TromboneChat

I've got some favorite horns for certain uses, and I figured some of you probably do too.

big band lead = 48h, Martin Urbie
big band section = 6h, 3b
big band bass/4th = Holton tr159
rock band/combo = Shires MD+
studio/recording = 79h, 88h w525
concert band = 88h
orchestra 1/2 = 8h, 42, Holton tr156
orchestra bass = Holton tr180
chamber music (quintet, etc) = 79h, Courtois 402
chamber bass = Olds P24g
solos = 88h w525 slide
desert island = 88h w525 slide
double = euphonium, flugabone

Let's see...

3B: salsa, big band, funk/rock/R&B, mic'd pop horns, etc. The 3B leaves my house by far the most.
3BF: weddings, pit orchestra, some jazz 3rd parts, sometimes brass quintet, sometimes other things I would use the 3B for. My 3B and 3BF play essentially exactly the same so I have no qualms grabbing either.
88H: all classical tenor, film scores, trombone quartet
Single 72H: old-school big band parts, 3rd trombone on the slow movement of the Apon trombone quartet
Indy 72H: everything else. In theory my main instrument, but theory stopped being reality when I left college!

Euph: euph parts, and tuba parts whenever I don't own a tuba at the time (such as currently)
Double horn, Bb and C trumpets, bass trumpet, flugelhorn: self-explanatory
Pocket trumpet: Performing "Toy Trumpet" by Raymond Scott (I can't believe I have an actual precedent for using this in a serious capacity), but mostly sitting on my desk within arm's reach to have something to noodle on at all times.
Mellophonium: Everything I can pull off. Thanks to lots of gigs where I write the horn parts, and a few others with bandleaders/arrangers enthusiastic about the instrument, I've used it in many places it has no right being. These days it mostly gets used in funk, Latin jazz, and Mexican pop, both on albums and in live shows. Mellophonium also might be my desert island horn. I love it probably too much.
Alto cornet (in F): I use this in horn sections as a bridge between flugelhorns and trombones, as it blends beautifully with both. I've recorded a ton of material with a 6-piece horn section of 2 trumpets, flugelhorn, alto cornet, and 2 trombones. It's also a great desk instrument as it's very compact.
Flugabone: Mostly as a solo instrument, but sometimes used as the 3rd part in a mellow 3-horn section of flugelhorn, alto cornet, and flugabone. In multitracks I write it either as a bass cornet or 3rd bass trumpet. Also a pretty good desk instrument.
G soprano bugle: I just recently got this, but I bought it specifically to use as a low trumpet with a big mouthpiece, rather than as a screamer. In the low register it has a huge full sound and obviously a few more notes than the Bb trumpet. I plan to write 4th and possibly 3rd trumpet parts in multitracks for it. I have to say though, having spent some time on it, I can see why it's known for its high register and might have to use it that way sometimes as well.
G alto bugle: It's essentially a big flugelhorn in G, and that's how I use it. Just like the soprano bugle is perfect for 4th and maybe 3rd trumpet parts, the alto bugle is perfect for 4th and maybe 3rd flugel parts.
Frumpet: I use it for nothing, for two reasons: 1) it stays at my parents' house on the other side of the country, and 2) it is good for nothing. Except for having an instrument to play on when I'm visiting my parents. I do plan on eventually getting it converted to an alto valve trombone via a leadpipe and bell swap.

I don't thiiiiiiiiiiiiiink I missed anything...?

All of these (except the frumpet) get used in multitracks, when I have time to record them. There are plenty of other instruments for specific uses that I haven't acquired yet (but eventually plan to). For example: a 6H for mic'd rock/funk gigs and possibly big band lead; a 3B+ (probably with F) for big band 3rd parts and certain pit books, a 79H or 36B for brass quintet and certain principal rep (yeah, because I TOTALLY play principal all the time...), a larger bass for heavy orchestral rep, a small-throat double horn like a Conn 6D for classic soul music horn parts, a descant horn for all the stupid high horn parts I find myself having to play, a contra and tuba for...contra and tuba parts, and so on.

Finetales wrote: ↑Thu Sep 30, 2021 10:13 am Mellophonium: Everything I can pull off. Thanks to lots of gigs where I write the horn parts, and a few others with bandleaders/arrangers enthusiastic about the instrument, I've used it in many places it has no right being.

You're doing god's work. Your Moon Over the Castle was a go-to for lockdown-induced cheering-up purposes, not least for the mellophonium wiggles, so thank you

I try to have a purpose for every instrument I have. I said try!!

Bach 50, Olsen axials: Primary bass. Capable of destroying worlds, but will also do anything else. Perhaps the best trombone I have ever owned.

Holton TR185, split levers, D slide: Backup bass, a bit lighter sound, super fun to play. Left out of some situations just because it's dependent.

Bach 42BS: backup large bore. Don't need this one, it is surplus at the moment.

Bach 42B: primary large bore. Used currently with a Corp 42 slide I got recently. Makes all of the 42 sound you want, with the typical iffy valve register. Despite that, got me through some really high profile gigs recently.

Bach 16M: big band horn. The best small Bach I've ever played, and the best most other people have played as well. Now competing with

King 2B Liberty (1947): Just picked this up, in almost immaculate condition. Monster jazz horn, sounds great, plays great... do I keep this or the 16M??

King 3B/F, Brad Close 32H leadpipe: Multipurpose trombone, used primarily for Disneyland 3rd trombone. Does way too many other things well too, though.

Kull contrabass, rebuilt with Voight valves (F/D/BBb/AAb): does contra things

Valved horns:

Yamaha YEP-842S: has surprisingly paid for itself with euphonium gigs. I should practice it more.

Yamaha YBH-301MS: marching baritone, I use it for teaching marching band. Good noodlehorn, and I marched one for 4 years so also a nostalgia piece. Worth keeping around.

In progress:

Bach 36K, wide slide/large slide connector, Artisan series convertible, 42G*, corp 42 and corp 36 bells: Hopefully will replace the 42B above and add a 36 sized horn as well.

ithinknot wrote: ↑Thu Sep 30, 2021 11:55 am
... Your Moon Over the Castle was a go-to for lockdown-induced cheering-up purposes, not least for the mellophonium wiggles, so thank you

Yeah, that multitrack is a great piece of work. I'm sure that took a chunk of time. Thanks for making it! It's really amazing to see someone play all those instruments. My chops couldn't handle the mouthpiece differences.

ithinknot wrote: ↑Thu Sep 30, 2021 11:55 am Your Moon Over the Castle was a go-to for lockdown-induced cheering-up purposes, not least for the mellophonium wiggles, so thank you

Hey thanks! Glad you enjoyed it. That was a fun one to make.

hyperbolica wrote: ↑Thu Sep 30, 2021 1:10 pmYeah, that multitrack is a great piece of work. I'm sure that took a chunk of time. Thanks for making it! It's really amazing to see someone play all those instruments. My chops couldn't handle the mouthpiece differences.

I've had more in the works for months and months (and a couple for actual years)...just need the schedule and studio time to finish them. One is totally done except some of the trumpet parts. They take a LOT of time to do, which turns into "nearly forever" when you don't have all day to do them!

Burgerbob wrote: ↑Thu Sep 30, 2021 12:59 pm King 2B Liberty (1947): Just picked this up, in almost immaculate condition. Monster jazz horn, sounds great, plays great... do I keep this or the 16M??

I'll help you decide

Finetales wrote: ↑Thu Sep 30, 2021 1:32 pm

I'll help you decide

Seriously, come over and play it. Everyone sounds amazing on it!

I change a lot on rehearsals but it's because I have a lot of horns and I like the differences, but when if it really counts then I know what is my "go to horns"

This is what I did before Corona.

Big Band (1st & 2nd parts: Yamaha 891Z
Jazz-combo: Yamaha 891Z
Big Band (4th part): Kanstul 1662 dependant.
Wind orchestra (1st part): Bach 36BO
Trombone quartet: Bach 36BO or might choose Yamaha 892ZX. I change the mouthpiece depending on what sound is required.
Brass quartet (1st part): Bach 36BO

/Tom

In order of upcoming rehearsals which are slowly taking off again:

Big band (mostly 1st): 3B/f newly equipped with a replacement 70s-era bell (thanks to a fellow forum member), I favour it for its versatility as some of the charts can be all over the shop and just generally it‘s such a great classic design which just makes my smile when I play it.

10-piece brass group (mostly 1st): 8h with SL2525 which is an armchair ride for the section parts with a turbo button to bring out the solo lines if required. It‘s rich without being unduly strenuous.

7-piece polka band (sorta in the direction of ‚viera blech‘): 3B/f and oval tenorhorn. I feel the .508 helps bridge a gap between the flügels/trumpets and the 2nd trombone. It’s a hard task switching between the melodic tenorhorn lines and trombone ska parts, certainly easier with something like the 3B/f than anything bigger.

Symphony orchestra 1st or 2nd: 8H/88H, generally with large-bore slide. As much as I love the SL2525 for other things, this is the one place I still plan to go back to the .547. Although…actually I don‘t think we‘ve had an orchestra rehearsal since I got the SL2525 so maybe I‘ll try it when we restart.

In the unlikely event anyone asked me to play a solo, I‘d probably go with the 8h with SL2525 or 3B/f.

I’m happy to find any excuse to play my 36H or Yamaha 612Rii.

Finetales wrote: ↑Thu Sep 30, 2021 1:32 pm

ithinknot wrote: ↑Thu Sep 30, 2021 11:55 am Your Moon Over the Castle was a go-to for lockdown-induced cheering-up purposes, not least for the mellophonium wiggles, so thank you

Hey thanks! Glad you enjoyed it. That was a fun one to make.

hyperbolica wrote: ↑Thu Sep 30, 2021 1:10 pmYeah, that multitrack is a great piece of work. I'm sure that took a chunk of time. Thanks for making it! It's really amazing to see someone play all those instruments. My chops couldn't handle the mouthpiece differences.

I've had more in the works for months and months (and a couple for actual years)...just need the schedule and studio time to finish them. One is totally done except some of the trumpet parts. They take a LOT of time to do, which turns into "nearly forever" when you don't have all day to do them!

This is fantastic.
Great arrangement for a big band or drum corp.
Not sure how I missed this with all the trombone YT rabbit holes I've been down.
Please tell me there is an epic hair multitrac colab in the works with C. Bill.
Something Viking or a pirate sea shanty with Mellophone and flowing hair would be glorious.

<Edit - fixed quote -BGuttman>

I don't have such an extensive list of horns to use, so this is what I use:

Conn 48h: Lead on any brass group, 1st anywhere, solo, jazz, dixie & all long sessions due to weight, and all 1-2-3 parts on recordings.

Jupiter 1240RLT: Bass parts, bass recording, anywhere where 3rd needs to be loud.

Roy Benson Alto: Never ever have I used it, nor will I use it.

Karl Glaser Marching Baritone: All my baritone, euphonium recordings or any live need for bari/euph.

Conn Mellophone: Horn parts recording, transcribed trumpet recording some times.

Conn 36k Sousaphone : Does I need to tell you? All Sousa parts ofcourse!

Blessing B-88 Antiqued: All 2nd and 3rd in orchestras where warm sound is needed.

This is a great topic; it allows me to justify to my wife why I need at least the 8 trombones I already have!

Trombone details are listed at the bottom of the post.

Conn 36H-Anything where an alto is needed.

B&H Sessionair-1st or 2nd in a big band.

Besson 10-10-General purpose horn, good for 3rd in a big band and go-to horn if I am not sure what I need.

Conn 74H-Good for 1st in high orchestral tenor works eg Bolero or 3rd part in a big band.

Yamaha YSL-641-Orchestra trombone when trigger is not needed.

Conn 88H-Orchestra trombone when trigger is needed.

Besson Academy 409-Small single trigger bass for classical music or sometimes a lighter bass to hold at rehearsals.

R/H.B bass-Go to bass for the heavier stuff in orchestra or big band.

I keep them all out on stands in my study and work on them all in rotation.

Cheers

Stewbones

All I need is my 3BFSS, T-396A, and 36H, for exactly what you'd think you would need each for.

This is fun!

Two favorite horns:
-Straight Bach 45
-Bach 45B (now with modular single and double valve sets)

Unfortunately, the first is almost never the answer to any question. The second works fine for most bass like things, but gets a little thin when a full bass presence is required.

Next up, a single 50B. BUT this is a problem when a double would really do the job. Still need to finish the drop in valve for this so this can get promoted to the best tool for more jobs.

As a primarily bass player, that's where I prefer to be. When I have to do an unknown "trombone" part, I bring a 42 with a valve and a bass slide and I have three D.E. cups with the same rim to be prepared to play whatever part is on the stand.

For anything I know will be 'smaller', I like my Bach 34. To me, it feels more like a large small bore than small large horn; if that makes any sense. Not too big where it is a lot of work, but not so small that I have problems adjusting.

Cheers,
Andy

I do all my work on four horns:

Shires alto for all alto work.

Yamaha 691Z for everything jazz - from small group, to big band section and/or lead.

King 3B with a valve for some big band section work, and orchestras.

Yamaha 321 for all bass work.

I do have another King 3B and a Bach 16M, but I don't use them much (and that 3B would need a restoration).

I've got 4 instruments to cover the gamut of my playing.

King 3BG - Anything a King 3B can do, it does too, just more warmly
King 2125F - Pit Orchestra, Concert Band, 3rd in Big Band
Conn 62H (modern) - bass stuff
Besson 788 Tuba - self-explanatory

I AM looking to at some point add a single valve 9" bell to my stable for smaller bass stuff. Maybe Dave Butler would make me one?

I’ve been switching some things around, but my general setup is as follows:

Chinese Alto - somehow an orchestra let me do Mozart’s requiem on it, but other than that, I use it to learn alto positions

King 3B - All my Jazz things, funk, pop, New Orleans style brass band things, my only current small bore horn.

Bach 36 - currently not working, but will be used for 3rd chair in big band, and if/when pit orchestra things come back up in my city

Getzen 3047AFR - Symphony/Classical stuff

Reynolds Contempora - Bass things, Jazz or classical

Reynolds Marching Trombone - providing some different sounds in recordings, matched up well with a tenor saxophone in a band I played with. I also bought it simply because Ray Mason plays one and I wanted to be the next cool person to have one!

Wessex CC Tuba - Tuba things!

Rath R9D Bass - I use this for all of my bass work regardless of setting.

Rath R4F (Hagmann, nickel bell) - I use this for orchestral, or large ensemble tenor work

Rath R4F (Rotax, red bell, wide slide) - I use this for small ensemble or solo classical tenor work

Rath R3 - I use this for any Latin work or a 3rd part in a big band type setting. I will also attach my Rotax section from my R4F for pit work.

Rath R10 - I use this for any jazz, horn section, or session work. This is the horn I use the most.

JP Rath alto - for those extremely rare occasions when I need an alto.

Miraphone 282 Tuba - I use this for quintet work and any doubling that comes my way

Willson 2900 Euphonium - studio work, quintet, tenor tuba double in orchestral settings

Holton Bass Trumpet - novelty use in jazz settings, different color in studio, rare use in orchestral settings.

Schilke 1040 Flugelhorn - studio work, double on horn section gigs

I am feeling inadequate. After peaking at 5 trombones I am back down to 2. Small bore Lawler with 2 bells for jazz/commercial and Rath R3/R4 for everything else. (I have an R3 slide with both and R3 and R4 bell). And a euphonium that I rarely play as all the concerts bands I am in are silly with euphonium players while lacking trombones.

I use a Benge 290 for bass things, a modified 3B with a screw bell for jazz and New Orleans Brass Band, an 88H for my classical and concert band playing, and an Army issued Getzen (I’m not sure which model) for marching performances or anything that might get dirty.

My choice for bass tbone parts is my King 7B. A big band I play 3rd with so I brought my 3B-F (my fav for 1st thru third on big band music), but they were missing a bass bone player tonight. Since I was the only one with an F attachment horn I played two hours of bass bone on a small bore tenor. I'm beat!

It's even more fun playing bass on a Bach 12, no trigger!

I've had many other trombones since left college in 1979, but over the years I have settled on these current instruments as the best tools at this time in my life:

Getzen Eterna 1062FD - Twenty-three years old and easily the best horn that I have ever owned. It's my principal horn that I use on classical orchestra dates

Bach 42AFG - This horn is very effective in the brass quintet that I play in. I also use it for regular duet and trio work with friends

Getzen Eterna 1050Y - This was the entry pro level .508 in Getzen's Eterna line, before they dropped it in favor of the upgraded 3508 model. I had BAC antique it, change the outer slides to nickel silver with a brass crook and adjust the slide brace for me. It cooks now and use it on the very occasional big band call

JP/Rath 3320 - Very 88H-like large bore tenor that I bought 4 years ago and use in a community band. It's got a narrow slide and compact sound that can cut through or blend in a section as needed - Update: Recently replaced with a modern Conn 88HY. I sold the JP/Rath to a student who needed an affordable upgrade.

JP MKII Compensating Euphonium - I needed a euphonium to record a virtual orchestral project requiring euphonium in 2020. It just works, and was great for keeping up chops working on etudes and studies during the pandemic.

I try to pick various horns that are easy to transition to from my main axe. I think it's more important to have an instrument that you are comfortable on and that matches the musical needs, than what brand of horn it is. I mostly play bass trombone and since I play a Shires Bass, it's no surprise that I have some Shires tenors. Though I have to adjust for the smaller horn, there's more similarity than if I was switching to a completely different brand.
Shires Bass, one primary and one backup. I've got a couple of bells and slides and can configure one as a duo bore orchestra horn and one as a single bore snappy commercial horn but I usually just use the standard slide, rotors, and BII 7LW bell as it works well for most everything. C tuning slide #2 pipe nothing rad.
Shires large bore tenor general doubling. Pretty typical, except that I use the X tuning slide, which makes the feel and adjustments more like what I'm used to.
Shires MD+ small bore for commercial work
Bach 36 which I love but seldom need to play
Jinbao Alto with Stauffer lead pipe, I've only used it on two gigs ever, but it satisfies my curiosity about alto without spending too much.
Yamaha 642S Euphonium, well in tune fun to play not many pay gigs but I've had some.
Boosey E flat Tuba, easy to play good sound, perfect for the type of doubling bass trombone players are typically called to do.
King Flugebone best valve bone I've played and a compact horn to take on vacations to practice on. Wick practice mute works well.
I have various Conns, Yamahas, and Bachs scattered around the house. These are good horns but I'm gradually selling them off as the above list covers pretty much everything I need.

Symphony: Schagerl Troja tenor, Helmut Voigt alto


Wind orchestra: Bach 36,
St. Peterburg oval baritone,
St. Pererburg Eb tuba (very rarely)

For fun:
Big band, dixie: Yamaha 354, Getzen 351S
Big band (bass): Yamaha 421G (very rarely)

Let's see...

Olds Ambassador: if I ever get called for a marching something or other, and a Sousaphone isn't available; or a dangerous gig precludes me from bringing the Conn; I'd probably bring this. It's a tank!

Conn 6H: all jazz and hits band stuff, main axe #1.

Holton 168: I originally bought this to play concert band music, but it's been a great choice for certain 3rd parts in big band.

Besson 943GS: all bass trombone parts as needed, rare nowadays, and used to cover tuba parts until I got...

F. Schmidt, aka B&S, 103 BBb tuba: self-explanatory. Main axe #2. (Might become #1 soon...)

King 3B Lead in BB Wick 7CS mainly, although I have a 15EW for emergencies
Rath R4F rotax, bronze slide, red brass bell pretty much everything else. Rath 5MD, occasional Schilke and wick anything 4-6A or BL; have a 9BL just incase. Oh and a 5CL which I really like but my lips don't.
Holton TR181 brought back from the dead by Mick Rath (£300 on eBay, falling apart) Bass. Rath 1 1/2, Wick 2,1,0 as required.
pBone for anything outside, not that I do anything outside if I can avoid it. whatever came with it.

I need a .525 with a trigger - I somewhat envy Stewbone's 10-10 but it's a bit heavy. Sorry, "built to last". 79H or R3F would be my preference, I think.

1) King 3B Silversonic (early 60’s) gets the most work these days as I have a regular big band I’m playing lead with (Stork T1 and occasionally a 6 1/2 AL if I’m playing something more “classical” on it).

2) Bach Corp. 42 bell with Shires 47-62 slide for most large tenor stuff. I have the Bach slide also if I need something a little smaller. It started out as a straight 42 but had a custom-made open wrap F attachment taken from a different Corp. 42B. (various 3G ish mouthpieces…Greg Black Alessi series 3, a Doug Elliott, and a Giardinelli 3G stay in my case).

3) King Duo Gravis for fooling around on bass and making multi tracks (Ferguson L and Yamaha Doug Yeo mouthpieces). I am think about upgrading basses sometime soon.

Also starting to work in the 1929 Conn 78H I posted about in the Mouthpieces board. Some first parts in my multitrack projects and whatever else it might be appropriate for.

You're doing god's work. Your Moon Over the Castle was a go-to for lockdown-induced cheering-up purposes, not least for the mellophonium wiggles, so thank you
[/quote]

Never saw this until today; watched it over and over and shared with all my trombone colleagues! Wow!

BB Lead, dixieland: 2B Marcinkiewicz Steinmeyer
BB section: Bach 36G Marcinkiewicz Loper
Orchestral/concert band: Benge 190 Marcinkiewicz 5
Bass: Getzen 3062AF. Marcinkiewicz Reichembach/Ferguson LS
Rock: Bach36B, Olds marching trombone Marcinkiewicz Gillette

It's nice to see I'm not alone in how i utilize my Conns.

Big band lead: 48Hw/ 5H slide. It really gives some cut and blends with soli passages.

Big band section: one of my 6Hs. I have a early '60s 6H I've been favoring more than my K series (first pro horn). I'm in the works to have a 7 1/2 bell put on a 6H chasis so I can look similar to the Kings and Bachs i always sit next to. I can do lead on it but i like to give my 48H some play time.

Chamber/small group/1st chair orchestra: 78H. My '53 78H lets me finesse smaller group music better. It has taught me a different way to approach playing bone and music.

1st chair orchestra: '68 8H bell w/ 2547 slide. This gives me ease in the upper register and volume when needed. I've been using this in a bone 4tet i play because we pass parts around and the others typically have .547 horns.

Section orchestra: custom Elkhart 88H bell with modern slide and valve. I had this done so i would at least look right in an orchestral section (I've always used an 8H). Thinking about getting a 4762 slide.

Big band bass:71H with dependant Instrument Innovation valves. I've always used 72Hs. I only have a second valve for all of the B naturals Tom Kubis keeps putting in his charts.

Legit bass: Minick 62H. I've had this horn for almost a year now and it's great. My second non 70 series horn I've ever owned (other was an Olds duel bore). It's been great in small group stuff and concert band. Can't wait for the orchestra i play in to start again.

Universal horn: 6H. My 6Hs have served me well in almost all styles. That's why i have so many.

Baritone/Euphonium: Conn 24I. I got it because i needed it. I pull it out this time of year. Need another one (not really but i like having back up horns).

Thats in in a nutshell. I got a 60H yet to be finished that i may use for smaller group or chamber stuff as well as another 70 series bell i need to slap valves on.

I recently got a '58 8h from Brass Exchange, and usually pair it up with my 525 slide. So far it has been my light orchestral horn. If I played more quartet on a tenor book, this would also be my quartet horn.

I've also started using the 48h in top parts for trombone choir when I need a lot of high chop endurance.

And one that I didn't list before was my Olds Recording. As a Conn player, I'm kind of hooked on this horn. For outdoor playing, this is the first horn I pick up. Not only is it loud and very efficient with your air, it's also nearly indestructible, and cheap, and great looking to boot.

I go back and forth with my Kanstul 1662i bass. On the staff and below, it has a very buttery, velvety sound, but above the staff, it's kind of dead. It's not a horn you can play either bass or tenor on, it's definitely a dedicated bass. There are other horns I like to play better, or use when it's more of a 3rd bone rather than bass, but this thing has that broad sound that you sometimes want on the bottom.

@Thrawn22, it's funny that you mention the 24i. I've also got one of those, and love it for its sound, although I don't really have a purpose for it, except maybe as a ticket into Tuba Christmas events. Mine needs some work to straighten out the bell and the leadpipe and the tuning mechanism to maximize its potential, but I love the sound, the light weight, and the 4v in front, bell front to the left - it's as tromboney as a baritone gets.

I forgot to mention i have a '57 8H that sounds brilliant for legit solo work.

@hyperbolica
I use my 24I for the "just in case" factor. This time of year I've been doing a tree lighting ceremony with a local city. We play all 3 books from the Sammy Nestico xmas series. There usually isn't enough baritones so i thought it'd be nice to get some piston time in since i don't have a tuba yet. It is a bit tromboney. I'm debating on changing the mouthpiece receiver to take a standard shank mpc. The Denis Wick I'm using doesn't feel comfortable this time around.