Can we talk about BAC-as-of-2020/2021?
Posted: Sat Sep 18, 2021 6:07 pm
I just had a visit at the factory to try out some custom slides and bell flares for a bell section they made for me back in late 2020. I dealt with Kevin, their main sales rep, and Bonnie, their main horn builder, and have nothing but good things to say.
They have cranked out some seriously killer horns and some others that are interesting and if nothing else still hold their own as “giggable” horns that serve as great tools for future innovations in trombone tech.
The following is my first direct, in-person experience with a trombone maker, and while it’s probably similar for many shops, I’m going to mostly point out things that caught my attention.
When I first got there I was given a tour of the factory, which has always been a dream of mine (to see a trombone factory in real life). I met the staff who, like any great craftsmen, were very discerning in their work, and spoke about it as such. Not that I know much of anything about horn building, but it was cool to see that they had notes and charts about past horn specs and were essentially using the scientific method to hone their craft.
I also learned that the late, great John Duda, who had made bells for Williams and Calicchio, taught their current bell maker how to spin bells for the last 4-5 years. The majority of the horns that came out of that shop in the last 5 years were spun by John on the original Williams mandrels, which should speak for itself.
While the staff were very meticulous, they’re also very open with the fact that every horn will always play at least slightly different from the next, even if the specs are identical. I also appreciate that they are willing to try new things and while they can hypothesize, they might not now how a combination will work in practice.
We tried so many combinations and Bonnie took notes the whole time based on what the horn was doing and what my preferences were. They had enough parts laying around the shop that the combinations felt endless, and if I really liked something specific, or if Bonnie or Kevin heard something special, we would keep that exact part for my build.
There were some combinations that sounded fine, others good, and a couple that were seriously amazing. I finally was able to make a horn’s sound match the sound concept in my head, all thanks to the BAC team. Building a boutique horn is expensive as hell but I can’t describe the feeling and result of finding a horn that just works.
I know some have mentioned that BAC is super flashy and that’s it; that they’re “all bark and no bite.” Maybe that was the case at one point, and sure I’m fangirling a little bit, but I’m super excited to see what BAC does in the future. They have a lot of awesome, consistent products with a well experienced and innovative team behind them. Believe it or not there’s stuff I’m leaving out too, but I’m happy to ramble on about more sciency/specs shit if you guys want.
*end happy rant*
They have cranked out some seriously killer horns and some others that are interesting and if nothing else still hold their own as “giggable” horns that serve as great tools for future innovations in trombone tech.
The following is my first direct, in-person experience with a trombone maker, and while it’s probably similar for many shops, I’m going to mostly point out things that caught my attention.
When I first got there I was given a tour of the factory, which has always been a dream of mine (to see a trombone factory in real life). I met the staff who, like any great craftsmen, were very discerning in their work, and spoke about it as such. Not that I know much of anything about horn building, but it was cool to see that they had notes and charts about past horn specs and were essentially using the scientific method to hone their craft.
I also learned that the late, great John Duda, who had made bells for Williams and Calicchio, taught their current bell maker how to spin bells for the last 4-5 years. The majority of the horns that came out of that shop in the last 5 years were spun by John on the original Williams mandrels, which should speak for itself.
While the staff were very meticulous, they’re also very open with the fact that every horn will always play at least slightly different from the next, even if the specs are identical. I also appreciate that they are willing to try new things and while they can hypothesize, they might not now how a combination will work in practice.
We tried so many combinations and Bonnie took notes the whole time based on what the horn was doing and what my preferences were. They had enough parts laying around the shop that the combinations felt endless, and if I really liked something specific, or if Bonnie or Kevin heard something special, we would keep that exact part for my build.
There were some combinations that sounded fine, others good, and a couple that were seriously amazing. I finally was able to make a horn’s sound match the sound concept in my head, all thanks to the BAC team. Building a boutique horn is expensive as hell but I can’t describe the feeling and result of finding a horn that just works.
I know some have mentioned that BAC is super flashy and that’s it; that they’re “all bark and no bite.” Maybe that was the case at one point, and sure I’m fangirling a little bit, but I’m super excited to see what BAC does in the future. They have a lot of awesome, consistent products with a well experienced and innovative team behind them. Believe it or not there’s stuff I’m leaving out too, but I’m happy to ramble on about more sciency/specs shit if you guys want.
*end happy rant*