GR Mouthpieces now at Prozone Music

GR Mouthpieces are now available at Prozone Music! - This incredible range of mouthpieces by Gary Radtke are revolutionising playing for many worldwide. The computer balanced mouthpiece range use a combination of the most technologically advanced design techniques and stunning construction and finish to deliver a must have product.

The most common feedback we get is that the GR range combine the comfort of a warburton, the 'shine' of a schilke and most importantly the warmth and depth of sound found in more standard C cup mouthpiece such as Bach. Many players who currently play the Warburton or Schilke mouthpieces do so for the assistance in range and projection. In reality however, most find that the sound can suffer or become harsh with both these makes in the upper register or when playing at high volume. All our customers are finding that with the GR, both the qualities of the Warburton and Schilke can be found in the GR but there is no loss of sound quality when playing at extremes.

We are currently holding stock of 30 different models (there is an immense list of different models so we have chosen to stock the core and most popular models as advised by GR and increase to the full range over the coming months). Begining at 62 (the smallest rim size) and up to the 67 (largest) with various cup shapes and sizes, there is sure to be the right mouthpiece here for you whether a lead player, staunched C trumpet player, or symphonic Bb player.

Come and give them a go. You have to try them to believe them.

Best Wishes

Prozone Music

Vincent Bach Artisan range of trumpets: Prozone Music is first in the queue for this exiting new range from Vincent Bach. It has been many years since this great manufacturer has launched a new range. These new models do not replace any existing trumpets and are an entirely new “custom shop” addition to the already fantastic range of trumpets offered by Vincent Bach. The outfit has various up-graded features with regard to additional engraving and deluxe case etc which we should expect from a trumpet at the top of the range, importantly there are also real new innovations that enhance the playing characteristics across the range. It has been found by other manufactures (Yamaha) that changing the material of the valve guides changes acoustic properties for the whole trumpet and here the Artisan trumpet is issued with two sets of guides, metal and plastic, allowing the musician to choose which is best. The bells are acoustically treated with a freezing process to enhance resonance, ferrules are enhanced for improved acoustic properties throughout the instrument and the bell and lead pipe design overall are new. Well worth considering and trying. Bach have not been favoured for the smaller trumpets in recent years and rightly so, they have been rubbish! Now we have a complete re-design and things are looking up. The Eb/D is along the successful lines chosen by Schilke and Stomvi with a long bell design and two bells supplied in Eb and D as such you find two separate trumpets that are equally successful in Eb and D. we are hopeful this new Eb/D trumpet will combine the playability of the Stomvi and Schilke trumpets but with an addition of a Bach bell…. It good be outstanding! Similarly the picc has taken its cor concept from the successful design of Schilke and Stomvi but combined with a Bach sound it is an exciting prospect. Prozone Music will receive the first set of trumpets to the UK and delivery is anticipated in June. If you wish to be among the first to try this new range do get in touch and we will contact you when delivery is imminent. We are also accepting pre-orders for those who are really excited…………..
Follow this link to view the trumpets on our web site http://www.prozonemusic.com/brass/news/new-product-news.html

New Sonare trumpets

Hi,

In this latest blog i write to tell you about a new range of trumpets we now have in store. Sonare. A US based (Boston) company making fantasic trumpets. 600, 700, 800 and 900 series Bb trumpets. All featuring a Blackburn leadpipe as standard, these trumpets blow like a dream. Remarkable 'slotting' of notes in the key areas and a versatile sound make these instruments one to watch out for.

The 600 and 700 series are geared at the advaced learner and consertvatoire level player. Excellent build quality, sound and tuning make these a great option. Unbeliveably these are priced at £765 and £868 respectively. A hell of a lot of trumpet for the money and at a price point that perfectly bridges the gap between top end beginner trumpets and the beginings of the pro market.

For pros and serious players there arer the 800 and 900 series. Also featuring the Blackburn leadpipe (but in STERLING SILVER on the 800 and 900 series), these trumpets are amazing. Ideal in a symphonic, chamber, lary big band or studio, these will not let you down. The 800 series features a lacquer finish showing off the sterling silver leadpipe and the 900 series is entriely silver plated.

Dont be fooled that these trumpets are new to the market. They have been around a long time in the states and have an impressive list of endorsees to their name. With little to no marketing here in the UK they are as yet unknown..........until now!

Well worth a try.

Until next time.................

New Yamaha Custom trumpet

Hi,

Yamaha have just launched a new Custom trumpet. the model number is YTR8335SEU. Not a very inspiring model number for us Brits, but it is well worth consideration. Rod Franks of the LSO has had a hand in it's design and it plays great. 4 in stock for you to try at the shop and also on a great deal as part of our summer Yamaha trumpet sale. I have put a brief review of the trumpet below which i have done but asap i will get one done by someone a little more in practice! Hey, if it feels good in August it must be a stonker!

YAMAHA EU CUSTOM MODEL The latest edition to Yamaha's pro trumpet range is the YTR 8335SEU. This trumpet has been designed in conjunction with Europe’s leading orchestral trumpeters. In the UK, advice has been sought from Rod Franks, Principal trumpet of the London Symphony Orchestra. This model is marketed as an orchestral trumpet and as such has a slightly darker sound and heavier weight feel when compared with the LA or Bobby Shew custom trumpets. It features valve bottom and top caps from the artist series. The bell stays have a greatly reduced surface contact area increasing bell resonance. The lead pipe design is taken from the Chicago artist model. The result is a very resonant trumpet with good projection and the evenness across the register which you would expect from a Yamaha trumpet. The lead pipe and bell adjustments give this trumpet great feedback for the musician and the added flare which some believe missing from the standard Xeno. With some custom models becoming rather expensive, the EU custom model represents good value and is well worth your consideration.

4 IN STOCK FOR YOU TO TRY TODAY!

Click here for more info
http://www.prozonemusic.com/brass/index.html


Best wishes,

Will

Conn 88H Trombone information

Hi There,

here at the shop we've been getting a lot of questions regarding the current range of Conn Trombones and the options available. here's some info that will hopefully help anyone with questions. if you still have any or wish to try at the range gove us a ring at the shop or drop in for a testing session. Click through to http://www.prozonemusic.com/brass/index.html for details. Hope you find the info below useful and or interseting. Best wishes, Will

Conn 88H trombones

The 88H series trombones made by C G Conn are the most popular large bore professional trombones in the UK. The main reason quoted is sound. Above all things this is what most musicians strive for and here in the UK the thrilling sound of the Conn 88H trombone can be heard riding over all of our major symphony orchestras. It is a fantastically resonant instrument and responds at the quietest of dynamics whilst maintaining its quality at a ferocious fortissimo. If upgrading from a student trombone, it is a very safe purchase as re-sale values are very high and wherever the student arrives for a lesson or audition, if playing an 88H the choice of instrument will never be in question. If renewing your pro horn, the build quality has never been better and with prices still low, it’s a good time to try a few out in store and find your trombone.

There are a number of different models from which to choose, the difference between which I have outlined below.

Model: Conn 88H trombone.
· 8.5” Rose Brass bell
· .547” primary bore through hand slide
· .562” bore through F section
· Closed wrap
This is the most popular model.

Model: Conn 88HO trombone
· 8.5” Rose Brass bell
· .547” primary bore through hand slide
· .562” bore through F section
· Open Wrap
This trombone is the same as the 88H except it features an open wrap design to the F side, this can allow the F side to be more free blowing and as such useful in the lower registers. It does however protrude significantly behind the shoulder and this can be significant for younger players or those sitting very close to the pit wall!

Model: Conn 88HT
· 8.5” Thin Wall Rose Brass bell.
· .547” primary bore through hand slide
· .562” bore through F section
· Closed wrap
This trombone is the same as the 88H but with a thinner bell. This leads to greater resonance at lower dynamics, more response and a lighter tone. It can however lead to a brighter and more brittle sound at loud dynamics

Model: Conn 88HTO
· 8.5” Thin Wall Rose Brass bell.
· .547” primary bore through hand slide
· .562” bore through F section
· Open Wrap
This trombone is the same as the 88HO but with a thinner bell. This leads to greater resonance at lower dynamics, more response and a lighter tone. It can however lead to a brighter and more brittle sound at loud dynamics

Model 88HY
Model: Conn 88H trombone.
· 8.5” Yellow Brass bell
· .547” primary bore through hand slide
· .562” bore through F section
· Closed wrap
This trombone is the same as the 88H but with a yellow brass bell. This can give a brighter, lighter sound though many feel this model lacks the characteristic warm sound of the 88H


Model: 88HYO
· 8.5” Yellow Brass bell
· .547” primary bore through hand slide
· .562” bore through F section
· Open wrap
This trombone is the same as the 88HO but with a yellow brass bell. This can give a brighter, lighter sound though many feel this model lacks the characteristic warm sound of the 88H


Model 88HCL
· 8.5” Rose Brass bell
· .547” primary bore through hand slide
· .562” bore through F section
· Closed wrap
· Patented CL2000 Lindberg Rotor system
· Designed in conjunction with Christian Lindberg the famous trombone soloist this version of the 88H has a different rotor. It is very similar to the Hagmann valve system and is ultimately a free flow rotor allowing for greater power on the F side. The trombone is also available in all the bell options above T, Y and SGX.


Model: 8H
· 8.5” Rose Brass bell
· .547” primary bore through hand slide
This is the straight tenor version of the 88H without valve and F attachment. Useful for committed first trombones, it is obviously lighter to hold and carry around than the 88H. The reduced weight also transfers into the playability of the trombone and many feel it is more resonant as a result.

Model: 88HSGX
· 8.5” Sterling silver bell with 24K gold plate inside bell and on rotor.
· .547” primary bore through hand slide
· .562” bore through F section
· Closed wrap
· The 88H with go faster stripes! Though not at all a gimmick. The sterling silver bell makes a large difference and some players love it. The silver bell is fantastically resonant whilst being warmer and darker in colour. The result is the best of both worlds, a lovely warm sound whilst maintaining phenomenal projection to the back of the hall. This model is particularly popular with soloists.


Custom Slides and lead pipes

For those wishing to fine tune their chosen 88H there are a number of different slide and lead pipe options available to order. The slide assemblies and be ordered as an accessory alone for around £900 or ordered, at an additional cost, as part of a new 88H outfit (this is the most cost effective way of getting the custom slide of your choosing and usually adds about £135 to the usual outfit price). Contact us if you’re interested in these options and we’ll work out the best deal we can for you.

Hand Slide Options:

SL2525: .525" Straight bore hand slide with 3 removable lead pipes, models H, and T (small tenor shank), and X (large shank)

SL2547: Dual bore, .525" bore in upper tube - .547" bore in lower tube, three removable lead pipes models H, T (small tenor shank), and X (large shank)

SL4747: Traditional 88H slide, .547" bore in upper and lower tubes, three removable lead pipes, models S, R and M


SL4762: - Dual bore, .547" bore in upper tube - .562" bore in lower tube, three removable lead pipes, models S, R and M

SL6262: - Traditional bass slide, .562" bore in upper and lower tubes, three removable lead pipes, models B, C and D

Lead pipe options:

S Lead pipe - features standard large shank receiver and taper designed for traditional response characteristics. For SL4747 and SL4762.

R Lead pipe - features Remington large shank receiver and longer taper designed for traditional response characteristics. For SL4747 and SL4762.

M Lead pipe - features standard large shank receiver and longer taper designed for less resistance. For SL4747 and SL4762

H Lead pipe - features standard small shank receiver with short venturi designed for added flexibility. For SL2525 and SL2547

T Lead pipe - features standard small shank receiver with a long venturi designed for added flexibility. For SL2525 and SL2547

X Lead pipe - features standard large shank receiver with a straight taper designed for great flexibility. For SL2525 and SL2547.

B Leadpipe - features standard large shank receiver with a long venturi & slower taper designed for traditional response characteristics. For SL6262.

C Lead pipe - features standard large shank receiver with a short venturi and slower taper for added stability. For SL6262

D Lead pipe - features standard large shank receiver with a short venturi and quick taper for increased flexibility. For SL6262

88H; THE STORY

THE STORY of the C.G. Conn® 88H trombone ultimately begins in 1875 with the vision and determination of one man: Charles Gerard Conn (1844-1931). Born in upstate New York, C.G. Conn was a Civil War soldier and cornetist who, in 1875, founded a band instrument manufacturing company in the small town of Elkhart, Indiana. Though known primarily for his innovative cornets, Conn rapidly branched out into other brass instruments and by the turn of the century was producing many different styles of valve and slide trombones. Under Conn’s direction, his company grew to become the largest producer of trombones in the United States and earned a lasting reputation as “America’s trombone house.” In 1915, Carl Greenleaf purchased the C.G. Conn Company, renaming it C.G. Conn Ltd. Greenleaf soon
Began an aggressive research and development program which resulted in a wealth of new trombones and other instruments. Among these was the 8H, a .547˝ bore straight symphonic trombone available with an optional F attachment. In the 1940’s, responding to the more demanding role of low brass in contemporary symphonic literature, C.G. Conn Ltd. Began refining the 8H. With the assistance of “The Chief,” Dr. Emory Remington, Conn perfected this design and in 1954 introduced the Model 88H. This instrument, the definitive 88H, incorporated the features which are still recognized by trombonists everywhere: 8-1/2˝ thin wall rose brass bell, rose brass outer slides, and Remington taper mouthpiece and receiver.
The 88H rapidly gained popularity as a symphonic tenor trombone in ensembles favouring a heroic, robust lower brass section. Its unique tone colour and refusal to “break up” even at the most extreme dynamics made it one of the most widespread professional symphonic trombones in the United States and throughout much of Europe. The Conn 88H has remained in continuous production since its introduction, a record unequalled by any other American symphonic trombone. Tastes and musical requirements change, of course. Modern trombonists are routinely expected to perform literature that makes technical demands which were unheard-of when the 88H was introduced. Therefore, in the 1990’s United Musical Instruments (successor to C.G. Conn Ltd.) introduced a second generation of 88H: the 88H “GEN2.” Today’s Conn 88H GEN2 is available in open and closed wrap configurations; with standard rotor valve or Christian Lindberg CL2000 valve (patent pending); in four bell materials; with straight and dual bore slides; and with interchangeable lead pipes for both
Remington and standard taper mouthpiece shanks. These options, combined with other UMI improvements— such as tapered rotor bodies and bearings, mechanical linkages, and adjustable thumb levers — have made the Conn 88H GEN2 the choice of discriminating professional trombonists around the world. UMI has also introduced a new level of manufacturing sophistication to the 88H at its facility in Eastlake, Ohio, the proud home of the 88H GEN2 family. Today’s 88H GEN2 trombones are sophisticated and contemporary in every sense — but they continue to reflect the genius of C.G. Conn, Carl Greenleaf, Emory Remington, and the legions of players who have made the 88H a legend in the trombone
Community. The Conn 88H GEN2. A trombone with a future as bright as it’s past.



CG Conn; The History

C.G. Conn, the oldest continuous manufacturer of band instruments in America, literally gave birth to the U.S. band instrument manufacturing industry. Today, C.G. Conn encompasses some of the greatest names in musical instruments - C.G. Conn, King and Benge brass instruments, Artley and Armstrong woodwinds and Scherl & Roth strings. Always committed to serving the needs of students, music educators, amateurs, and professionals, C.G. Conn's storied history reflects a dedication for innovation and quest for the ultimate in design and craftsmanship - an industry leader in musical performance.
One Saturday night in 1873, Civil War veteran Charles Gerard Conn got involved in a brawl that resulted in a split lip. Not good news for a man who played cornet with the Elkhart, Indiana "Brick Brown Band." In order to get around this problem, Colonel Conn set out to perfect a special rubber-cushioned mouthpiece so he could continue playing. The new mouthpiece, which he later patented, caught the eye of other musicians. He made a few for his friends, but soon there was such a demand for his mouthpieces that he rigged up a lathe from an old sewing machine and began turning them out as fast as possible.
In 1875, a French musical instrument maker named Dupont stopped by the shop and asked if he might use Conn's bench to repair some horns. After watching him work for several days, Conn decided that he, too, could make a horn. In that same year, in a closet-size shop only 20 feet square, Col. Conn produced the first American-built cornet.
By 1879 the shop moved into larger quarters, and Conn began adding instruments to his line. In 1888, Colonel Conn brought 15 European instrument craftsmen to the United States and gave them the space, the tools and the incentive to make the finest instruments their skills would allow. Their expertise, teamed with the Colonel's ingenuity and ambition, soon produced instruments so exceptional that they were accorded highest honors in the 1893 World's Columbia Exposition in Chicago.
Twice the Conn plant burned to the ground. Twice it was rebuilt, bigger and better than before. Famous bandmasters and musicians visited the plant and personally endorsed "Conn Wonder Instruments." John Phillip Sousa, Patrick Gilmore, Herbert Clarke, Arthur Pryor, A. Liberati and others were frequent visitors.
Vaudeville was at its peak, and the theatres and music halls of Elkhart saw a steady procession of the finest bands and musicians of the day. All played the Colonel's instruments. Conn instruments - ornate and often jewelled - became world famous as Sousa and others toured Europe playing before kings, queens and czars.
The Colonel also loved strange and bizarre instruments. In 1907 he built an Immensaphone, the largest horn in the world. It measured 12 feet in diameter and 35 feet long. The Conn factory also built the world's largest drum, a slide tuba to make noises like a ship's warning whistle, tenor tubas for the jackass role in Strauss' Don Juan, and a saxophone for one-armed musician Al Miller.
Since the first American cornet in 1875, C.G. Conn continued producing "firsts" throughout its distinguished history: the first American saxophone, first double-bell euphonium, first sousaphone (built to the great Sousa's specifications), and a long list of many others.
In 1915, Colonel Conn sold the C.G. Conn Company to C.D. Greenleaf. Greenleaf, almost clairvoyantly, realized a need for the advancement of instrumental music in the schools. His foresight and energy continued to add to Conn's innovations. He was responsible for founding the first national school for band directors, first and only centre for the study of musical acoustics, first successful short action valves, first all-electronic organ and first fibreglass sousaphones, among other legendary advancements.
During World War II the Conn factory was completely converted to manufacture precision instruments for defence. Conn received four Army-Navy "E" Awards - the first given in the band instrument industry. During the Korean War part of the facilities was converted to defence production, and Conn achieved another record in precision manufacturing.
Many of today's most preferred instruments owe their original success to Conn's innovation. C.G. Conn French horns, for example, have been the horn of choice for the Hollywood film industry for most of the 20th Century. C.G. Conn Symphony Series trombones have a legendary place in the classical trombone world. Today's best trumpet players are discovering the break-through performance with Vintage One trumpets. These innovative designs, enhanced by superior craftsmanship and technological breakthroughs, have provided today's musicians with the superior instrument performance.
Building on the proven designs of the past, C.G. Conn continues to meet the demands of today's best musicians. As well, amateur and student musicians can enjoy the very best in instrument technology and performance with brass instruments and saxophones from C.G. Conn

We we're recently pleased to have the opportunity to put the RPO trumpet section in touch with the fine trumpet manufacturer Stomvi, with the result that the whole section now choose to play Stomvi Titan Bb and C trumpets. This new model from Stomvi is an absolute triumph. Finally they have produced a Bb trumpet that we think will become as poplular as their smaller trumpets. The Titan Bb Trumpet is a great all rounder with fantastic projection, intonation and playability. The C trumpet has great intonation to rival the new yamaha range. The tone though is more subtle and richer and I think this certainly attracted the RPO section to this model over and above the Yamaha Chicago C. If anyone wants any more info or to give this new range of trumpets a blow, give us a ring or pop along to the Brass shop in Chesham. I have posted an interview that we were fortunate to gain from this great trumpet section below.
click this link for our web sit for more info:
http://www.prozonemusic.com/brass/
ROYAL PHILHARMONIC ORCHESTRA TRUMPET SECTION TALKS TO WILL WATSON OF PROZONE MUSIC. Published in the Brass Herald.

Will Watson of Prozone Music recently managed to pin down Brian Thompson, Adam Wright, Mike Allen and Joe Atkins as they travelled off to Russia to talk about their hectic schedule, keeping their chops in shape, and their musical lives in London:

WW: Hi chaps. Thanks for taking the time to talk to me. You’re just on your way to Russia, one of the many trips abroad that you and the orchestra will be making this year. Do you enjoy touring?

ANSWER MA: Generally yes. The section get on really well and there's always a lot of banter. Good repertoire can really make a difference too. In Moscow the programmes will include Don Juan, Till Eulenspiegel and Also Sprach, so we'll all be pretty busy. Sometimes though we fly out, do a rehearsal and concert and fly home the same evening. That can be pretty exhausting.


WW: Do you think that the demands on the modern orchestral musician are higher these days, what with more travel, higher standards etc? How do you cope with the schedule and manage to stay on top of your game?

ANSWER: BT: It certainly can be very demanding – our recent schedule has been ridiculously busy with trips abroad and quite substantial repertoire. I think any professional musician has a very high “bottom line” and I don’t suppose that has really changed but rather the conditions we live in and have to work with have. A freelance orchestra such as ours needs to work abroad to make ends meet so with the ease of flying trips abroad become more frequent. We’re probably under an increased public glare these days too so that adds a little extra awareness of standards to keep up. Coping with the schedule needs a little care – you don’t have to practise too much since you are playing a lot but rather a little balanced practise keeps the playing ticking over nicely. We cope with the physically tiring side of it by keeping fit – many of us run and hit the gym on tour, this really helps you feel better by increasing your energy levels when otherwise you might just feel like sleeping. This becomes more obvious when you are away for a prolonged period as we were in January with our month-long USA tour.


WW: The RPO seems to be going from strength to strength. What do you think are the driving factors in the orchestras current success?

ANSWER: AW: I think there are several key factors, such as good management and excellent conductors (continuing next year with the arrival of Charles Dutoit as Musical Director). From a playing point of view one of the things the orchestra does particularly well is to slip into many different styles so easily and still maintain an amazingly high standard. We can be playing a Mahler Symphony one day, a Symphonic Rock concert the next, and then some Beethoven straight after that. This versatility makes us very employable in the rapidly changing music business, and attracts a lot of excellent players because of that variety.

WW: When you do have time off, how do you relax? Or is it just more gigs outside of the orchestra?

ANSWER: MA: I still have a job with the Birmingham Royal Ballet so managing both the RPO and the BRB largely rules out other work. As for relaxing, I love going on holiday with my family, usually to Florida (although you can't do that all the time unfortunately). My twin sons are both brass players, and getting to their concerts whenever I'm free is a real treat. The boys also love cricket and watching them play for their school team is brilliant, although I get so worked up sometimes it can't be good for the blood pressure!


WW: With its abundant gig schedule, the RPO has always had a very generous extra players list, giving valuable work to freelance and new players. Do you feel it is important to give young players fresh out of college a chance?

ANSWER BT: Absolutely. These are often the only chances available to young players other than auditions and they don’t occur too often. Most London orchestral players teach in various colleges too, and since we are all mates we are aware of who’s up and coming so it’s nice to watch successful students progress into the profession. We need to maintain a battery of extras too since we have the RPO Concert orchestra as well as filling the section for bigger programs and requiring appropriate subs for our days off.


WW: So getting brassy for a minute. Are there any strict routines any of you stick to in order to keep your chops in check?

ANSWER JA: I find that a concentrated warm up of about 30mins early in the day helps set the chops up for most challenges. Not that I’m compulsive about this, but my trumpet travels with me on foreign tours and even family holidays! Warming up is quality time but it’s also great to get it over and done with!
AW: I agree with Joe, but also find it important to vary my warm up according to the sort of things we are playing that day or week. I always start with the same lip flexibilities (which most of the orchestra could probably sing to you!) and then cover things that I’m not going to be doing in the repertoire. For example if we are doing a few Beethoven concerts I will make sure I do a little more on my high range to keep it ticking over, and conversely I will do a few more low, quiet exercises if we are doing some film or pop music.

WW: Recently you were invited to visit the Stomvi factory in Spain to choose instruments and are now Stomvi artists. Can you tell us a little bit about the trip?

ANSWER: MA: We had a great time at the Stomvi factory. Vicent (the owners son) showed us round the factory in Valencia and it was fascinating to see how bells were bent, leadpipes manufactured, valve blocks assembled etc. We had a long session testing out B flat and C trumpets (only interrupted by a fantastic lunch). Vincente (the owner) was very keen to listen to us and hear our thoughts. They have a great set up there. The instruments we chose are great and getting better the more we play them.


WW: You chose Stomvi Titan Bb and C trumpets, a new range from the manufacturer. Can you tell how us what characteristics you like and how they respond in the Orchestra?

ANSWER: AW: From a players point of view they are lovely trumpets. They are extremely well made, in tune, and very even over the whole range. There are also plenty of different bell and lead pipe combinations, which is great for us as we all prefer slightly different characteristics in our instruments. I use quite a large mouthpiece, so have gone for a larger lead pipe and find they match up really well, enabling me to blow freely whilst still giving plenty of security over the entire range. As a section we have found the biggest difference is that they blend together into a homogenous sound, rather than being four separate noises. As a result, playing as a section and blending with the orchestra as a whole becomes very easy.

WW: Traditionally, London trumpet sections have played Bb trumpets. Seemingly more and more are turning to C trumpets. Why do you think this is?

ANSWER: BT: I think the tradition of using Bb trumpets is still very strong in the UK, it produces a very distinctive sound that we relate to as the basis of our orchestral identity and I’m not convinced that C trumpets are fully established here as they are in America. Indeed if you study here you will almost certainly leave College with a very strong sense of Bb pitch. While this forms the basis of your mental skills it can also make it difficult for some people to relate fully to concert pitch or other transpositions and it requires substantial practise for this to feel natural. That said I think more and more Trumpet players are making use of these skills for a variety of reasons. Personally I find it very useful to be able to pick up a different trumpet to make a passage more approachable, make it easier to play and produce an appropriate sound. For example, I would use a C trumpet for a tricky modern piece where the part is written in C, it’s just easier, or for Mahler 5 where I prefer the slightly brighter sound in the louder passages. The Eb can get you out of a lot of trouble too in higher passages such as the solo in the final movement of Bartok’s Concerto for orchestra and the Trumpet feature in YPG. Playing Mozart in a chamber-sized band sounds better on a lighter instrument, Brahms and Beethoven sounds great on rotary trumpets so its important to consider the setting you are playing in too, making your choice of instrument for musical reasons.


WW: Do you think London brass players are being more influenced by the American or European brass sounds these days?

ANSWER: JA: Certainly we are becoming more aware of our counterparts across the globe, but it seems that we London players maintain our own style and are not influenced by what we hear elsewhere. It’s important that brass players adopt the individual style of their respective countries.

WW: I understand you are shortly to do a charity bike ride from Lands end to John ‘o Groats. Can you tell us about it, and how readers could get involved?

ANSWER: AW: As Brian mentioned a lot of us find keeping fit is an excellent way of coping with the hectic schedule we have, and there are quite a few keen cyclists in the Orchestra. We got talking a while ago and decided to give ourselves a bit of a challenge! There are eight of us going to be riding the 1000 miles up the country in August (10th-21st) and we are hoping to raise lots of money for Leonard Cheshire Disability to fund more of the amazing music projects they run. If anybody wants to find out more about the ride, or maybe sponsor us (please!) you can click onto www.justgiving.com/symphoniccycle

WW: Well good luck with the ride, enjoy Russia, and thanks again for stopping to chat.

Prozone Music News
August 2008-08-28


It’s been an exciting summer here at Prozone Music. We have not been idle and are very pleased to announce the launch of our new web site. You will now find four separate Zones on our new site http://www.prozonemusic.com/ Brass; woodwind; Strings and Percussion and Recordings. Each Zone works independently and the thought is that someone looking for a trumpet mute, won’t get lost in a sea of saxophone reeds! On the pro-side we still maintain our focus on the Brass Instrument and accessory catalogue but due to customer demand have branched out into other instruments and accessories, all at our usual great prices! We will over the coming months be increasing our features such as free downloads; ring tones and interviews with top pros, so keep logging on to find out what’s new.

On September 1st 2008 we will be opening a new music shop in Watford. It is located in a brand new centre for music in Watford and the surrounding area, “The Clarendon Muse”. The building is the new home of the Watford School of Music and the music department for Watford Boys Grammar School. Following our success in being awarded the tender to supply musical instruments to Hertfordshire County Council, we are pleased to open this great new resource for the music schools and surrounding community. In the shop we have 1000’s of sheet music titles and books; CD’s; instruments of all kinds from trumpets to violins to electric guitars! We will be offering VAT free purchasing through the assisted purchase scheme offered by Hertfordshire Music Service and also through Watford Grammar School for Boys. This means customers will be able to save the VAT on top of our usual discount prices. Please contact us for more details. The Address is; Prozone Music @ The Clarendon Muse. Watford Grammar School for Boys. Rickmansworth Road. Watford. WD18 7JF
We are also offering an instrument Rental Scheme. Prices start from £12 per month and all instruments are available. Contact us here at the shop in Chesham or down at the Clarendon Muse for more information.

With regard to the recording side of our business, Tom has been increasingly busy working with some of the country’s best bands, choirs, ensembles and session musicians. Recent clients include; Desford brass band, The Milnrow Brass Band, Bones Apart trombone quartet, The Camarilla Ensemble, The Korros Ensemble, Hertfordshire County Youth Orchestra……. The list goes on. For great deals on location or Studio recording please email or call: info@prozonemusic.com; 01494 776262.

Keep an eye out for our new product news and September Sale coming soon.