Product Reviews
Trumpet Comparison: Yamaha 9335NY / 9335CH / 8335LA / 8310Z
A New Horn!
It’s time for a new horn. I say this not because there is anything wrong with my current horn, or because I am an equipment junkie (well…) I like to change horns every couple of years. Each instrument has its own characteristics. I must adapt my playing style to work most efficiently with a new horn. This keeps my approach to the instrument fluid, not stagnant.
Admittedly, there is a lure. Several new Bb trumpets have entered the market recently from Yamaha, each the result of collaboration between a specific player and master designer Bob Malone. I took a month to assess and compare the following four models:
8310Z (Designed in collaboration with Bobby Shew)
8335LA (Designed in collaboration with Wayne Bergeron)
9335CH (Designed in collaboration with John Hagstrom)
9335NY (Designed in collaboration with Bob Sullivan)
The 8310Z and 8335LA are part of the ‘CUSTOM SERIES’. The 9335 NY and CH models are part of the ‘XENO ARTIST SERIES’. There are other Yamaha professional models, including the 8335 Xeno and the 6335 standard Professional Model. I have owned both of these horns and know them to be fine instruments. Anybody searching for a new pro-level trumpet from Yamaha has a wide variety of models to choose from!
Bob Malone & The Chicago Project
Bob Malone joined the Yamaha team several years ago as Head of Product Design for North America. The results have been spectacular. Bob has extensive knowledge of brass instrument design. He spent many hours in consultation with world-class players to design these horns. Each instrument has a unique personality, reflecting the abilities and requirements of the artist it was designed for.
After joining Yamaha, Bob Malone’s first project was to design a C trumpet for the Chicago Symphony. He collaborated with CSO trumpeter John Hagstrom. The intensive research and design process spanned several years. The instrument that resulted, the ‘Chicago C’, is considered by many to be the finest C trumpet ever built. Several design innovations emerged, including a side seam, variable wall thickness and a flat-sided bell bead. These innovations have been incorporated in every trumpet reviewed in this article.
9335CH (‘Chicago Bb’)
The 9335CH is designed to blow and sound similar to the Chicago C. This makes it easy to switch from one to the other, and allows the Bb to blend with C trumpets in the section. The C trumpet heritage is evident in the bracing, with a second tuning slide brace placed further back towards the mouthpiece. It has an exceptionally long throw on the third valve slide, great for low F’s.
The Chicago has a tenacious grip on each note, slotting with accuracy that is startling. It feels like every note has walls on either side of it. As an example: I played a shake on a high D on the LA trumpet. When I played exactly the same way on the Chicago, the note did not budge! I could get the note to shake on the Chicago, however I had to overcome the horn’s natural tendency to lock in to the pitch. Well-defined slots can reduce kacks and clams and increase accuracy. However, it can also feel as if you are ‘running through a field of tires’. This sensation might be tiring to a player who is used to more lateral flexibility.
The sound produced by the Chicago is rich and full, and the scale is beautifully rendered. Certain ‘problem notes’ on other horns ring true on this one. The high F slots like no other horn I’ve ever played. There is also a very impressive dynamic range-the timbre holds steady from the softest passage to the loudest. Whether you are playing Mahler or Maynard, the sound will not break up.
9335NY (‘New York Bb’)
The 9335NY was designed for Bob Sullivan, a member of the NY Philharmonic and the Cleveland Orchestra. Bob was looking for a horn that incorporated the intonation, control and consistency of his Yamaha trumpets with some of the tonal characteristics of his Bachs. The NY is the most similar in design to Bach, with two tuning slide braces spaced in a typical configuration. It has a very smooth response; the notes flow out of the bell, especially at soft to medium volumes. It requires a fair bit of effort to produce burn in the high register, so I’m not sure I’d want to play lead on the NY. I had the opportunity to play this horn on a recording session that required a classical sound and approach. Listening to the playback, the other players in the section commented on the rich sound of the NY.
The New York Bb has proven to be popular with jazz players as well as classical players. Marvin Stamm and Sean Jones both love this horn. It has a well-balanced sound that works in a variety of settings. For many players, especially die-hard Bach fans, the New York Bb may be the instrument you have been searching for all your life.
8310Z (‘Shew’ Horn)
The 8310Z was designed for Bobby Shew, who plays lead & jazz with equal aplomb and virtuosity. The 8310Z was designed to accomodate both styles. It has a medium diameter entry bore that expands throughout the instrument. This combines the efficiency of a smaller bore with the sound of a larger bore. It is the lightest of the four horns tested, with no tuning slide braces, and is the only one of the four with a reverse tuning slide configuration. (The top of the tuning slide fits over, rather than into, the leadpipe.) Reverse tuning slides often feel freer blowing. Some players prefer this; others like a little more resistance, as it gives them something to blow against.
The 8310Z has the burn and quick response high-register to make it a great lead horn, yet enough complexity in the sound to be used in a classical or small-group jazz setting. It produces a great deal of sound with less effort than most other horns. It is also very fleet and nimble; I found it the best of the bunch for fast jazz lines. Partly this may be due to familiarity. This has been my horn for several years and I know exactly where the notes lie.
This is a unique and very versatile design, reflecting the myriad abilities of the man it was designed for. It has proven very popular with lead, jazz and even classical players, including Tom Stevens and Haken Hardenberger. To quote a Canadian beer advertisement: “Those who like it, like it a lot!”
8335LA (‘LA’)
The 8335LA was hotly anticipated. It was designed for Wayne Bergeron, one of the most powerful and exciting lead trumpet players on the scene today. It is a bit heavier than the 8310Z, with a single tuning slide brace and a slightly larger bore. It will feel comfortable to players who like to put more air into the horn. As you might expect, the high register is solid. A Yamaha representative told me of his experience sitting in Wayne’s single-car garage listening to sixteen of LA’s top lead players test prototypes. This would have been enough to satisfy the most fanatical trumpet geek! When you listen to Wayne play this horn, you will rest assured the instrument is not the stumbling block in your quest for high chops.
Yet the LA doesn’t feel or sound specifically like a ‘lead’ horn. It is a very versatile all-round instrument which seems to do everything well. It probably has the least ‘personality’ of the four horns tested, but it is the easiest to just pick up and play. If your gigs require double C’s, the LA is up to the task, but you will find the horn equally responsive in every situation and every register. This is a design that will suit a wide range of players, from student to professional.
AND THE VERDICT IS…
This was a tough decision. All four horns are great instruments, and the Bob Malone/Yamaha connection creates a family resemblance. There are as many similarities as differences. While each horn has a unique sound and feel, deciding which I liked best was not an easy task. I could have chosen any one of them and gone on my merry way.
Initially I thought I would settle on the LA. My playing requirements are diverse and the LA covers all bases equally well. In the end, though, I chose the Chicago. While not the easiest of the four to play, it seems to offer me the most potential. It feels like a sports car that demands agility from the driver, but rewards with high-level performance. Although the Chicago was designed to blend in a symphony, it works for me as a jazz and lead player. In the upper register, I can produce a substantial amount of burn, and the deep slots stabilize the notes. Playing jazz, I am learning to ‘dance’ on the slots, and already feel less of a sense that I am climbing over walls getting from note to note. Ultimately, it comes down to an emotional connection. When I play the Chicago, I feel challenged and excited.
NOTES
Jazz or Classical?
The 8310Z and 8335LA were designed for jazz artists, and are described on the Yamaha website as jazz horns. The 9335 NY and CH models were designed for classical artists, and are described as orchestral trumpets. This is not clear-cut, however. A jazz player might prefer one of the Artist Series horns, and vice versa. My choice bears this out. This shows that a good horn is a good horn. The player is ultimately the one who will determine the sound that comes out of it. While the experiences and opinions of others are valuable, every player is unique. You need to find the horn that works for you.
Pricing:
The Artist Series (NY & CH) are substantially more expensive than the Custom Series. This is a result of the extensive research and development and a greater amount of hand-craftsmanship. Initially, the differences weren’t as apparent to me, but the more I played the Chicago and the NY, the more I became aware of the fine tuning that goes into these instruments. While the Custom Series horns play beautifully, the Artist Series offers a level of refinement that can only come with personalized attention to detail. (more on this below)
Where is the third-valve water key?
The Shew and the LA have third-valve water keys; the Chicago and the NY do not. This decision is made during the design process. The presence or absence of a water key will affect the response of the instrument. In the past, whenever I’ve purchased a horn without a third-valve water key, I’ve had one installed. I always felt that any sonic advantages were offset by the inevitable presence of water in the third slide. Since every detail of the Chicago was so carefully considered, however, I decided to honor the integrity of the design and live without it. As it turns out, it really isn’t a problem. By blowing hard it is possible to completely clear the third slide through the tuning slide water key. Many players are lazy about that anyway. I’m always exhorting my students to be more vigorous when clearing the horn of water.
Vertical Integration
Yamaha’s policy of ‘vertical integration’ carries many design elements of the Artist and Custom models through the entire line of instruments. Even the cheapest Yamaha trumpet has much in common with the most expensive. (This is not the case with every manufacturer.) The lower price is achieved by a lesser amount of hand craftsmanship, and in some cases the use of different materials. Designing from the top down creates a student instrument that plays very well. Also, when the student is ready to step up, the higher-level instrument will feel familiar. The advantages of upgrading to a professional instrument include more complex tone, better projection, improved intonation, greater consistency from note to note and smoother mechanical action. And usually a nicer case!
RESPONSES/QUESTIONS
Q: I’ve checked out the Chicago Bb, and was suprised by the significant price difference. Can you go into deeper details with regards to the ‘fine tuning’? Will it make my job as a trumpet player easier?
In the Artist Series, there is more individualized attention paid to the fitting of valves and slides, and a greater amount of R & D went into every single aspect of the instrument. The differences became more apparent with extended playing. I’ve been playing the Chicago exclusively now for several months. When I pick up one of my other horns, something is missing. Since posting the article, I have heard from a LOT of people who agree the Chicago is something truly special.
I considered the price carefully before making my decision. A colleague in Toronto, Steve McDade, was also testing the Chicago at the same time. When I brought up the price, he replied: “Yes, but it’s worth every penny.” Not everybody will feel that way. Some will actually prefer the less expensive models. One size doesn’t fit all. That’s why a company offers a range of instruments.
Whether a horn is worth the price, or whether it makes your life easier is purely personal. As I wrote in the article, the Chicago is not the easiest horn to play, but it challenges me to play up to its full potential. It is the product of many hours of collaboration between one of the world’s foremost designers and a world-class player. That’s worth a lot.
Q: Did you try more than one of each model?
No, just one sample of each. I’ve never gone the route of picking through identical models, at least not since playing Yamaha. They are famous for consistency, and while no two horns will play exactly alike, you can be pretty confident that a Yamaha out of the box will play well.
I always take a new horn to my repair guy (Ron Partch in Toronto) for fine-tuning. He checks valve alignment, looks for errant solder, and sometimes re-fits slides, water keys etc. He didn’t have to do much to the Chicago, but no mass-produced horn can receive the individual attention that he can provide. Mind you, he is a true craftsman and I trust him completely. This is not a job for just anyone with a hammer.
Yamaha 8335 Xeno Trumpet
The 8335 Xeno is the third generation in Yamaha’s pro-level heavywall trumpet model. It replaced the 6335HII in 2001. Notable changes include:
- A redesigned mouthpiece receiver
- Thicker braces between valve casings
- New valve stems, buttons and caps
- Changed brace placement and bell material processing
The 8335 Xeno is available in .459” and .462” bore sizes, in gold or yellow brass, and in lacquer or silver finish. The special RG model comes with a reverse leadpipe, heavier mouthpiece receiver, .459” bore, gold brass and silver plating. The RG has a nicely angled 1st valve finger ring rather than a hook and no 3rd valve water key. All Xenos come with Yamaha’s practical and compact double trumpet case.
Compared to the 6335HII, the 8335 Xeno produces more core to the sound, quicker response and better slotting. The heavyweight construction gives body to the notes and holds the tone together at loud volumes, yet it responds quite well at all dynamics. This is a horn that will work in any musical setting, and has proven popular with a wide variety of players. In my experience, the majority of players prefer the RG, but this is a very personal decision and you should try both if possible. There is a notable difference in the way they blow.
Yamaha 6310Z Flugelhorn
Ahh, France. Famous for fine wine, delicate perfume, romance, and…flugelhorns. Players desiring a rich quality of sound have long sought out old French flugelhorns made by Besson, Couesnon, and Courtois.
The flugelhorn is largely a cross between a trumpet and a French horn. With its conical bore and V-shaped mouthpiece cup, it should produce a sound that is dark, moody and sonorous. It should exude character and personality. The old flugelhorns posses all of these qualities. There is, however, a price to be paid for this great sound. Manufacturing techniques then were not what they are today, and many of those horns have pretty funky intonation and clunky valves.
In recent years, manufacturers have been able to replicate some of the tonal qualities of the old flugelhorns, while constructing instruments that are reliable and play (relatively) in tune. Yamaha in particular has had great success with the 631, 635, and 735 models. With the introduction of the 6310Z, designed in consultation with Bobby Shew, Yamaha has taken a step forward and a step backward at the same time. Forward, because this is a superbly designed and built flugelhorn, and backward because this horn owes several important design elements to the old French flugelhorns.
First of all, the bore is much smaller than other Yamaha models. The 6310Z has a bore size of .413″, while the YHF-631 is .433″. This is a sizeable difference, and the sensation of playing a smaller horn is immediately apparent. Next, the turns in the crook and bow are sharper, or more squared. A squared turn will create more resistance, improve flexibility, and may also produce more complex overtones. A new leadpipe was designed for this model, with the goal of giving the player more control over the range of tonal colors. The valve caps are borrowed from Yamaha’s pro cornet line, with rounded sides and pearl inserts. The valves are bottom-sprung, and there is a third valve slide trigger. Build quality is typical Yamaha-which means excellent. It is available in lacquer or silver with a yellow brass bell, and in lacquer with a gold brass bell. (Gold brass has a higher copper content and should produce a darker sound.) Also included is the Bobby Shew signature model flugel mouthpiece.
Bobby Shew is one of the finest performers on the planet, on trumpet and on flugelhorn. His ability to switch from a beautiful warm flugel sound to a ‘peel the paint’ lead trumpet sound (sometimes in the same chart) is legendary. He has also proven himself to be very astute at instrument and mute design. With the 6310Z flugelhorn, he has produced an instrument with a small intimate feel, and a lustrous dark tone, conjuring up the sound of the old French flugelhorns, It is not a horn that can be just picked up and blown like a trumpet. You must back off and let the horn work the way it was designed to. It inspires a delicate, lyrical approach to the instrument. The intonation is very accurate, the best I have ever experienced in a flugel. Give it a try, you may just fall in love with it. I did.
Yamaha Silent Brass
I first reviewed Yamaha’s Silent Brass practice system several years ago, when it made its debut as a revolutionary product. Since then, Yamaha has expanded the ‘silent’ practice concept to many different instruments. While it does not eliminate all sound, the reduction in decibels is enough that you should be able to practice anywhere, anytime. I’ve used it in hotel rooms, cottages and tents.
The system is comprised of a mute containing a microphone, connected to an electronic control unit with output to headphones. The mute itself is one of the best-designed practice mutes on the market. It works very well even without the electronics. Connecting it to the control unit and headphones, however, is much better. The sound, while not an open horn sound, has a full-bodied tone. Adding reverb eliminates the tendency to overblow, common with practice mutes, and makes it comfortable and satisfying to play. With the headphones in place, I can perform virtually all of my practice routines.
ST5/ST9
The second-generation Silent Brass offers a choice of two control units. My recommendation is to spring for the deluxe unit, the ST5. If you have an original Silent Brass, you can upgrade the control unit only, and it is well worth doing. In addition to many extra features, the sound is better and the EQ options more numerous.
EQ
The ST5 is about the size of a pack of cigarettes (but better for you). It operates on four AAA batteries or the included AC adaptor. The EQ settings are labeled trumpet, piccolo trumpet, flugel horn, French horn, trombone and tuba, but any setting can be used with any instrument, so experiment with the different sounds to see which you like best. Ultimately I settled on the trumpet setting for trumpet. Go figure. Each EQ setting has a choice of reverb lengths. Inputs are provided for one mute and one auxiliary, so that you can listen to a CD or MP3 player while playing along.
FEATURES
The ST5 includes lots of bells and whistles, including a metronome and a tuner. A variety of effects are available, e.g. chorus, delay, pitch shifter, distortion, compression etc. These effects elevate the Silent Brass from the realm of a practice tool to a potential performance tool. By running the output to an amp or PA system, you can electronically alter your sound on a gig. Using a practice mute in combination with an effects processor is effective, since it eliminates the natural sound of the horn, sending only the effect through the speakers. There are 50 factory presets (including the EQ settings) and 50 user-programmable presets with adjustable parameters.
Two of the two coolest features are the Key Transpose and the Phrase Trainer. The Key Transpose feature lets you transpose the key of a player plugged into the aux input. i.e. for play-along recordings. Theoretically you can transpose up or down 12 half-steps, but the further you go the more distorted the sound becomes. Transposing up and down a half step from the original key of a tune is enough to hit some ‘hard’ keys, and the ST5 handles this just fine. The Phrase Trainer samples a short segment from the mute or the aux input, and allows you to slow the playback without changing the pitch. Like the transposer, if you slow it too much distortion occurs, but you can go to about 80% of the original speed without losing too much fidelity. This is enough to help you transcribe a difficult solo lick.
It is never ideal to do all your practicing with a mute. You need to hear the open sound of the horn to really know what is going on with your sound production. The Silent Brass, however, allows you to practice in situations where it would otherwise be impossible, and recreates the sensations of playing mute-less better than any other. It is a worthwhile investment for any brass player.
Wiseman Cases
Wiseman trumpet cases, designed and hand-built by Howard Wiseman of London, England, offer superior protection for your horns, and look good doing it! They are the ‘Cadillacs’ of trumpet cases.
The cases are built of aluminum and aircraft plywood, lined with velvet and covered in rich black leather. They are fitted with hefty shoulder straps, and come with a detachable leather music pouch and mute bag. The double trumpet case is shaped like a cylinder, and the flugel/quad cases are oval. The rounded shell is very strong, compact and easy to carry, and it provides much better protection than a gig bag. It fits snugly in most overhead bins, and if you absolutely must check it, your horns will survive the baggage-handler test.
Within the solid shell lies the real secret to the superior protection. The case opens in the middle and each half contains removable foam inserts. The horns are suspended by the inserts, isolating them from transmitted shocks. The inserts can be changed in seconds, thus the case can be customized to hold different combinations of horns. This is a revolutionary design idea, and it works beautifully.
Wiseman Cases are fully guaranteed for life. They are sold only by direct order, and feature an owner-referral incentive program.
For more information: http://www.wisemancases.com
To receive a 10% discount, quote the following code: FH509.
