Formerly known as
the “Lead/Solo” model, we’ve come to find it
more appropriate to define this horn by the
sheer SIZE of the sound it produces, no matter
the genre, and highlight that it fits perfectly
with every style of playing -- for anyone who
wants a bigger-than-average sound.
Classical players
who prefer the breadth of their sound on a
rotary (“German”) trumpet, which also have
larger bell shapes very similar to this one,
will feel completely at home with this horn in
any orchestral or chamber setting.
Jazz & Commercial
players will be shocked at how easy it is to
demolish every other instrument in the room when
duty calls, like when the rhythm section is
cranked up way too loud, and they didn’t give
you a mic... Absolutely no problem. This horn
will let you soar over any ensemble.
Folks who prefer
the blow of say, a Yamaha Bobby Shew or a Bach
42, might feel more at home on our Universal or
Solo models due to their smaller bell taper.
But if you’re more into horns like the Van Laar
Oiram or Monette P3, you’ll find this to be in
the same general category, while outperforming
both by far.
Lead players will
enjoy how lead mouthpieces
(especially our XS & S cups,
particularly in
nickel silver) turn this horn into the
most obscenely murderous soloistic lead sound.
Think early Maynard:
Little mouthpiece +
Big (light-weight) horn = 🔥
Ashlin
Parker has been rocking this model
for several years, in combination with our 3M
mouthpiece in Nickel Silver. This is a
configuration that works incredibly well, for
the same reason as with lead mouthpieces:
A
larger-than-average bell paired with a small
or
small-ish
cup (in this
case, the equivalent of a Bach D cup)
creates an enormously fat sound
(thanks to the
horn) with a shocking amount of fire &
upper register control as well
(thanks to the mouthpiece).
Nickel Silver
and/or Bronze mouthpieces also add extra
note-target stability, which makes a
large-belled horn feel even more secure. And
having a bell this size allows you to use
smaller cups while retaining a depth and core to
your sound that normally only comes from deeper
cups. Ashlin's
magnificent, full-bodied sound is a perfect
example of this, both while soloing over the New
Orleans Jazz Orchestra and in more intimate
settings like his tenure in the
late, great Ellis Marsalis' quintet.
Adam Rapa has used
this exact setup the majority of the time over
the past few years as well.
