B'dway trombone book-doubles

[flotrb]

I recently responded to a question about doubling a B'dway book, and thought I would throw this out.
In the many shows that I have played, the trombone requirements in the tech-riders are sometimes confusing.
I am using a .508" on tenor and normally a single rotor Bb/F bass (with a long "E" pull).
Eb 4valve comp Besson-clone on tuba.
I find that a .547" Bb/F is useful when the parts more "legit" than B'dway showbiz.
Specific requests for "large-bore tenor with F-attachment" strike me as being vague.

What is your experience "pit-wise" and your choice of gear?

[EriKon]

Not on Broadway, but playing some Broadway shows and Austrian/German shows in Germany. I've been doing most of the stuff on my Bach 36BOG (MP: Doug Elliott Setup XT E4). Even when the MD wanted a large bore instrument explicitly, I've been fine with this one so far. If there's a part with lots of full low stuff, I'll use my Conn 88H with a Schilke 51, which works fine for that.
Also played some more pop music like shows with a custom .508, which was fine as well. But I like the Bach 36 best, because it's super versatile.
Haven't had to play tenor/bass books (would use my Edwards B-454 for that with Bach 1 1/2G MP)so far, only tenor and euphonium (Yamaha YEP-321 works best for me for that).

[MrHCinDE]

I played the 2nd trombone book on a production of the full monty musical a few years ago. I thought about playing it on large bore tenor but I seem to remember there was a fair bit of funky stuff in the trigger register. The soundtrack was quite fun to play.

I ended up playing it on the Reynolds Contempora bass I had at the time with a smallish cup lightweight mouthpiece (Marcinkiewicz EBT3). That setup was surprisingly good in the upper range. If I played musicals regularly I’d have kept that horn.

For the 1st (or only) trombone musical parts I’ve played in the past, I usually went with my 88h-lt-ow, predecessor of the 88hto. These days I’d probably go with my 3B/F as I prefer an easy life. If it had to be large bore, I’d stay away from a horn with open wrap and protruding F tuning slide.

[brtnats]

I think “large bore tenor with F attachment” is what ends up happening when you’ve got one book where you’re doing everything from playing as the 3rd trumpet to the actual bass of the ensemble. Large bore with F is a reasonable request to get that done.

I tend to use the smallest horn I can get away with because I want something that’s easier to hold and play on a long show. I like a straight tenor in the pit if at all possible because I don’t like my open wraps hitting the wall or the drummer.

[Rusty]

I’ve done quite a few pro Broadway touring shows here in Australia, and the only time I’ve been specifically booked to need a ‘tenor with trigger’ is a thinly veiled way to even up the doubling fees across the band, as you’re also paid per double on top of the normal call rate. Book of Mormon was great, mainly all small tenor, with a couple of low Cs to need the bass for, and 1 or 2 numbers for ‘tenor with trigger’ that were totally playable on small tenor, so it just sat on the stand but needed to be there.

Most shows are tenor/bass and it would be up to you to work out what tenor would be the best tool for the job. Most shows I play a .508 Shires MD+ which is great for lower quasi bass lines down to low E, and has the punch and sound for more of the lead type lines.

I play a vintage Conn 62h bass bone and have found a mouthpiece in the range of 1.5-2g is best for me, currently using a Symington 2.

Shows where a larger tenor has been more appropriate but not specified have been books like Wicked, Wizard of Oz, and Frozen (currently finishing a 12 week season). It often comes down to if you’re needing to blend with a French horn, strings, or a bigger trumpet section, the larger tenor will give you a bit more warmth and breadth. Using a Shires larger horn but with .525 slide which feels more at home being primarily a small bore player.