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Thread: Triggers......can't live with them can't live without them?

  1. Quote Originally Posted by franz View Post
    I removed the trigger lever of my ten years old Besson Prestige to remake the gold plating that came off; the craftsman is busy and he will take some time to the job, so I now play without the trigger. The problematic notes are two, F fifth line and G above (TC), which I play with the alternative positions, 1-3 for F and 1-2 for G. They are harmonic sevenths ( 31 cents lower than the temperate scale), but 1-3 and, to a lesser extent 1-2 are combinations that generate increasing sounds (for this reason the fourth valve is present), the result obtained is a perfect matched F and a slightly waning G, which can be easily put in place with the lips. I have not had difficulty using alternative positions as I used 1-3 for F on my previous horn, a Courtoise 165, while for G I used the normal open position because it was ok.
    Would also expect F# in between to be sharp

  2. #32
    Quote Originally Posted by Eupher6 View Post
    The Adams E2 I now have does not need a trigger. The only iffy note I have is 4th space G in the bass clef, which is horribly sharp when fingered 1-2. I play 3rd valve on that note when extended and that fixes it nicely.
    Agreed. For me it is not a "change" anyway, because I have used 3 for the middle G for many years on Besson, Sterling, and Adams. Most of the time. I can manage 12 in many passages if I just pull it down. But recently I tried to use it when I shouldn't have.

    Here are a pair of movie songs (from Superman and Peter Pan) that we turned into a medley based on the theme of flying. ("Can You Read My Mind" is generally called the "Flying Sequence from Superman.") and the song "I'm Flying" is a natural fit. During the second song I was experimenting with using 1&2 for concert G (because of the context) on my new Adams E3, which taught me I still want to use 3 on that note! Part of that is due to me trying to put plenty of energy into that sustained G, which in Dave's World can result in sharpness on any note. But here the 3 would actually have been the easier finger anyway.

    https://www.youtube.com/watch?v=p6bIGq7rzqc
    Dave Werden (ASCAP)
    Euphonium Soloist, U.S. Coast Guard Band, retired
    Adams Artist (Adams E3)
    Alliance Mouthpiece (DC3)
    YouTube: dwerden
    Facebook: davewerden
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  3. #33
    Join Date
    Dec 2015
    Location
    Varese,Italy
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    Quote Originally Posted by graeme View Post
    Would also expect F# in between to be sharp
    On my horn F# is only a little high, so easily obtained with the normal position ( the notes of the second valve are slightly low)
    2007 Besson Prestige 2052, 3D+ K&G mouthpiece; JP373 baritone, 4B modified K&G mouthpiece; Bach 42GO trombone, T4C K&G mouthpiece; 1973 Besson New Standard 3 compensated valves, 3D+ K&G modified mouthpiece; Wessex French C tuba, 3D+ K&G modified mouthpiece.

  4. I am not in favour of main tuning slide triggers on euphoniums, because I don’t think the slide is suitable - it is too wide and too short for the purpose making a tendency to stick, or leak.

    Wessex are looking at alternatives for the new fully hand-made compensated euphonium we are currently developing.

    In the mean time, I think the EP100 Dolce does quite well without a trigger. I know when we did a trigger version, it was a pain!
    www.Wessex-Tubas.com
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  5. #35
    Quote Originally Posted by Jonathantuba View Post
    Wessex are looking at alternatives for the new fully hand-made compensated euphonium we are currently developing.
    That's an interesting statement! I'm curious to see if you can find a better solution, partly because I agree with your assessment of the mechanical disadvantages of the current trigger systems. The real trick is to find a way to tune down (and adding "up" would be wonderful) a practical amount while still maintaining the conical bore profile.
    Dave Werden (ASCAP)
    Euphonium Soloist, U.S. Coast Guard Band, retired
    Adams Artist (Adams E3)
    Alliance Mouthpiece (DC3)
    YouTube: dwerden
    Facebook: davewerden
    Twitter: davewerden
    Instagram: davewerdeneuphonium

  6. #36
    Quote Originally Posted by davewerden View Post
    That's an interesting statement! I'm curious to see if you can find a better solution, partly because I agree with your assessment of the mechanical disadvantages of the current trigger systems. The real trick is to find a way to tune down (and adding "up" would be wonderful) a practical amount while still maintaining the conical bore profile.
    Just idly curious how much the leadpipe could be "extended" in some sort of trigger arrangement in which the left hand could "squeeze" a device. Sort of like some trumpet 3rd valve slides are extended -- rather than "kicking out" the slide, the gizmo is "squeezed" to extend the tubing.

    I'm obviously no brass tech, but I'm wondering if the pitch can be significantly lowered (or raised) with minimal movement vice the main tuning slide.
    U.S. Army, Retired (built mid-1950s)
    Adams E2 Euph (built 2017)
    Boosey & Co. Imperial Euph (built 1941)
    Edwards B454 Bass Trombone (built 2012)
    Boosey & Hawkes Imperial Eb tuba (built 1958)
    Kanstul 33-T lBBb tuba (built 2010)

  7. #37
    Join Date
    Nov 2017
    Location
    Cleveland, Ohio
    Posts
    4
    On my horn High D doesn't want to come out for some reason, I've used every fingering under the sun and only 2nd valve works however it is extremely sharp so thankfully I do have my trigger to lower that pitch because up in that register it is sort of hard to bend pitches to where you want them.
    Jake Herbell
    Music Education Major at Cleveland State University
    Besson Prestige 2052, Warburton Miraphone BT16
    Yamaha 621-S Baritone
    Olds Super Trombone
    P-Bone Mini Purple

  8. #38
    Join Date
    Dec 2015
    Location
    Varese,Italy
    Posts
    384
    Quote Originally Posted by graeme View Post
    Would also expect F# in between to be sharp
    This note does not require alternative positions as it is not very sharp and is easily controlled with the lips.
    2007 Besson Prestige 2052, 3D+ K&G mouthpiece; JP373 baritone, 4B modified K&G mouthpiece; Bach 42GO trombone, T4C K&G mouthpiece; 1973 Besson New Standard 3 compensated valves, 3D+ K&G modified mouthpiece; Wessex French C tuba, 3D+ K&G modified mouthpiece.

  9. #39
    Join Date
    Dec 2015
    Location
    Varese,Italy
    Posts
    384
    Quote Originally Posted by J_Herbell View Post
    On my horn High D doesn't want to come out for some reason, I've used every fingering under the sun and only 2nd valve works however it is extremely sharp so thankfully I do have my trigger to lower that pitch because up in that register it is sort of hard to bend pitches to where you want them.
    This is also true for me on my Prestige, as well as for the high B.
    2007 Besson Prestige 2052, 3D+ K&G mouthpiece; JP373 baritone, 4B modified K&G mouthpiece; Bach 42GO trombone, T4C K&G mouthpiece; 1973 Besson New Standard 3 compensated valves, 3D+ K&G modified mouthpiece; Wessex French C tuba, 3D+ K&G modified mouthpiece.

  10. I have a Sterling Virtuoso with a trigger and for the rare circumstance I need it, I'm especially glad I have it at my disposal. I use it more to match other instruments that are out of tune than to flatten sharp pitches coming from the Sterling.
    James Kircoff
    Genesee Wind Symphony - principal euphonium (Adams E3 Custom .60mm yellow brass bell w/ K&G 3.5)
    Capital City Brass Band (2019 NABBA 2nd section champions) - 1st baritone (Besson BE956 w/ Denis Wick 6BY)

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