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So You Want to Buy a Horn

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So You Want to Buy a Horn So, You Want to Buy A Horn! Recommended brands: DOMESTIC Holton (Farkas 179, 180; H-188, H-105, H-190, H-191, Merker 175) Conn (8D, 8DY, 8DR, 10D, 10DR, 11D, and 11DR) King (Eroica) Yamaha (667, 667V, 668, 668V) FOREIGN Hoyer (6801 –Kruspe wrap; 6801K-Geyer wrap) Alexander (103, 200) Paxman (25, 23; the most popular bell sizes are L or A) Finke PRESTIGE HORNS Englebert Schmid Lawson Lewis Geyer Lechniuk Hill Rausch Berg McCraken Patterson Atkinson Kuehn OK, WHAT IS THE DIFFERENCE BETWEEN THESE INSTRUMENTS? It really all depends on what you are looking for. Domestic instruments, as well as some foreign instruments, are massed produced. This means that during a manufacturing ‘run,’ many instruments are coming off the assembly line in close succession. With regard to domestic makers, this is even more so as demand for instruments is greater than supply so there may be a waiting period for delivery of instruments. Thus, the manufacturer is concerned with meeting up with the supply. This means that there is not enough time to detail out the instrument, making sure that slides and valves are fitted properly or are in good alignment. When buying a new massed produced instrument, often the instrument will need a professional preparation, to bring it up to normal standards. It is an unfortunate circumstance, but often this is a common fact nowadays. Some mass produced instruments, such as the Conn 8D, have had a storied history. At certain times during their manufacture, these instruments were of superior quality and have many desired response traits. If one of these instruments is available for sale, the asking price will be significantly higher than that of a new instrument. Thus, a good 1 quality domestic instrument may increase in value over time, provided that it is well maintained. To be sure, some foreign makers may have more quality control because they do not put out the mass volume that domestic makers do. However, consistency between instruments may be more varied. It is a caveat that the buyer must beware of this fact. Prestige horns are those that are produced by master craftsmen in limited quantities. Because the manufacture of these instruments are labor intensive, limited numbers are produced each year. Often one must wait 2 years or more on delivery of one of these instruments. The price tag is as significant as one would expect, often more than 2-3 times the cost of a mass-produced instrument. What you get for your money is a work of art that is carefully assembled and has been designed with the discriminating player in mind. Some manufacturers have gone great lengths to study acoustics and produce an instrument with the utmost ease and efficiency of performance in mind. These limited edition instruments will appreciate in value and become highly prized instruments. It is not necessary for a novice, or either a student to obtain one of these instruments. It is a significant investment. Only competitive players or established hornists whom desire a special kind of instrument to fit their particular style or concept of playing will truly appreciate, or need such an instrument. HOW DO I KNOW WHICH INSTRUMENT TO CHOOSE? Initially, standard brands (domestic) are usually the best choice. Do you have a firm concept of the tone/sound you wish to develop? The person with whom you study may influence this. If you do not study with anyone, listen to a variety of recordings and decide which artists you would most like to emulate. You may wish to choose an instrument more along the design of the instrument that person uses. However, this is not always the best way to choose the instrument that best fits your needs. Moreover, more important questions need to be addressed. Such questions could be: • What is what you are specifically looking for in an instrument? • Are you trying to develop a particular sound? • Do you want to get the same kind of instrument as used by your section mates so as to create a better blend? • Are you wishing to pursue a particular kind of timbre to your sound (dark, or bright)? • Are you wanting a particular resistance (or not) in the playing characteristics of the instrument? • Are you looking for an instrument that may ease the execution of performance in a certain range? • Do you need an instrument with more dependable/predictable intonation? • Are you wishing to get an instrument with the idea of using it in a specific ensemble medium? 2 • Are you wishing to get an instrument similar to those instruments used by local pros/teachers? • Are you wishing to get an instrument to fit in with your section? • Do you desire to get an instrument that will allow you freedom for solo work? Astute teachers will make an instrument recommendation based on knowledge of instrument brands, as well as the playing characteristics of the student and student desires. In the absence of this, it would be well advised for the novice to contact someone whose expertise is unquestioned, such as an area teacher or professional. There are also physiological factors that need to be considered when purchasing an instrument: • Musician’s stature • Hand size/grasp • Physical strength • Breathing capacity For instance a person who is small in stature, with very small hands may find that an open wrap, large throated instrument may be too unwieldy. If you have an instrument and are looking to switch to another instrument, a more inexpensive solution is to have your existing instrument modified. Many quality makers will opt to customize/refurbish an existing instrument. Those modifications that are most often done are: • Valve work. Tightening up the valve compression by swedging the bearings or in severe cases, replating the valves. • New leadpipe. This will change the response and overtone alignment of the instrument. • New bell flare. This will change the timbre and the response of the instrument. • New mouthpiece. Maybe experimenting with a more efficient or better-designed mouthpiece is warranted. WHAT ARE THE CHARACTERISTICS OF THE VARIOUS HORN DESIGNS? THE WRAP This is how the tubing within the body of the instrument is bent/turned. This determines the freedom of blowing, or resistance, of the instrument. The more open (less sharp bends of tubing) the wrap, the less resistant the instrument will feel. Thus, it will take more energy (air) to control the instrument. Conversely, the more compact the coil along with sharper tubing bends, the easier it will be to fill up and the easier it may be to negotiate the upper register. Open wrap horns: King Eroica 3 Conn 8D types Geyer/Knopf types of all manufacture Paxman 23 Closed wrap horns Holton Farkas and Merker models Paxman 25 Alexander 103 Hoyer 6801 BELL THROAT The larger the bell throat, the “darker” the tone that is emitted from the instrument. Also, a large throat bell will seem to play more freely, with less constriction. The sound emitted from a large throated instrument is more diffuse, so the player needs to drive the tone to its destination with a very dense, thick, slow air column. Large throated instruments keep the tone intact at a much higher sound pressure level In other words, it is much harder to produce an edgy sound on such and instrument. Also critics of these instruments state that large bell horns sound more dull in the hall. Small-throated bells tend to compact/compress the sound for a more efficient tonal projection. Many people desire the brightness and the more centered sound is desirable, allowing a vibrant and present sound in the hall. Though these take getting used to, advocates state that they are easier to play. However, this compactness of sound has a tendency to be bright or harsh sounding. Though smaller throated horns are easier to obtain subtle shadings of tone, they are more apt to produce a ‘whiney’ sound, if the player’s oral cavity is too closed. Likewise, such an instrument can develop an edgy sound rather quickly. METAL ALLOY CHOICES Nickel Silver - This is a harder metal that is very durable. The metal generates a more brilliant, bright tone. This harder metal has great projection. Finishes tend to last longer on a Nickel horn, plus the harder metal is more durable, but harder to repair. Yellow Brass – This is a softer metal than Nickel Silver, thus it dents more easily. The brass metal tends to edge out more quickly than other alloys. Because the metal is softer, it will enhance lower overtones; thus it will sound darker. If you had two identical instruments, one silver and one brass, the brass would sound darker. This is why small-throated horns are usually made of brass. The brass alloy tempers the compact sound coming from the small bell. Conversely, nickel instruments are made with larger bell throats. The open throat tempers the higher overtones generated by the harder nickel alloy. 4 Gold Brass – Sometimes this is designated as Red (Rose) brass. This metal has a higher copper content, thus the reddish hue of the metal. This alloy is even softer and denser (heavier) than regular brass. The resonance enhances the lower overtones, thus the metal alloy makes the instrument very dark sounding. Because of its denseness, the metal does not allow the tone to edge out as quickly as yellow brass. However, the metal has a much longer start up time, with regard to response. Thus, the player needs to articulate much more distinctly and crisply to get attacks clean and on time in the concert hall. Ambronze – This is a very soft, dense metal that was first used by Walter Lawson.
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