Conn Vintage One trumpet [Product test]

[Graph Not Transcribed]

Recently I've been hearing some rave reviews about the new Conn Vintage One trumpet. As implied by the name, this is a horn based on the old Conns, but built to modern-day standards. I was happy to have the chance recently to play this horn for a few weeks. Here are my observations and impressions.

For comparison I pulled out my old Conn Constellation, even though the Vintage One is modeled on horns even older (1930s and '40s). To my eye there are not many similarities, other than the fact that both feel very solid in the hands (built like a tank) and they share the straight-across braces from bell to leadpipe. These braces are free sliding (floating) when the bell is attached, and then they are soldered in place. This eliminates any stress on the bell after assembly. The bell is hand-annealed (heated to high temperatures) which also helps to eliminate stresses in the metal induced by the forming of the bell. The water keys are similar to Amato keys but easier to disassemble and clean. Finger rings are 'O' shaped rather than the more typical 'U' shape. The first slide ring is angled particularly comfortably. (Both of these details remind me of a Lawlor trumpet.) The slides move very easily, although both tuning slides on my sample have to be spread slightly to insert them. The valves are recessed into the caps when depressed which gives them the visual impression of a short throw. They now and then caused me to worry that they were about to start sticking, but as long as I kept oiling them they worked fine. There is always a breaking in period for new valves, of course.

Like the Legend trumpet from King, the Vintage One comes with a unique valve weight system. There are two sets of caps, standard and heavy weight. The heavy weight caps are threaded to accept additional weights. Six weights are provided and can be added in any configuration. Adding weight to a horn anywhere tends to emphasize the lower partials in the overtone series, darkening the sound and increasing projection. The effect will be different depending on where the weight is added, so experimenting with the caps will produce different tonal characteristics. (It's fun but you can drive yourself nuts after a while.) I finally settled on the heavy caps with two weights on each valve. (The coolest look, however, is one on the first valve, two on the second, and three on the third. This gives a 'Christmas tree' style to the valves and is very festive.)

The horn comes with two tuning slides, a square bow (like Bach) and a full radius (like Monette). I prefer the more open blow provided by the full radius. In a masterful act of presentation, the extra tuning slide and the valve caps come packed in their own zippered case, and a dedicated compartment is provided for it in the main case.

Speaking of the case, it is a serious-looking black affair designed to hold two trumpets. It is very impressive, but the extra compartment adds to the size of the case, and it is on the heavy side. Protection is typical for a stock hard case, that is to say better than a gig bag, but still not something you'd want to check at the airport. (To my mind, only Besson are offering a stock case that I would trust to the baggage handlers, with their very cool brushed aluminum 'bullet' case.)

The stock bore size is.459[Symbol Not Transcribed] [straight double quote], the same as a Bach ML. The bell is available in yellow or rose brass (rose brass has a higher copper content and will most likely sound darker), or in sterling silver. My sample was yellow brass with a lacquer finish. Several different leadpipes are available, as is reverse tuning slide configuration. Some people feel that a reverse tuning slide (the upper tube goes over, rather than into the leadpipe) provide a smoother passage for the air and improves the intonation in the upper register.

In general I enjoyed playing the Vintage One. Despite the name, it feels thoroughly modern to me. A vintage horn typically has a loose, friendly character (often, however, with a price of leaky slides, clunky valves and wonky intonation). This horn feels tight as a drum, sometimes too tight for my liking, but it will probably loosen up and blow more freely with time. The sound is focused and projects well. The slotting of notes is excellent, right into the high register where the partials really lock in. When executing a rapid tonguing passage, each note seems to bark out of the horn. Intonation is fine. (The third slide has an unusually long travel, allowing you to actually play low C# flat, if you extend it all the way.)

The Conn Vintage One is appearing now in stores. (There is a Vintage One flugelhorn in the prototype stage, and it should arrive on the shelves next year.) This is a horn has already attracted a lot of fans. Give it a try and see what you think.

Likes:

Slotting of notes

Core of sound

Flexible valve weighting system

Quibbles:

Slightly stiff response

Bulky case