TromboneChat

here a posting from Michael Lake on his website about the new Adams alto.

https://www.altobone.com/a-new-alto-tro ... ng-source/

Adams bought the tooling from Glassl when he retired. I’m assuming these are basically the same horn.

but the bore seems to be big.

Specifications

Bell: 1-piece hand-hammered bell - 180 mm
Bore: Single 13 mm
Key: Eb
Slide: single bore
Gauge: 0.55 or 0.50 mm

https://www.austincustombrass.biz/the-a ... one-in-eb/

It does look similar, though. I guess they tweaked the design some.

Seems like a very large bore for an Alto... but I guess it will match well with a .547 tenor on the second part.

MahlerMusic wrote: ↑Mon Jun 03, 2019 11:22 am Seems like a very large bore for an Alto... but I guess it will match well with a .547 tenor on the second part.

There are a couple of .547-bore B&S prototype altos with Bb attachments that I've played and listened to extensively. They sound phenomenal on top of a modern section - extraordinarily complimentary to the timbres of a .547 tenor and .562 bass, but still clearly an alto sound. I wish B&S would produce it, or a different manufacturer would produce something similar. The 13mm (.511") bore of the Adams is small by comparison to that or the dual bore .525-.547 straight Wessex alto they used to make (a shame they don't anymore, it played great).

The Adams looks lovely though.

the indication of the bore size is somewhat contradictory. Other website says slide bore 12,2 mm.
://www.austincustombrass.biz/at1-adams-sel ... one-in-eb/

I had the opportunity to take a lesson with Mike last week and he let me blow a few notes on his horn. Behind the bell it feels almost exactly like the Yamaha ysl-671. In front of the horn however it’s so much warmer and fuller. Almost has a tenor-like quality and I agree with the above that it would probably blend wonderfully with large-bore tenors. The sterling bell he has is also surprisingly lightweight. If I had the bread and knew the makers at Adams I’d probably contract one for myself.

Am I the only person that does not want an alto to blend with .547 tenors? If I'm using an alto, I feel like the whole point is for it to stick out. Even with baroque or classical trombones, the baroque alto doesn't fit right in above the timbre of the small bore & small bell tenors. The whole point is that it is a different timbre and it pops out of the texture. I have the Shires alto which is pretty decent, but even that I feel like is too tenor-like sometimes. I really enjoy the way the Rath R11 plays.

bbocaner wrote: ↑Wed Jun 05, 2019 4:43 pm Am I the only person that does not want an alto to blend with .547 tenors?

Nope

bbocaner wrote: ↑Wed Jun 05, 2019 4:43 pm Am I the only person that does not want an alto to blend with .547 tenors? If I'm using an alto, I feel like the whole point is for it to stick out. Even with baroque or classical trombones, the baroque alto doesn't fit right in above the timbre of the small bore & small bell tenors. The whole point is that it is a different timbre and it pops out of the texture. I have the Shires alto which is pretty decent, but even that I feel like is too tenor-like sometimes. I really enjoy the way the Rath R11 plays.

Yeah, the repertoire suited to alto requires the alto to stick out... it also requires distinct bass and tenor voices! Mozart, Beethoven, Schubert, Schumann, and most Brahms should sound like a choir composed of an alto, tenor, and bass voices- same accent, different people, different voices!