I agree with much of what Harrison wrote. Purely from my own perspective and opinion, FWIW, I would clarify and add the following:
harrisonreed wrote: ↑Mon Dec 07, 2020 12:23 am
The Alessi 396 model is also excellent. I'm glad that Joseph Alessi did all of the play testing so that I didn't have to. I never would have come up with that.
Harrison is referring to the Alessi model designed and built by Edwards, the instrument with the harmonic brace and pillars made of different shapes and alloys. (This is different from the current Alessi model made by S.E. Shires.) Edwards states, and many attest, that the pillars and their placement significantly change the response (feel), the player’s sense of sound (behind the bell), and the audience’s perception of sound (in front of the bell). Others who play this particular model state that the harmonic pillars change the response and sound, but they play the horn without the pillars. The fact that numerous professionals adopted the horn shortly after it was introduced and continue to play it speaks volumes.
harrisonreed wrote: ↑Mon Dec 07, 2020 12:23 am
The pure custom trombones that deviate from the incredible amount of research that Conn or Bach did in the past are generally not good. Again, who knows how many versions of the Alessi horn were made before Joe settled on it. That is a tested design that I would put alongside the 88H or 42B in terms of research that went into it, especially when you consider that they were taking a lot of design elements straight off Bach designs.
A detail here: I think it worthwhile noting in this discussion that many of Edwards’s early designs originated from Steven Shires, who later went on to found S.E. Shires trombones. Additionally, the 396 retained some elements of the Edwards designs, along with design elements from Bach trombones and Conn trombones. Example: the 396 bell is a two-piece bell with an unsoldered bead, much like a Conn bell, but has a design and manufacturing process that is intended to mimic a one-piece bell with a soldered bead, like a Bach bell. It also has proprietary elements to it. It’s not a hybrid, but its own unique design that tends to respond in a particular way, i.e., a response that Joe Alessi wanted at the time.
harrisonreed wrote: ↑Mon Dec 07, 2020 12:23 am
Sure, materials make a difference. I don't think they change the sound, but they change the feedback to the player, and that changes the way the player approaches their input, which changes the sound. So in that sense they can create feedback loops.
Harrison’s point here is spot on: everything about a horn makes a difference. Changes in the instrument affect the overall response and therefore the sound. In a sense, it really makes no difference whether it’s a gold brass or yellow brass bell, for example. What’s more important is how the player responds to that bell. The placebo effect is real.
Another important point made by Harrison I would like to emphasize: Conn, Bach, Edwards, Shires, Yamaha, and all other makers put research and development into their models. They’ve tried many of the different combinations, and produce instruments that will satisfy most players in most conditions. They’ve already done the work. Does that mean that the more exotic or unusual elements and combinations shouldn’t be tried? Absolutely not. They will work for some people who want a particular sound, or whose playing abilities are helped by a particular alloy. Just bear in mind that a blend of nickel, copper and gold brass, while producing a unique and beautiful sound, might not produce a sound that blends well in a section of more standard combinations of alloys.
My apologies for the overlong post...
On my Shires basses, I have two different bells (1 gold brass, 1 yellow brass). At one point, I had three tuning slides: gold brass C taper, yellow brass C taper, and the Bollinger tuning slide, which has a yellow crook that I seem to remember being very much like their C taper but with a yellow small tuning slide leg instead of nickel. The tuning slides feel different to me and sound different to me and others when I switch them around. I use the gold brass C with my yellow (BII 1Y) bell. I use the Bollinger with the gold brass bell (B1 2G cut bell). The Bollinger TS with the yellow brass bell works pretty well, but I prefer the gold brass tuning slide by a narrow margin. I didn't like the yellow brass C tuning slide with the yellow bell (too snarly), but thought it was decent with the gold brass bell; the Bollinger is better with that bell. The gold brass tuning slide with the gold brass bell is my least favorite combo.
