received delivery of a Michael Davis + horn from hornguys and am loving it and how easy it is to play. It came with a Shires 11c mouthpiece which plays very nicely...great flexibility and a very lively sound with snappy articulations. Compared to my recent Bach 11c (a more focussed, compact sound for me) it seems quite a bit bigger in diameter and slightly deeper. Can you shed any light on the background of the design on the Shires 11c? Is it a copy of an old 11c at all?
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Post by ttf_sabutin » Tue Sep 13, 2016 7:45 am

Quote from: bigeg on Sep 13, 2016, 07:31AMHi Ben,
I've just received delivery of a Michael Davis + horn from hornguys and am loving it and how easy it is to play. It came with a Shires 11c mouthpiece which plays very nicely...great flexibility and a very lively sound with snappy articulations. Compared to my recent Bach 11c (a more focussed, compact sound for me) it seems quite a bit bigger in diameter and slightly deeper. Can you shed any light on the background of the design on the Shires 11c? Is it a copy of an old 11c at all?

I doubt it. I have accumulated a number of really good 11Cs from many periods of time and the Shires 11C doesn't feel, play or sound like any of them. Not a bad m'pce, just not very much like a Bach 11C. And you're right...it's bigger.

S.
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Post by ttf_griffinben » Tue Sep 13, 2016 9:28 am

Quote from: bigeg on Sep 13, 2016, 07:31AMHi Ben,
I've just received delivery of a Michael Davis + horn from hornguys and am loving it and how easy it is to play. It came with a Shires 11c mouthpiece which plays very nicely...great flexibility and a very lively sound with snappy articulations. Compared to my recent Bach 11c (a more focussed, compact sound for me) it seems quite a bit bigger in diameter and slightly deeper. Can you shed any light on the background of the design on the Shires 11c? Is it a copy of an old 11c at all?

We did base this off of a vintage mouthpiece.  We know it's a little bigger than most modern 11Cs, but we've gotten lots of positive feedback on it so we've kept it as is.  Our new 12C that is coming shortly would fit the bill for a smaller mouthpiece than our 11C, one that I feel has more characteristics of modern 11C feel combined with vintage 12C sound. 

I hope that helps.

Ben
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Post by ttf_wgwbassbone » Tue Sep 13, 2016 9:32 am

Quote from: sabutin on Sep 13, 2016, 07:45AMI doubt it. I have accumulated a number of really good 11Cs from many periods of time and the Shires 11C doesn't feel, play or sound like any of them. Not a bad m'pce, just not very much like a Bach 11C. And you're right...it's bigger.

S.

Well it's a good thing you didn't say "bet on it."  Image
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Post by ttf_ntap » Tue Sep 13, 2016 3:47 pm

While on the topic of the 11C - did the specs change when the switch to Pickett was made? I've only tried the old stock, which I love, but am thinking about picking up a newer one.
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Post by ttf_Bassmentbone » Wed Sep 14, 2016 1:52 pm

Ben,

What is a BII 2ZGRLW?
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Post by ttf_griffinben » Wed Sep 14, 2016 2:22 pm

Quote from: ntap on Sep 13, 2016, 03:47PMWhile on the topic of the 11C - did the specs change when the switch to Pickett was made? I've only tried the old stock, which I love, but am thinking about picking up a newer one.

Whenever you move manufacturers, the specs are going to change slightly.  The 11C is slightly different, a little lighter and a little less bite moving into the cup.  I do have a couple of old stock ones still around with minor blemishes.  Contact me at [url=mailto:ben@seshires.com]ben@seshires.com[/url] if you'd like one.
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Post by ttf_griffinben » Wed Sep 14, 2016 2:46 pm

Quote from: Bassmentbone on Sep 14, 2016, 01:52PMBen,

What is a BII 2ZGRLW?

Could you send me a picture of the bell spec?  You can send it to [url=mailto:ben@seshires.com]ben@seshires.com[/url] and I'll be happy to look at it and share what I can.

Ben
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Post by ttf_Bassmentbone » Thu Sep 15, 2016 7:55 am

How similar is the bell on the 'Q' series bass to a BII 7YM?
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Post by ttf_tombone21 » Thu Sep 15, 2016 10:03 am

What Shires components are most similar to the Edwards Alessi horn?
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Post by ttf_harrison.t.reed » Thu Sep 15, 2016 10:52 am

Quote from: tombone21 on Sep 15, 2016, 10:03AMWhat Shires components are most similar to the Edwards Alessi horn?

^^

 Image
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Post by ttf_Bassmentbone » Thu Sep 15, 2016 2:26 pm

Quote from: tombone21 on Sep 15, 2016, 10:03AMWhat Shires components are most similar to the Edwards Alessi horn?

Spec similar or sound similar? One is a VERY loaded question
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Post by ttf_SilverBone » Fri Sep 16, 2016 12:32 am

Quote from: tombone21 on Sep 15, 2016, 10:03AMWhat Shires components are most similar to the Edwards Alessi horn?

Since the Alessi horn isn't always similar to the Alessi horn (after you fiddle with the Harmonic Pillars), I think this question is pretty unanswerable.

If you want a horn that sounds/plays like the Alessi, buy the Alessi!  If you like Shires, find the Shires components that make you happy.
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Post by ttf_SilverBone » Fri Sep 16, 2016 12:45 am

D**m** double posting website!!! Image Image Image Image
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Shires Q&A, what would you like to know?

Post by ttf_tombone21 » Fri Sep 16, 2016 6:02 am

Quote from: SilverBone on Sep 16, 2016, 12:32AMSince the Alessi horn isn't always similar to the Alessi horn (after you fiddle with the Harmonic Pillars), I think this question is pretty unanswerable.

If you want a horn that sounds/plays like the Alessi, buy the Alessi!  If you like Shires, find the Shires components that make you happy.

I'm aware that the sound is malleable in the Alessi within the horn itself, but I was just referring to the stock setup with no pillars. The reason I'm asking is because when I tried the Alessi at Dillon's the other day, it was missing that sparkle that made the Shire's feel special, even if I didn't like the components of the particular ones Dillon's had, all of the Shires had that special singing quality that was missing on the Alessi.

Quote from: Bassmentbone on Sep 15, 2016, 02:26PMSpec similar or sound similar? One is a VERY loaded question

I'm looking for the components that will give a sound and feel like the Alessi.
ttf_cigmar
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Shires Q&A, what would you like to know?

Post by ttf_cigmar » Fri Sep 16, 2016 6:14 am

Quote from: tombone21 on Sep 16, 2016, 06:02AMI'm aware that the sound is malleable in the Alessi within the horn itself, but I was just referring to the stock setup with no pillars. The reason I'm asking is because when I tried the Alessi at Dillon's the other day, it was missing that sparkle that made the Shire's feel special, even if I didn't like the components of the particular ones Dillon's had, all of the Shires had that special singing quality that was missing on the Alessi.

I'm looking for the components that will give a sound and feel like the Alessi.


I'm a little confused here. or interpreting your response incorrectly.  But why would you be looking to find a Shires that "will give a sound and feel like the Alessi" when in the previous paragraph you say the Alessi was "missing that sparkle that made the Shires feel special" and "all of the Shires had the special singing quality that was missing on the Alessi".  In other words, you give the impression that you very much prefer the Shires over the Alessi, so why would you want to find a Shires that duplicates the Alessi?
ttf_Matt K
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Shires Q&A, what would you like to know?

Post by ttf_Matt K » Fri Sep 16, 2016 6:18 am

Not to butt in for Ben, but I'd imagine he'd start with something based around a rotor, TII 5NY bell, and TW47L and maybe a TX tuning slide as the base line and then branch out from there depending on the player.
ttf_tombone21
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Shires Q&A, what would you like to know?

Post by ttf_tombone21 » Fri Sep 16, 2016 6:28 am

Quote from: cigmar on Sep 16, 2016, 06:14AM
I'm a little confused here. or interpreting your response incorrectly.  But why would you be looking to find a Shires that "will give a sound and feel like the Alessi" when in the previous paragraph you say the Alessi was "missing that sparkle that made the Shires feel special" and "all of the Shires had the special singing quality that was missing on the Alessi".  In other words, you give the impression that you very much prefer the Shires over the Alessi, so why would you want to find a Shires that duplicates the Alessi?

I think that just about any Shires has this singing sound; I just want it to be the orchestral powerhouse like the Edwards. Best of both worlds!
ttf_griffinben
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Shires Q&A, what would you like to know?

Post by ttf_griffinben » Fri Sep 16, 2016 6:49 am

Quote from: tombone21 on Sep 15, 2016, 10:03AMWhat Shires components are most similar to the Edwards Alessi horn?

In the interest of "what-ifs", because they are fun, the following components would be most similar to the Alessi horn (in my opinion):

Bell: 2YLW T7
Tuning slide: TG
Valve: Standard rotor, LW
Slides: TB47GLYC
Leadpipe: 2.5SS or 3SS

Of course this will not play exactly like the Alessi horn, because it is an Edwards and we make Shires.  There are differences that go beyond the available specs (from either manufacturer) that we offer that make a large difference between the brands.  Both the bell and slide would be special orders from us, and the slide wouldn't be returnable if you didn't like it.  The Alessi horn features gold brass for the valve tubing, which we do not currently offer. 

If you (or anyone else) would truly like to build an "orchestral powerhouse" trombone from Shires, I suggest you visit us at the factory or at a major show and we can find the right components that balance with you. 

- Ben





ttf_Gabe Langfur
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Shires Q&A, what would you like to know?

Post by ttf_Gabe Langfur » Fri Sep 16, 2016 8:41 am

Three things:

1. If you go hear the New York Philharmonic and the entire low brass section is there, you will see one Edwards, one Yamaha, and two Shires trombones.

2. There is now a Colin Williams signature model Shires orchestral tenor trombone, designed for Colin to either play in place of or next to Joe.   Seems to me that's a pretty good place to start.

3. If 1. and 2. are not enough evidence for you, I challenge you to watch this video and tell me Shires trombones are not capable of "orchestral powerhouse."
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