TromboneChat

I've got a problem. Too many bones. I excuse it by saying that each one has a different role in my musical existence. One for big band lead, one for big band 3rd parts, one for 4th. Another for tbone quartet bass, quartet harmony, quartet lead. Maybe another for church gigs, one for drunk marching on Mardis Gras, another for playing Rochut, another for the imaginary times when I sub for Urbie Green. One for orchestral lead. Another for trombone choir. Another just to feel that familiar Conn hum. How many is that?

At a quintet masterclass I one time asked the trombone player in a pro touring quintet if she played the same setup when she subbed with the Boston Symph. "Same setup" she said - big 547 horn and mouthpiece. I can't criticize someone with that kind of success, but I feel differently about it.

Do you have this problem too? How many different bones for different purposes do you have? Valid practice or not valid?

actual line up:

Pbone mini blue - messing around, playing by ear, drunk parades...
Conn 24h 1929 - cheat code for super high notes, lead in big band
Olds Recording 1954 - Turkey Trot Thanksgiving Day race accompaniment
Getzen 3508r - more legit sounding small bore needs, whatever that means
Benge 175F - brighter sound in quintet to keep from plowing over the F horn
Conn 88h 1968 547 and 525 slides - any unspecified trombone needs
Conn 8h 1958 - orchestral lead
King 1480 1961 - 4th in big band (have Eb extension)
King Duo Gravis - when big band needs a real bass (moded to indy valves)
Conn 62hi (**for sale**) - tbone quartet bass

VALVES -
Olds Compact Valve Bone - campfire horn
Wessex Festivo Euphonium - fake tuba, and for playing while sitting in the recliner
Olds O-99 3v tuba - real tuba

Disclaimer: I'm a freelancer in my city doing anything involving low brass. I'm not headlining stages all across the country with "insert famous person" or playing principal with "insert big orchestra", but I've got some thoughts.

If I ABSOLUTELY NEEDED TO, I could do most of my stuff on a .547. I'm a school teacher by day, and don't have a ton of time to practice. I also like to buy and try new horns and see how they stack up against what I currently have.

I currently have:
1. King 3BF SS with 2B+ slide - Pop gigs/Musicals that don't need a ton of low things, pep band type things, and Chairs 1-3 in a big band.
2. JLandress Bach 36 Nickle bell horn with 36 slide - Misc. gigs where I function more as the low end in a horn section, IE if I'm paired up with an alto and trumpet. I've also used this for Principal trombone work if it's a bigger blow for extended periods of time.
3. Kanstul 1588 overhauled by Sweeney Brass - Symphony/Classical Work
4. Shires Q36 Bass - Anytime someone needs me to play bass trombone
5. Custom Alto - Because I had money and am apparently the only person locally who plays alto *shrug*
6. King Flugabone - I had some money and really dig what Ray Mason is doing with the flugabone/party horn scene.
7. Conn Bass Trumpet - Again, had some money, and wanted to do some things with a local trumpet group
8. Yamaha/Holton Euph - I play in some german tuba/euph groups and just wanted something to play around with
9. Bach/Olds 99 Tuba - Same as the Euph, I also use this for some community groups when they have too many trombones
10. An old Holton Sousaphone that I snagged from a local school for $500 for the occasional 2nd line gig, and I play in a goofy tuba santa quartet that has paid off this horn thrice over.
11. Conn 38B "Connstellation" - Trumpet Lessons/Pep band at a school where I help direct.

I'm sure I've got a student horn lying around for the occasional bar gig that I know will get rowdy. The only ones I don't use super frequently is the Flugabone, Bass Trumpet, and Alto, but they all get their uses at some point, and they're fun to fart around in my apartment.

I’m a straight up novice that plays in my house cause the day job takes way to much time and severely impacts my practice time!

I do plan to get back into community and jazz bands one of these years when the work schedule eases up a bit, that being said, I’ve had a lot of horns, and sold/traded a lot…

For me, I feel that there is plenty of reason to have a different horn for different needs, just like a boxed end, opened ended, pipe, ratchet, step, etc…wrench, all different tools for different jobs, or different brushes for different colors if you may.

Although, recently I’ve scaled back a bit…and that’s mainly due to the aforementioned lack of practice time. For me…bass, small bore, and large bore all require a different approach and I just can’t cover all of it.

So I have different .547s for different thing…what can I say…just want a few of em…

1. King 4BF HN White era: love this horn on anything Latin, Jazz or Swing

2. Conn 88H Elkhart Era: this one is for concert, community, traditional music and boy does it sound beautiful.

3. Shires large bore: I’ll be building up one of these to bridge the gap, and to have something modular if I choose to go with a straight horn.

I’m under no lofty illusions regarding my playing. I’ll be solid 2nd/3rd player and this is where I love to play, and let’s just say, the day job gives me enough stress!

All my instruments have different uses (note: amateur player):

1. Conn 6H — upper chair big band and the occasional hits band gig. Can use for Dixieland, but no opportunity yet.

2. Conn 78H Special — big band 3rd, and could be nice for principal in concert band if that need ever arises (highly unlikely, see below...).

3. Holton 168 — for most legit opportunities. Nowadays, this is my least played trombone.

4. Getzen 1052FD — for all bass trombone needs, which for me are all big band.

5. Wessex Tubas Bombino — Eb tuba; used in quintet, Dixieland, Tuba Christmas and Octubafest, and in community band when there's another tubist. Also for the occasional jazz chart that calls for tuba.

6. F Schmidt (really B & S) 2103 — BBb tuba; for the big stuff and when I'm the only tuba in concert band.

Tuba takes up most of my time for concert band settings; I haven't played concert band trombone since 2022 (and concert band bass bone since 2009).

7. JP 274 mk II — euphonium; haven't had an opportunity to use it yet, but just in case... Similar uses to the Bombino.

8. King 613 alto sax — for noodling on at home.

Don't need, but certainly want:

A true small bore, like a Conn 24H, for lead playing in a vintage style big band.

A contrabass trombone, which would be used for the Grinch and trombone choir.

A Helicon.

I wish (very honestly) that I could be one of those people that uses the same horn for everything. Obviously that's not very viable as a doubler, which is my excuse.

I'm down to 3 horns that I use on 3rd trombone at work. Well, make that 4. Or 5. Or 6? I need to check... (I checked- turns out I got scammed and one 3BF will never be coming my way!) .500 through .525, all with F attachment. I usually use the Yamaha .500 though.

My M&W has ruined most of my other basses for me, and I actually only have that one left as a fully functioning horn at the moment. It does everything well but it's definitely more orchestral- coded. Projects are incoming...

I have 3 large bores. Y-fort is my travel and most-use-cases instrument, it's the easiest to play and easiest to deal with generally. It's been all over the country and a couple other countries already since it's so easy to pack. I have an amazing 42 with Ultra valve that is a perfect 2nd trombone for orchestral work, and now my dependent double 42T2 for...?

Other than that, obviously there are one-use instruments to cover the rest of the bases like contra, tuba, euph, etc. I only need one of each of those.

Amateur, but I only have one horn of each type.

QAlessi alto that I'm actually hoping to use in some quartet arrangements I'm working on for fall in a local community group.

Q33 small bore tenor that I really like, but I honestly haven't really played in a group yet. At least I got it pretty cheap.

Conn 88H SGX that I'm hoping to use in those quartet arrangements as well.

Bach 50T3 that I've played in community jazz band, orchestra, and concert band that's my home base.

My collection has tons of non-trombones, too, but across those I also only have one in each category except cases where the second is so cheap that I don't bother selling it. I guess I don't feel the need to specialize them that much when I already have way too many types of instruments.

Do I have more trombones than I need? Sure. But the 6 mellophones are probably the bigger concern...

Finetales wrote: Sat May 23, 2026 5:04 pm Do I have more trombones than I need? Sure. But the 6 mellophones are probably the bigger concern...

Yeah, I think you get an automatic lifetime exemption from any discussion about too many horns. We have video evidence. We love it though, keep making those videos.

My most common ones ends up being the following
- Yamaha YSL-548 for concert band, orchestra, brass quintet, etc.
- Conn 18H director for trombones 1-3 in jazz band, and for commercial music, also is the beater horn
- Reynolds Contempora someone shoved two valves on for anything that needs a bass
- Getzen Capri trumpet

I haven't had to use the following recently, but if I need to use them they are what I plan to use:
- Olds 099-4 Tuba
- King single F horn
- Yamaha YEP-321 euphonium

The following I keep around for novelty reasons:
- Elkhorn by Getzen valve trombone
- Mendini which is pretty much destroyed
- Conn 16E mellophonium
- Getzen Frumpet

The following I am determining the fate of:
- King "American Standard" (redundant with the 18H)
- Reynolds Contempora single bass that plays good but is redundant with the other bass
- Artley flute
- Conn 50H which is taped together
- Reynolds Emperor bellfront baritone

Future investments may take the form of a double horn, or a Conn 6H or 10H. However, this stable's pretty much all I need.

Amateur player here in much the same boat as some others have mentioned… work and work travel schedule is just too unpredictable to settle into a regular group and moving recently has taken me away from the occasional rehearsal sub gig. Having a stable of horns with different voices and history has kept me motivated to practice in the midst of a lot of change though:

Yamaha 697Z: doesn’t come out often enough. Played this one on lead throughout college big band and for quite a while was the only horn I held on to. Too nice to let go, and every time it comes out I’m reminded why I held on tight.

Olds P-16: cheap eBay thrills — particularly bummed to have moved away from my old group as this one’s just begging to play next to the lead on his Urbie. I’ve had this one for about 9 months and it’s staying on the stand for near daily big band chart practice.

HN White 3B (1961): I’m told this one came from DJ way back. Gets some use in a rocksteady/early ska project a work buddy is putting together. A blast to play along with that Kai Winding “Soul Surfin’” LP… before the P-16, the daily practice driver.

6H (1956): always when the rehearsal band played the Kenton book, always on 2nd or 3rd. Always fun to play.

8H (1955): on the stand right now, bought a few years ago as penance for the unbelievable 88H that I let get away late in high school. Just plugged in an O’Malley/Brassark Minick pipe and it plays itself… having fun practicing etudes again!

70H (1952): bought as a basket case dumpster fire pile of parts from Quinn’s garage sale when I had more paycheck than sense. This one deserves a full write-up someday but received new inner tubes and a GR pipe from MK drawing and a lot of dent removal and a 62H crook at the shop up the road from me in Germany. Came out for the Kenton book the handful of times I subbed bass in the rehearsal band.

Minick TR-180: something to aspire to. One day I can proudly leave the house with this one. Not today. Not tomorrow.

Coolwind & Pbone plastic bones… cheap thrills for 3D printing projects. Working on a very compact folded tenor for travel practice… perhaps worthy of a write-up some day.

For me at least, I suppose it all boils down to always having something to be very excited about playing.

I have three trombones.

Alto, tenor, small tenor.

I keep having to borrow basses, too. I think if you need more than one of the main "flavors" of trombone (eg, two different kinds of alto, or two different large tenors), you're either wicked specialized in what you do, you've picked horns that are too specialized, you just want to collect horns, or you could use more faith in your own sound.

Finetales wrote: Sat May 23, 2026 5:04 pmBut the 6 mellophones are probably the bigger concern...

Particularly when they form a pack and start roaming the neighborhood making French horns uncomfortable.

I have a very large collection, so I won't list them. I use one bass trombone (Olds P-24G with an open-wrap mod) for concert band and orchestral playing. I have a rotation of about 6 symphonic tenors and "tweeners" that I take to Bones West rehearsals (playing fourth trombone in a 5-6 part choir). That's pretty much all of my playing these days, with the occasional "one time" thing where I get to use something else thrown in here and there.

Martin Urbie Green for everything that requires a small bore.

Adams TB1 for everything that requires a large bore.

Gaudet TRBB for everything that requires a bass.

And that's enough.
Well, I would love another small bore just to have a choice. And a medium bore when I don't need the Adams cannon (Rath Andy Hunter). And a more commercial bass.

I’m a freelancer, teacher and whatnot of trombone playing services provider, along with everything that mosaiques up to musical sustenanace.

I have 8 horns, which I all use to a lesser or higher degree.

Shires alto for - ehm - alto stuff.
Shires 0.500 for a great many things.
Yamaha 697 (no z) for small group jazz.
Bach LT16 mostly for backup and small ensemble playing.
King 3B; until I can replace the worn out slide I use this only when teaching (literally all King slides I have tried have been a horrible match for this horn, so I’m thinking I should have a custom slide made by someone else for it - but I haven’t got around to it just yet).
King 3BF for orchestral work in whatever context (I have yet to be asked to play something bigger, because I would want an excuse to buy a large bore).
Yamaha 421 for orchestral work when suitable (the linkage is modded, but right now the valve needs to be fixed and I have a plan on modding it to open wrap for balancing reasons).
Conn 62 for the majority of bass trombone work in whatever context (it’s a prototype with CL valves, and a joy to play, though I have to adjust the linkage and change paddle springs since they are worn).

I also have a pretty good Olds trumpet, but I decline any actual work on it, and I try to leave trumpet students to the actual trumpet teachers.

I think, we used to have this kind of discussion pretty regularly at some point in this forum.

My observations in the professional scene are as followed: Once you have a steady contract/job/position (e.g. symphony orchestra, pit shows, big band) you will get along with an absolute minimum of instruments. You really just need the instrument that you need for the job. So in a symphony orchestra that might be a large tenor and an alto. That's it. In some cases the orchestra has acquired a full trombone set of historic/german trombones if they want that sound but not all of them. So as an individual in that position you need two instruments. With a pit orchestra/Broadway shows you'll be fine with an f-att. medium bore and a bass trombone and can cover mostly anything that will come your way. Bigband you'll just need a small bore tenor and nothing else.

If you're freelancing in a certain scene (e.g. just classical music, just jazz) you'll be fine as well with just two horns. But if you want or need a bigger diversity in your portfolio to get more jobs, it is great to extend your arsenal if you can afford it. People keep forgetting that not everyone is able to afford 5 or more horns or doesn't have the storage for those at home.

I would describe myself as a very versatile player, so I tend to have too much equipment for the famous "in case of" gigs. Out of those I'll use frequently:

Williams 6 - bigband lead or 2nd tb, sometimes combo jazz, also sometimes with NDR Bigband to match the other Williams horns in the section

Lätzsch .508 bore - my main instrument for years, mostly my choice for combo jazz, my own projects and horn section.
--
Williams 8 - maybe my favorite instrument, the lack of an att. prevents it from being used all the time. Mostly for bigband 3rd, match Williams section at NDR, combo jazz or some pit musical shows.
--
Conn 88H Elkhart - my main large bore, use it for all kinds of classical music and some more symphonic pit musical shows.
--
King Duo Gravis - my main bass trombone, usually for bigband or pit musical shows.


All the other horns I own basically don't get played at all and are those special "in case of" horns:

Thomann Alto - just messing around a bit, in case I have to use it for a gig at some point (played twice in public in concerts)

Conn 24H - vacation horn (played once in public at a pop musical show)

King 3BF Silversonic - thought it would make life easier for me on some pop gigs or musical shows, but didn't (played about 5 times in public on gigs/shows)

Conn 78H SPEC - somewhat attached to this horn although it wasn't in playable condition for years. Now it finally is, but haven't played it in public yet. Just practice on it every now and then

Y-Fort Large Bore - back up / travel large bore. Do I need it? Probably not. But nice to have and my only cut bell horn (played about 7 times in public on shows/concerts)

Edwards Bass - classical bass trombone, in case I get a classical btb gig. I used to have gigs on it in my teens when I played btb as my primary instrument. Nowadays it doesn't get used at all and just functions as a back up (used to be played a lot, but doesn't get played at all anymore)

Writing all of this down, I guess I could get rid of some horns that I haven't played in ages and I probably won't play anymore as that's just not my portfolio anymore. But who knows...

I've learned that I have 2 sides to my trombone life. One is the performing/teaching side of things and the other is trombone has a hobby.

98% of the things I do is on my King 3bf or 3b. I prefer the straight 3b, but spend most of my time on the 3bf.

I also have a 79h and Kanstul 1585 (bass) and those have specific uses in my arsenal. Anything else that I decide to buy and sell outside of those 4 horns are strictly toys that scratch my hobby itch. I rarely keep those instruments, but a friend of mine once told me that trombones are cheap, so if you look at it from a ratio of value to enjoyment, buying a sub $2000 instrument to have fun on isn't such a crazy idea, especially if you can get (most) of your money back. And in all honesty, most of the horns I buy for myself are below $1200.

Right now I`m down a number of horns (on purpose)
I have 4 small Tenors - Bach 1940 16, Bach 12 with Bach 8G Bell, King 3B and a 1953 Conn 32H, depends on the work and my mood.
I use these for most of my small ensemble and Big Band and Church work
a Mount Vernon Bach Lt36. Quintet and some 1st Orchestral work
Bach 42BO - Orchestral work and some 3rd orchestral playing
Bach 50B3 - ya know

I suppose I could trim down to just the 88h and a bass, and cover exactly the gigs that I cover now. I played the 88h exclusively until I was maybe 40. I have a friend who just plays on a Yamaha straight large bore.

I don't have any expensive instruments, and the only one I bought new is a Wessex. For the cost of one brand new trombone (say $5k), I have a whole fleet of stuff that plays great, some customized.

I'm not a full-time pro. I'm retired, and make enough money playing to support the habit.

Here goes:
Street parades/samba - Olds Special, Mick Rath added a counterweight for me.
Soul band - Rath R10. Number 15 from the production line. British brass band first chair, as and when.
Big band - King 3B+ with F. Third chair. British brass band as and when.
Olds recording - Originally for soul band.
King 2b - valve trombone. Not much use. Bought out of curiosity.
King 4b - limited use in community wind band.
Pink pBone - for cheap novelty effects

I think it's probably time we heard from @blast on the topic of multiple horns...

On the topic of specialized horns required by an orchestra --

Don't orchestras worth their weight generally supply such specialized instruments if required beyond the standard trombone that the employees auditioned on?

I thought I heard that Boston had a museum of German and historic instruments for such a purpose. And I thought Vienna supplied required horns (didn't they switch back and forth because of Bousfield and his Yamaha?)

The current stable of trombones that are found mostly on the peg at home these days:

Small tenors:
Yamaha 354 - beater
1966 Conn 6h "Mr. Pikal" - Lead axe with a really interesting story. The former owner made an appearance on the tonight show way back in the day and ran a polka band for decades up in Minnesota.
1960s' silversonic 3bf - A DJ Kennedy collection horn. This is one of the ones that have been "matched" with a different slide. Both parts are from the 60s though. Monster 3rd bone.

Large bore tenor:
1980s Bach 42b - Found this one in a storage shed with a slide that kinda looked like a banana. Was an ex military horn that somehow ended up there.
Early 2000s 42t - Don't sleep on the early 2000s bachs. It's probably the best horn in this list.

Bass:
2000s holton 183 with second valve - This horn is a John Sandhagen custom with newer 3d printed valve cores done by Pete Edwards in Pennsylvania. What a monster in the 4th chair.

2000s Bach 50t3 - The horn built to destroy anything in front of it. With respect of course.

Edit: I was a way more successful in buying and selling horn than I originally thought, so the stable has grown accordingly

I’m planning on getting down to one or two trombones and a flugabone. After hearing the Mnozil brass live, I had to wonder if one really needs more than one horn for different styles. They do everything on large bore horns, and sound great.

OK… I’ll play…

I used to be a full time touring and session player. I still do quite a bit of freelance work and perform in a few regional symphony orchestras and big bands around the area. Here is my herd:

Small tenor - (horn I use the most) - Voigt Brass JV-27 .500 bore
Bass trombone - (use almost the same) - Voigt Brass JV-163
Large tenor - (moderate use) - Voigt Brass JV-188FGX
Alto - (rarely used) - Voigt Brass JV-711R
Contra - (played daily, but rarely on a gig) - Voigt Brass JV-470
Soprano - (in the case) - Jupiter
Piccolo - (great decoration) - Wessex
Valve - (used when then sound is needed) - King 2B

Valved Instruments

Tuba (play quite a bit) - Miraphone 282 Bb
Euphonium - Wessex Festivo
Trumpet - Bach 37
Flugelhorn - Conn (1920)
Cornet - Getzen 3850
Tenor Horn - Mirafone 47L
Bass Trumpet - Holton (1928)

Other Instruments

Electric Bass - G&L Jazz Bass
Bass Clarinet - Jupiter

Stephens double valve bass trombone for every day. I find myself using a small stable of different mouthpieces that are easy to switch between - sections with alto, 3rd tenor-type pieces, extreme low register demands, etc., but I definitely have one go-to that I can do anything I need to on, if not necessarily optimally.

A Stephens single valve bass is coming soon, which I will use in orchestras whenever I can.

Conn 70H for small orchestra, choral works, sections with alto depending on repertoire.

Bach 42B for tenor.

That's it. I totally sympathize with the player the OP refers to (who I know). To play at a high professional level - and keep getting called back as a freelancer! - you have to know your instrument(s) really, really well, and it helps to keep changes small and manageable.

I have, admittedly, too many trombones. Right now I'm playing mostly bass, and yes, I do use different horns for different repertoire. For most stuff, I use my YBL-830, which for me I think works well and sounds good for just about everything. I did just pick up a Gold Brass tuning slide for it, trying to "tame" the edge it has a bit.

For when I am tasked with getting the darkest sound possible with loudness but as little edge as possible, YBL-822G, because apparently I'm supposed to sound like a french horn or something when playing the Ravel Arrangement of Pictures.

Playing kind of semi-professionally, but really almost only for my own enjoyment. One of my biggest things is to play in very different settings. Plus I have two practice locations and am too lazy to always carry instruments from one to the other. So I have some duplicates. Most instruments bought used at some point.

Conn 35h and Kanstul altos: Whenever I need an alto (surprise...), next thing coming up in the summer
Conn 100h: Mostly for lead and 2nd in bigbands
Minick smallbore: Definitely my most special smallbore, any bigband/jazz situation, but I don't like to take it in every situation
Conn 6h: Mostly 3rd in bigbands/jazz
Early (don't know the exact year currently) 88h, modern 88ht, 88htg/Greenhoe valve: Any large bore/orchestral and ensemble settings. They are somewhat close obviously, but still have different characters, so I do have preferences for specific settings
Original Greenhoe TIS bass and modified Conn 60h/62h: Whenever I need a bass trombone, obviously
Slightly modified Conn 112h: I keep this one because it is better than most people think and my only independent bass trombone
Conn 70h: Whenever it suits the setting and I can live with a singla valve. Love playing it
One-off/individually built contra: Have played this more than expected in the last 7/8 months. Waiting for the ring and alpine symphony again
Besson intermediate euphonium: Whenever I need it
Weril euphonium: Whenever my sons want to play it
Conn bass trumpet: Great fun, maybe some jazz, maybe some orchestra stuff at some point

Over the last years after some trial and error I decided against using medium bores. I didn't enjoy the ones I tried and going into the more expensive options (M&W, Rath, German brands etc.) would be a rabbithole.

tbonesullivan wrote: Tue May 26, 2026 9:10 pm For when I am tasked with getting the darkest sound possible with loudness but as little edge as possible, YBL-822G, because apparently I'm supposed to sound like a french horn or something when playing the Ravel Arrangement of Pictures.

Someone better tell Les Siecles they've got it all wrong.

S

I don't play to make my entire living, but I do freelance professionally. Being a person who enjoys Yamaha horns has allowed me to dial in some specific setups in a much more economical way than having all these tools made by one of the boutique makers.

Also - it's not easy to explain...but I do find some very tangible playing similarities between all of these horns. This really seems to really help when, for example, I have to get ready for my first small bore job in a couple months without having had the time in the interim to maintain my doubles like a full-time player might. It feels easy to start sounding good faster in such a scenario and that helps me be successful given the part-time nature of my playing career.

YSL-691 - can sound pretty wild & aggressive when I want in both tone & attacks. Used primarily in live settings with some rock, R&B, ska & reggae bands.

YSL-891Z - small bore applications where a more tame & refined sound (in comparison to the 691 anyway) is needed. I do a lot of pit jobs with this one. The 891Z bell section with the nickel 691 slide is a combo I am starting to explore more.

YSL-640 - very versatile - used for lots of pit work, playing the 2nd (of two) trombone parts in a busy 12-piece dance band, also works great on 3rd in big band. I think it'd be even better with a 8" bell.

YSL-882 w/stock slide - my main large bore, the best Xeno in my opinion. Go-to for upper parts in orchestra or wind ensemble, quintet and pit jobs where a bigger sound is appropriate.

YSL-882 w/882OR slide - a very nice option to have with the 882 bell section. Switches on a wider & darker default sound. I like this for playing 2nd in orchestra.

YBL-620G w/custom slide - my daily driver for what I get called for the most (big band & pit work). Versatile, colorful & compact (but not small) sound. I have been meaning to make a post about the slide I had built and the "problems" it solved for me. Basically, the stock featherweight nickel slide wasn't helping with projection and the sound redlined way earlier than I wanted. Adding some weight to the slide made this a truly wonderful horn with a much more balanced sound profile. Major improvement in core & projection. I still have the nickel slide for occasions with low volume requirements, but rarely use it.

YBL-613H - orchestra jobs or anywhere a bigger & darker sound is called for.

YEP-321 - replaced the leadpipe & receiver assembly with one from the 6## series horn. Did this primary to get a large shank receiver to open up more mouthpiece options but that also took this horn from good to GREAT.

Mahillion 390 - still getting my sea legs on tuba, but I really enjoy this instrument.

sf105 wrote: Wed May 27, 2026 10:20 amSomeone better tell Les Siecles they've got it all wrong.

S

I can only imagine what it must have sounded like on small bore horns. Even the Boston Symphony must have been using fairly small trombones back then compared to today. The Bach 36 came out in 1932, so I would think most of what was used when the arrangement was first made were "pea shooters". The orchestras were all still using mostly gut strings on the violins back then. I think it was post WWII that gut really fell out of favor with the introduction of synthetic alternatives.

Something I’ve noticed: The player can tell the difference between horns, a majority of those listening can’t tell the difference, like trumpet, cornet, flugelhorn all sound the same to them. Attended a brass concert, big discussion behind me looking thru the program….Euphonium, what’s a euphonium, I never heard of that instrument. Oh it sounds like a trombone! Or why do the trombones all look different, but they all sound the same?
Yes, there are some that notice differences, but they appear to be a minority.

Feedback I get, my horns are appreciated, even though they don’t know the difference between a euphonium and a French horn. Trumpet and trombone are familiar to most, but that curly horn or big horn need some explanation. I’ll politely explain which horn is which, and answer questions. If they’re enjoying what they hear, that’s ok by me.

Side note. Trumpet playing grandson also plays bass guitar in our group. He can identify various guitar brands just hearing them. For me, effects sound different based on players settings and styles, but one brand sounds the same to me overall as another. Must be years of focusing on brass only while listening to music.

BrassSection wrote: Thu May 28, 2026 3:36 pm ...
Feedback I get, my horns are appreciated, even though they don’t know the difference between a euphonium and a French horn. Trumpet and trombone are familiar to most, but that curly horn or big horn need some explanation. I’ll politely explain which horn is which, and answer questions. If they’re enjoying what they hear, that’s ok by me....

Yeah, but a lot of the audience can't distinguish intonation or timing, but we're not going to abandon those things. I played big band bass last night on a 525 bore - it had plenty of bite. The other bones were all sub-500 bore. In my view we had a more characteristic sound than a section of 547s. So especially if it doesn't matter to anyone else, I'll select a horn to suit myself.

tbonesullivan wrote: Wed May 27, 2026 1:47 pm

sf105 wrote: Wed May 27, 2026 10:20 amSomeone better tell Les Siecles they've got it all wrong.

S

I can only imagine what it must have sounded like on small bore horns. Even the Boston Symphony must have been using fairly small trombones back then compared to today. The Bach 36 came out in 1932, so I would think most of what was used when the arrangement was first made were "pea shooters". The orchestras were all still using mostly gut strings on the violins back then. I think it was post WWII that gut really fell out of favor with the introduction of synthetic alternatives.

Probably closer to what Berlioz (who knew a thing or two) intended. Having tried smaller horns (and heard a couple of the period bands) it's so much easier to fit in. Letting rip where required cuts through rather than trashing the back violas, especially on those pedal notes.

A big revelation for me was hearing The Age of Enlightenment doing Saint-Seans with a 19C British line-up, including low-F trumpets. There was a coherence I hadn't heard before, and it made the point without pinning everyone to their seats.

For the day I wise up, and move back to a populated place:

Early Bach Corp 50, upgraded with independent instrument innovations valves, Hoelle copper tuning slide, Close sterling silver leadpipe, and smoking Long Island Brass MP: For a big, orchestral sound;

Kind Duo Gravis, now cued up for repair by Scott Sweeeney: For big band (my favorite genre);

Bach Corporation 42B, which went from meh to exceptional from a Sweeney rebuid: All-around tenor playing;

Early Bach Corp straight 36: I will sell this horn, I have no logical use for it;

Olds Standard, it smokes, and for a fraction of the price of its former rivals, a MV 16, and a King 2B SS: For 1st and 2nd parts in a big band.

As a freelancer working across pretty much all genres, I need a .500, .525, .547 and a bass bone. I use all of these regularly, often in the same week.
It’s helpful (though not necessary) if they’re the same make - more important that they’re all good!

I have a King Jiggs 2B and a regular 2B with Tempo bell. These of course are quite similar. But one is an open box purchase, 1600 bucks, lightweight and fragile.
The Tempo King was cobbled together for 500 bucks. And it's the go to for rowdy bar gigs or sweaty outdoor occasions, even crowded stages or pits where the slide will constantly be tapping against surrounding crap. Similar horns for different purposes.

I'm an amateur player and instrument nerd.

Yamaha 891Z

My favorite horn, but the one that gets played the least. I play in a couple big bands on third/fourth book, [redacted - I stand corrected!]. But my 891Z just sings, and it's effortless. The slide is a 10/10 and it IS the sound concept I have in my head.

Shires Q30YR

I just got this horn in a trade. Slide is an 8/10 that I'm hoping will improve as I break it in, but it sounds gorgeous and is very easy to play. This will replace my 1047FN as my daily driver. I went on a hunt for this after getting the Q36 below.

Shires Q36YR (Rotax)

The inspiration behind my Q30 purchase. I found myself on the BT part in a big band, and thought "what a great reason to acquire a new horn". I bought this used and got a stupid good deal on it, and instantly fell in love with it. It was part of a limited run by Shires when they experimented with the Rotax valves. I loved my Getzen and was quite happy with it, but I couldn't shake the sense that if I could get this feel in a .547, it would dethrone the 1047FN.

Getzen 1047FN

I've always been a huge Getzen fan. Trumpets, cornets, trombones... I've always had a Getzen in my stable. I've never played a dud, just varying degrees of great-to-phenomenal. They know how to make valves and slides, and my 1047FN is no exception. Slide is a 10/10 every day all day. It sounds great and plays great, but it doesn't quite sing for me in the upper range. Better put, it needs more from me in the upper range than the Shires does.

King 608F

This horn produces a sound too gorgeous to put into words. Every time someone hears it for the first time, they tell me I should sell everything else. It's a quality build; everything functions as you'd want it to. I just don't like the feel of the horn in my hands. Not the feel behind the bell or anything like that (it resonates wonderfully), just the ergonomics of it for me, personally. Ultimately I will probably sell/trade it, maybe for a brushed gold/red bell for my Shires. But it doesn't matter how well it plays if I don't want to hold it.

Conn 88H

Mistake. It sounds good, not great, but the slide is a 6/10 on a good day. I bought it because I got it for a great price and, well, who doesn't want an 88H? I knew the slide had some problems and I figured I could get them sorted through my local brass tech. That was a waste of time/money. Then I sent it to the Slide Doctor. He actually improved it substantially after a full rebuild, but it eventually returned to form. The horn is now on loan to a fellow bandmate who never had a trigger horn and is intimidated by them. The horn is insured six ways from Sunday, and my hope is that she accidentally backs over it. She's offered to buy it from me, but I refuse to sell this horn to anyone, let alone someone I care about.

jabice wrote: Sat Jun 06, 2026 8:57 am I'm an amateur player and instrument nerd.

Yamaha 891Z
My favorite horn, but the one that gets played the least. I play in a couple big bands on third/fourth book, which are best served with a .547 / bass bone respectively. But my 891Z just sings, and it's effortless. The slide is a 10/10 and it IS the sound concept I have in my head.

I don't know of any professional big bands where the third trombone book is played on a 0.547" bore.
Is this a new trend? Why?

I have a friend - old enough to know better, and who I know owns a fantastic NY Bach 6 - who can be found one night a week playing lead in a good big band on his 42.

People don't understand what big bore bones do to a big band. The volume goes up, but it sounds like mush. There's just a lot of mid-range noise that only raises the overall volume level without making the noise intelligible..

There are a few big band charts out there for 2 tenors/2 basses instead of the usual 3 tenors/1 bass. (Ed Partyka's big band always has this configuration, as far as I know.) A tenor player (who doesn't play bass) covering 3rd on one of those charts is about the only time I'd think .547 on 3rd would be the best choice.

Finetales wrote: Sat Jun 06, 2026 9:19 pm There are a few big band charts out there for 2 tenors/2 basses instead of the usual 3 tenors/1 bass. (Ed Partyka's big band always has this configuration, as far as I know.) A tenor player (who doesn't play bass) covering 3rd on one of those charts is about the only time I'd think .547 on 3rd would be the best choice.

These arrangements (2 tenors/2 basses) are few and far between. I've never seen one, and we have over 300 charts in our big band book. Except of course for Stan Kenton, almost all big bands are scored for 3 tenor trombones and a bass trombone. And the bass trombone has only been "standard" for the past 50 years or so.

Finetales wrote: Sat Jun 06, 2026 9:19 pm There are a few big band charts out there for 2 tenors/2 basses instead of the usual 3 tenors/1 bass. (Ed Partyka's big band always has this configuration, as far as I know.) A tenor player (who doesn't play bass) covering 3rd on one of those charts is about the only time I'd think .547 on 3rd would be the best choice.

I'm pretty sure Ed's 4th chair spends a lot of time doubling tuba, so the 3rd part is pretty bass-y

Well, this has been rather eye-opening. My perception stemmed from what I've seen in various groups in my community. I have to admit, at one point I asked our AI overlords what they thought. They said the third part is best served by a large bore as a connector between the BT and the rest of the section, which sounded plausible/reasonable. I'd rather be on my 891, so happy to learn I was wrong!

Posaunus wrote: Sat Jun 06, 2026 10:22 pm

Finetales wrote: Sat Jun 06, 2026 9:19 pm There are a few big band charts out there for 2 tenors/2 basses instead of the usual 3 tenors/1 bass. (Ed Partyka's big band always has this configuration, as far as I know.) A tenor player (who doesn't play bass) covering 3rd on one of those charts is about the only time I'd think .547 on 3rd would be the best choice.

These arrangements (2 tenors/2 basses) are few and far between. I've never seen one, and we have over 300 charts in our big band book. Except of course for Stan Kenton, almost all big bands are scored for 3 tenor trombones and a bass trombone. And the bass trombone has only been "standard" for the past 50 years or so.

I've played a couple of Tommy Newsom arrangements that included the notation "As Written and Performed by Doc Severinsen" that were written for 2 tenors and 2 basses. Did the Tonight Show use this configuration?

jabice wrote: Sun Jun 07, 2026 8:55 am My perception stemmed from what I've seen in various groups in my community. I have to admit, at one point I asked our AI overlords what they thought. They said the third part is best served by a large bore as a connector between the BT and the rest of the section, which sounded plausible/reasonable.

Where is your community? Rather unusual. Have you heard / watched any professional big bands?

AI has led you astray - but you're not the only one. Do NOT rely on AI for factual information. These systems often simply make things up - perhaps based on "plausibility" - but not on true knowledge.

There are countless videos of great big bands available on the Internet. Enjoy watching a few.

Posaunus wrote: Sat Jun 06, 2026 10:22 pm These arrangements (2 tenors/2 basses) are few and far between. I've never seen one, and we have over 300 charts in our big band book. Except of course for Stan Kenton, almost all big bands are scored for 3 tenor trombones and a bass trombone. And the bass trombone has only been "standard" for the past 50 years or so.

The 4th parts in older charts are rarely real bass parts. As a sub last week, I covered 4th on my Benge 175f (525 bore) , and was fine aside from the occasional sharp low C. The parts were written for something like a 70h at the biggest. Not a tuba sound, a trombone sound.

I can’t say I’m in the same league as any one else here, but I also like to keep things simple. I have:

• a Bach 50B3 customized;

• a Bach 42B, also customized; and

• a 36, straight up, no chaser.

I have a Jin Bao trumpet that I use when I teach trumpet students, an Olds horn for teaching students, and a Mack Brass euphonium (Yamaha 642 copy) for teaching and the occasional euphonium gig. And, of course, a pBone.

That’s it. No frills, bells, or whistles, and definitely NO TRUMPETS and NO MELLOPHONES!!!

dbwhitaker wrote: Sun Jun 07, 2026 9:18 am

Posaunus wrote: Sat Jun 06, 2026 10:22 pm

These arrangements (2 tenors/2 basses) are few and far between. I've never seen one, and we have over 300 charts in our big band book. Except of course for Stan Kenton, almost all big bands are scored for 3 tenor trombones and a bass trombone. And the bass trombone has only been "standard" for the past 50 years or so.

I've played a couple of Tommy Newsom arrangements that included the notation "As Written and Performed by Doc Severinsen" that were written for 2 tenors and 2 basses. Did the Tonight Show use this configuration?

The Tonight Show under Doc had 3 trombones - 2 tenors and a bass.

Jim Scott

The post-1978 Mel Lewis Orchestra (after Thad's departure) carried 2 basses as well.

I've noticed that era of that group is set up the same way Ed's band is, with 4th trombone closest to the drums, followed by 3/1/2.

Kbiggs wrote: Sun Jun 07, 2026 9:43 am That’s it. No frills, bells, or whistles, and definitely NO TRUMPETS and NO MELLOPHONES!!!

How dare!!!

Mellophones just need the right mouthpiece and someone whose played longer than a day on one. Not too many good mouthpieces have been made for that instrument.