Earl Williams Trombone
Posted: Sun May 31, 2009 8:39 pm
$149,999.00
Page 7 of 36
Earl Williams Trombone
Posted: Sun May 31, 2009 8:49 pm
I have lots of patience. Eventually you guys will get into my price range.
Earl Williams Trombone
Posted: Sun May 31, 2009 9:27 pm
Quote from: SilverBone on May 31, 2009, 08:49PMI have lots of patience. Eventually you guys will get into my price range.
I keep telling you: if you want to try mine out, you are only a 30-40 mile drive from my house before I head East coming up soon.
$4997
Quote from: Doug Elliott on May 31, 2009, 08:39PM$149,999.00
I like doug's idea though. Let's all price our Williams at $150,000.00. I'm sure they are worth that much if you try them out (especially Burbank horns)
What is interesting about them is that Earl built them like guns. Hand grips/material/sturdiness. These aren't called axes, they are called rifles.
I keep telling you: if you want to try mine out, you are only a 30-40 mile drive from my house before I head East coming up soon.
$4997
Quote from: Doug Elliott on May 31, 2009, 08:39PM$149,999.00
I like doug's idea though. Let's all price our Williams at $150,000.00. I'm sure they are worth that much if you try them out (especially Burbank horns)
What is interesting about them is that Earl built them like guns. Hand grips/material/sturdiness. These aren't called axes, they are called rifles.
Earl Williams Trombone
Posted: Mon Jun 01, 2009 12:29 am
rifles? haha damn! better not say that if you're trying to board a plane with one lol! 
Earl Williams Trombone
Posted: Mon Jun 01, 2009 9:19 am
Quote from: Richard Tadaki on May 31, 2009, 01:40PMHey! Wow!!! Great information!!! In wonder if it was included somewhere in John's count because, if not, it looks like we now have 12 1/2 10's. Where did I go wrong? 
I think the two that John Sandhagen recently restored were already counted in the 12.
I think the two that John Sandhagen recently restored were already counted in the 12.Earl Williams Trombone
Posted: Mon Jun 01, 2009 9:36 am
It's also possible that John N knew of the one in Cambria already.
Earl Williams Trombone
Posted: Mon Jun 01, 2009 12:31 pm
I've been emailing John Noxon about all this and with the one in Cambria, the one that Sven bought, the one that Chris spotted in London, and the bell somewhere in Europe, the total number of known Williams 10 bass trombones goes up to 11 1/2. I guess Chris's is the only one that isn't verifyied but since it has the distinction of having a Boosey valve on it probably means that it isn't among the ones that John knows about.
11 1/2 known Williams 10's out of the 12 the Earl made. That means that all 12 are accounted for. Now if the guy with the bell would have a bass bone built around it, the count would be back to 12. That, without a doubt, is awesome!!!
Thanks for the help everybody.
My curiosity has been satisfied. 
Earl Williams Trombone
Posted: Mon Jun 01, 2009 4:29 pm
Does someone want to start a new thread about where all the Model 10s are, and whatever we can find our about their pedigrees? The we could have another for 8s/9s, etc. We would never be able to do this for 6s - there are way too many of them, but we definitely could make a fascinating history of each of the known bells.
To get started, I have a Burbank 10 with Minick independent conversion. It's previous owner was the late Art Perelman, who had bought it used from an LA area music store.
I also have a Burbank Model 10 bell, which I bought from Newell Sheridan in 1998. (It has Edwards fittings on it.) He had bought it from Wil Sudemeier in San Francisco, who graciously took the time to tell me it had never been part of a complete horn; it was originally sold by Earl Williams to a repairman who planned to make a complete trombone.
That's a start!
Sharman
To get started, I have a Burbank 10 with Minick independent conversion. It's previous owner was the late Art Perelman, who had bought it used from an LA area music store.
I also have a Burbank Model 10 bell, which I bought from Newell Sheridan in 1998. (It has Edwards fittings on it.) He had bought it from Wil Sudemeier in San Francisco, who graciously took the time to tell me it had never been part of a complete horn; it was originally sold by Earl Williams to a repairman who planned to make a complete trombone.
That's a start!
Sharman
Earl Williams Trombone
Posted: Mon Jun 01, 2009 5:54 pm
I don't imagine that there were many Williams 7's and 9's made. There must have been thousands of 6's and maybe not thousands but a lot of 8's. I wonder if this info is in the shop cards?
Earl Williams Trombone
Posted: Mon Jun 01, 2009 6:04 pm
Where are the shop cards located?
Earl Williams Trombone
Posted: Mon Jun 01, 2009 6:29 pm
Quote from: sharman on Jun 01, 2009, 04:29PMDoes someone want to start a new thread about where all the Model 10s are, and whatever we can find our about their pedigrees? The we could have another for 8s/9s, etc. We would never be able to do this for 6s - there are way too many of them, but we definitely could make a fascinating history of each of the known bells.
To get started, I have a Burbank 10 with Minick independent conversion. It's previous owner was the late Art Perelman, who had bought it used from an LA area music store.
I also have a Burbank Model 10 bell, which I bought from Newell Sheridan in 1998. (It has Edwards fittings on it.) He had bought it from Wil Sudemeier in San Francisco, who graciously took the time to tell me it had never been part of a complete horn; it was originally sold by Earl Williams to a repairman who planned to make a complete trombone.
That's a start!
Sharman
i nominate John Noxon to start these threads lol!
To get started, I have a Burbank 10 with Minick independent conversion. It's previous owner was the late Art Perelman, who had bought it used from an LA area music store.
I also have a Burbank Model 10 bell, which I bought from Newell Sheridan in 1998. (It has Edwards fittings on it.) He had bought it from Wil Sudemeier in San Francisco, who graciously took the time to tell me it had never been part of a complete horn; it was originally sold by Earl Williams to a repairman who planned to make a complete trombone.
That's a start!
Sharman
i nominate John Noxon to start these threads lol!
Earl Williams Trombone
Posted: Mon Jun 01, 2009 6:43 pm
Shop Cards would be a wonderful thing but they don't exist. There are a few that deal with specific horns. One was found for a Dick Nash horn, a model 8. But they are just kind of cryptic and lack the general information you would normally find in that kind of document. Earl annotated some odds and ends but nothing like you find from early Bach days.
To my knowledge, and this is just what I have observed over the years of chasing this kind of documentation, Serial numbers were by location not by model. I have seen a few from Burbank that had the same numbers on up to 3 different horns. I kind of understand where that came from too. Earl did not keep any serial number information like most manufactureres did. Horns were assembled in batches. A bunch of bells were made then some slides were made. A slide and bell were put together and it was given a serial number. And if he did not remember the last one used he kind of guessed at it. So we horns that have the same numbers.
The reason I think the numbers were by location of the shop is because have seen many "Santa Monica" horns with the same numbers as Burbank horns. So the number started over again when he moved to Burbank from Santa Monica Blvd in Los Angeles.
I have seen Santa Monica horns with numbers up to about 1000 or so. And Burbank horns up to about 1800. The horns Bob made after Earls death started at 3xxx and went to about the upper 3100's. Bobs horns also differed from Earls even while Earl was alive. Bob tended to use round crooks and they were nickel not brass on the hand slide. Tuning slides tended to be round as well.
Back to the shop card thing. My business partner Mike Thomas arranged the sale from Tenn, to Calicchio the first time and he did the inventory etc and does not remember seeing any cards. When Rich Chovner owned it for a bit. I spent considerable time with him and there were no cards either. John Duda tells me a few exist but they are not specific to horns just shop notes that Earl or Bob had.
I am going to Tulsa here in a week or so and am gonna take a look around and see what is left. I know what Calicchio had in the 1990's and what Richard had so I will try to remember as much as my feeble brain will allow and do some comparison and let everybody know what I learn.
8 and 9 models I only know of a hand full, maybe 25 total. The 7 I only know of about 5 and the rarest of them all is the model 4 I only know of 4 of them. I would guess that Earl made about 6000 to 7000 total horns in his lifetime. But that is purely speculation on my part. That would include the Wallace Williams as well as the Santa Monica and Burbank horns. From what I know he stared in about 1923 (1st patent I know of) and continued until somewhere in 1976. Then Bob passed in 1979.
To my knowledge, and this is just what I have observed over the years of chasing this kind of documentation, Serial numbers were by location not by model. I have seen a few from Burbank that had the same numbers on up to 3 different horns. I kind of understand where that came from too. Earl did not keep any serial number information like most manufactureres did. Horns were assembled in batches. A bunch of bells were made then some slides were made. A slide and bell were put together and it was given a serial number. And if he did not remember the last one used he kind of guessed at it. So we horns that have the same numbers.
The reason I think the numbers were by location of the shop is because have seen many "Santa Monica" horns with the same numbers as Burbank horns. So the number started over again when he moved to Burbank from Santa Monica Blvd in Los Angeles.
I have seen Santa Monica horns with numbers up to about 1000 or so. And Burbank horns up to about 1800. The horns Bob made after Earls death started at 3xxx and went to about the upper 3100's. Bobs horns also differed from Earls even while Earl was alive. Bob tended to use round crooks and they were nickel not brass on the hand slide. Tuning slides tended to be round as well.
Back to the shop card thing. My business partner Mike Thomas arranged the sale from Tenn, to Calicchio the first time and he did the inventory etc and does not remember seeing any cards. When Rich Chovner owned it for a bit. I spent considerable time with him and there were no cards either. John Duda tells me a few exist but they are not specific to horns just shop notes that Earl or Bob had.
I am going to Tulsa here in a week or so and am gonna take a look around and see what is left. I know what Calicchio had in the 1990's and what Richard had so I will try to remember as much as my feeble brain will allow and do some comparison and let everybody know what I learn.
8 and 9 models I only know of a hand full, maybe 25 total. The 7 I only know of about 5 and the rarest of them all is the model 4 I only know of 4 of them. I would guess that Earl made about 6000 to 7000 total horns in his lifetime. But that is purely speculation on my part. That would include the Wallace Williams as well as the Santa Monica and Burbank horns. From what I know he stared in about 1923 (1st patent I know of) and continued until somewhere in 1976. Then Bob passed in 1979.
Earl Williams Trombone
Posted: Mon Jun 01, 2009 7:34 pm
That explains a lot about why my horn and another have SN 1055. Probably made in the same batch or very very close in age.
What did Richard Chover do when he had the company?
John, despite how unorganized this Williams company was, it sure does have a good historian to tell the story. Now only if Bach had a good historian! I can't even find out when the first Bass trombone was made. and yet, you can track down 12 10's!!!! Crazy man!
What did Richard Chover do when he had the company?
John, despite how unorganized this Williams company was, it sure does have a good historian to tell the story. Now only if Bach had a good historian! I can't even find out when the first Bass trombone was made. and yet, you can track down 12 10's!!!! Crazy man!
Earl Williams Trombone
Posted: Tue Jun 02, 2009 3:19 am
Quote from: jnoxon on Jun 01, 2009, 06:43PM... A slide and bell were put together and it was given a serial number. And if he did not remember the last one used he kind of guessed at it. So we horns that have the same numbers.
I have seen Santa Monica horns with numbers up to about 1000 or so. And Burbank horns up to about 1800. The horns Bob made after Earls death started at 3xxx and went to about the upper 3100's. Bobs horns also differed from Earls even while Earl was alive. Bob tended to use round crooks and they were nickel not brass on the hand slide. Tuning slides tended to be round as well.
This information about the serial numbers explains a lot. In my senior year in college, a freshman trombonist showed up with a Williams 6 which seemed to be (to the best of my recollection) identical to mine including its serial number which was 300x. Possibly, our horns were Bob's prototypes or early experiments because I got mine in 1971 and she got hers before I met her, which was in January of 1973. I know that Bob was already assembling the horns though Earl was still pulling the tubes. Both of our horns had round nickel slide crooks and round tuning slides, and the handgrip and cork barrels were made of unfinished chrome.
Quote from: jnoxon on Jun 01, 2009, 06:43PM... 8 and 9 models I only know of a hand full, maybe 25 total. The 7 I only know of about 5 and the rarest of them all is the model 4 I only know of 4 of them. I would guess that Earl made about 6000 to 7000 total horns in his lifetime. But that is purely speculation on my part. That would include the Wallace Williams as well as the Santa Monica and Burbank horns. From what I know he stared in about 1923 (1st patent I know of) and continued until somewhere in 1976. Then Bob passed in 1979.
Gee, I didn't realize that the models 8 and 9 were so rare. It's hard to imagine that so few were made since I figured a lot of orchestral trombonists were playing them, including Ken Cloud, the principal of the Seattle Symphony back when i was still in college -- he played a 9. I've been kicking myself for not buying an 8 the year after I got my 6. Believe it or not, I could have more easily afforded another trombone when I was a student, because of my summer job, than I could have when I started teaching.
Thanks for all the history, John. This is interesting stuff to me.
I have seen Santa Monica horns with numbers up to about 1000 or so. And Burbank horns up to about 1800. The horns Bob made after Earls death started at 3xxx and went to about the upper 3100's. Bobs horns also differed from Earls even while Earl was alive. Bob tended to use round crooks and they were nickel not brass on the hand slide. Tuning slides tended to be round as well.
This information about the serial numbers explains a lot. In my senior year in college, a freshman trombonist showed up with a Williams 6 which seemed to be (to the best of my recollection) identical to mine including its serial number which was 300x. Possibly, our horns were Bob's prototypes or early experiments because I got mine in 1971 and she got hers before I met her, which was in January of 1973. I know that Bob was already assembling the horns though Earl was still pulling the tubes. Both of our horns had round nickel slide crooks and round tuning slides, and the handgrip and cork barrels were made of unfinished chrome.
Quote from: jnoxon on Jun 01, 2009, 06:43PM... 8 and 9 models I only know of a hand full, maybe 25 total. The 7 I only know of about 5 and the rarest of them all is the model 4 I only know of 4 of them. I would guess that Earl made about 6000 to 7000 total horns in his lifetime. But that is purely speculation on my part. That would include the Wallace Williams as well as the Santa Monica and Burbank horns. From what I know he stared in about 1923 (1st patent I know of) and continued until somewhere in 1976. Then Bob passed in 1979.
Gee, I didn't realize that the models 8 and 9 were so rare. It's hard to imagine that so few were made since I figured a lot of orchestral trombonists were playing them, including Ken Cloud, the principal of the Seattle Symphony back when i was still in college -- he played a 9. I've been kicking myself for not buying an 8 the year after I got my 6. Believe it or not, I could have more easily afforded another trombone when I was a student, because of my summer job, than I could have when I started teaching.
Thanks for all the history, John. This is interesting stuff to me.
Earl Williams Trombone
Posted: Tue Jun 02, 2009 12:03 pm
Do you have any pictures of this horn? I would love to see a Williams with the Minick valve setup.
-Z
Quote from: sharman on Jun 01, 2009, 04:29PMDoes someone want to start a new thread about where all the Model 10s are, and whatever we can find our about their pedigrees? The we could have another for 8s/9s, etc. We would never be able to do this for 6s - there are way too many of them, but we definitely could make a fascinating history of each of the known bells.
To get started, I have a Burbank 10 with Minick independent conversion. It's previous owner was the late Art Perelman, who had bought it used from an LA area music store.
I also have a Burbank Model 10 bell, which I bought from Newell Sheridan in 1998. (It has Edwards fittings on it.) He had bought it from Wil Sudemeier in San Francisco, who graciously took the time to tell me it had never been part of a complete horn; it was originally sold by Earl Williams to a repairman who planned to make a complete trombone.
That's a start!
Sharman
-Z
Quote from: sharman on Jun 01, 2009, 04:29PMDoes someone want to start a new thread about where all the Model 10s are, and whatever we can find our about their pedigrees? The we could have another for 8s/9s, etc. We would never be able to do this for 6s - there are way too many of them, but we definitely could make a fascinating history of each of the known bells.
To get started, I have a Burbank 10 with Minick independent conversion. It's previous owner was the late Art Perelman, who had bought it used from an LA area music store.
I also have a Burbank Model 10 bell, which I bought from Newell Sheridan in 1998. (It has Edwards fittings on it.) He had bought it from Wil Sudemeier in San Francisco, who graciously took the time to tell me it had never been part of a complete horn; it was originally sold by Earl Williams to a repairman who planned to make a complete trombone.
That's a start!
Sharman
Earl Williams Trombone
Posted: Tue Jun 02, 2009 1:04 pm
Quote from: sharman on Jun 01, 2009, 04:29PM... I have a Burbank 10 with Minick independent conversion. It's previous owner was the late Art Perelman, who had bought it used from an LA area music store.
I also have a Burbank Model 10 bell, which I bought from Newell Sheridan in 1998. (It has Edwards fittings on it.)
Quote from: HouBassTrombone on Jun 02, 2009, 12:03PMDo you have any pictures of this horn? I would love to see a Williams with the Minick valve setup.
Yeah! Really! I would love to see pictures! Even more, I'd love to hear these horns!
I also have a Burbank Model 10 bell, which I bought from Newell Sheridan in 1998. (It has Edwards fittings on it.)
Quote from: HouBassTrombone on Jun 02, 2009, 12:03PMDo you have any pictures of this horn? I would love to see a Williams with the Minick valve setup.
Yeah! Really! I would love to see pictures! Even more, I'd love to hear these horns!
Earl Williams Trombone
Posted: Tue Jun 02, 2009 7:19 pm
Yea a Minick plus Williams? That is some pedigree.
-Z
-Z
Earl Williams Trombone
Posted: Wed Jun 03, 2009 10:44 pm
I have posted four images of my Williams Model 10 (which belonged to the late Art Perelman) showing the Minick conversion and Matt Litwaitis' wonderful cosmetic touches. They're in the gallery - our instruments section.
I must say the interest in these wonderful horns is stunning. An over-riding characteristic of all Williams trombones is that they play like much larger instruments than they are. In particular, the model 8/9 .525 horns play like .547 horns, and the bass plays like a much larger horn. That may explain the relative unpopularity of the Model 10, but it certainly did not hold back Edward Kleinhammer, Don Switzer or Karl deKarske. Dave Taylor tried mine, and - absolutely no surprise here - sounded smooth, melodic and fabulous. I don't do as well with it - it's sort of my "training and weightlifting" horn.
To the person who wanted to hear it, I believe I played it on Ian McDougall's "No Passport Required" album which just won a Canadadian National Jazz Award. You'd find that at either ianmcdougall.com or cdbaby.com...
I must say the interest in these wonderful horns is stunning. An over-riding characteristic of all Williams trombones is that they play like much larger instruments than they are. In particular, the model 8/9 .525 horns play like .547 horns, and the bass plays like a much larger horn. That may explain the relative unpopularity of the Model 10, but it certainly did not hold back Edward Kleinhammer, Don Switzer or Karl deKarske. Dave Taylor tried mine, and - absolutely no surprise here - sounded smooth, melodic and fabulous. I don't do as well with it - it's sort of my "training and weightlifting" horn.
To the person who wanted to hear it, I believe I played it on Ian McDougall's "No Passport Required" album which just won a Canadadian National Jazz Award. You'd find that at either ianmcdougall.com or cdbaby.com...
Earl Williams Trombone
Posted: Wed Jun 03, 2009 10:53 pm
sharman,
the horn looks amazing!!!!!!!!!!!
the horn looks amazing!!!!!!!!!!!
Earl Williams Trombone
Posted: Wed Jun 03, 2009 11:43 pm
I just took a look at the pictures too. It looks great!!! It makes me wish I played bass trombone so I could justify buying one, assuming I could find one, of course.
I was the one who wanted to hear it so I'll try to find "No Passport Required." I'll have to find the album that Sven played his 10 on too. That one may be trickier to find.
Thanks for posting the pictures. I really appreciate it.
It makes me wish I played bass trombone so I could justify buying one, assuming I could find one, of course. I was the one who wanted to hear it so I'll try to find "No Passport Required." I'll have to find the album that Sven played his 10 on too. That one may be trickier to find.
Thanks for posting the pictures. I really appreciate it.
Earl Williams Trombone
Posted: Thu Jun 04, 2009 12:51 pm
Ok here is an idea I have had for some time now and mentioned to a few guys. I would like to put together a website about Earl and Bob Williams and the things they built, Wallace Williams trombones, Earl Williams trombones, Bass trumpets, Trumpets, hand guns etc.
Chris Charvat at HN White.com encouraged me to do this some time ago. He did it to preserve the family history. His Great Grand Mother was Catherine White who lived next door to him. He realized that when she passed so would this legacy of history.
I have a few guidelines I would like to have in place:
1.) Give me pictures, of you horns. Any information you have about purchase, previous owners, serial number, etc. BUT only information you have first hand knowledge of. No hearsay, just first hand knowledge. Not everyone can own Tommy Dorseys personal horn! Just what you know. IE: I bought a model 6 from Dick Nash in 1992.
2.) If you do not wish to have this information on a public website. Just tell me and it will be held confidentially and only accessible by me. Pictures will allow me to look at design changes, construction techniques etc
3.) I will need help! I know nothing, zip, nada about website design! So if you would like to help. I will carefully consider each and every offer to do so.
4.) Do not send any information prior to the 5th of July. My wife and I are headed out on a road trip to Virginia to see our Grandkids! I dont want my mailbox to overflow and kick it back to you or worse yet lose any information.
5.) Any Williams memorabilia you have would be welcome as well! Price lists. Correspondence, pictures anything you might think is interesting send it.
A lot of guys have suggested this to me over recent weeks. And I think it is a good project! So lets do it!
If you know any Williams owners who are not on the forum lets get the word out to the as well. If you know former Williams owners contact them as well. Lets gather all the info we can.
Let me know if you have question, send me an email!
john
Chris Charvat at HN White.com encouraged me to do this some time ago. He did it to preserve the family history. His Great Grand Mother was Catherine White who lived next door to him. He realized that when she passed so would this legacy of history.
I have a few guidelines I would like to have in place:
1.) Give me pictures, of you horns. Any information you have about purchase, previous owners, serial number, etc. BUT only information you have first hand knowledge of. No hearsay, just first hand knowledge. Not everyone can own Tommy Dorseys personal horn! Just what you know. IE: I bought a model 6 from Dick Nash in 1992.
2.) If you do not wish to have this information on a public website. Just tell me and it will be held confidentially and only accessible by me. Pictures will allow me to look at design changes, construction techniques etc
3.) I will need help! I know nothing, zip, nada about website design! So if you would like to help. I will carefully consider each and every offer to do so.
4.) Do not send any information prior to the 5th of July. My wife and I are headed out on a road trip to Virginia to see our Grandkids! I dont want my mailbox to overflow and kick it back to you or worse yet lose any information.
5.) Any Williams memorabilia you have would be welcome as well! Price lists. Correspondence, pictures anything you might think is interesting send it.
A lot of guys have suggested this to me over recent weeks. And I think it is a good project! So lets do it!
If you know any Williams owners who are not on the forum lets get the word out to the as well. If you know former Williams owners contact them as well. Lets gather all the info we can.
Let me know if you have question, send me an email!
john
Earl Williams Trombone
Posted: Thu Jun 04, 2009 1:18 pm
ohhh this sounds really exciting!!!! Richard Tadaki was a computer teacher for some years so I'm sure he'll be more than able and happy to help with the website design, etc.!! Williams owners unite!!
Earl Williams Trombone
Posted: Thu Jun 04, 2009 3:22 pm
Quote from: Bach42BOS on Jun 04, 2009, 01:18PMohhh this sounds really exciting!!!! Richard Tadaki was a computer teacher for some years so I'm sure he'll be more than able and happy to help with the website design, etc.!! Williams owners unite!!
I appreciate your confidence but, sorry, I can't do it. I learned to design websites back in the mid-90's and learned to do it by writing HTML code. Nowadays, it's all done by software and I haven't even looked at any, let alone tried any. Sorry about that. I wish I could be more helpful.
I appreciate your confidence but, sorry, I can't do it. I learned to design websites back in the mid-90's and learned to do it by writing HTML code. Nowadays, it's all done by software and I haven't even looked at any, let alone tried any. Sorry about that. I wish I could be more helpful.
Earl Williams Trombone
Posted: Thu Jun 04, 2009 3:43 pm
Richard...most of the hosting sites offer templates...type text and import...done. Add some pics and captions...TADAH!
If it sounds like I know what I'm talking about don't be fooled...I watched my wife do it.
If it sounds like I know what I'm talking about don't be fooled...I watched my wife do it.
Earl Williams Trombone
Posted: Thu Jun 04, 2009 4:28 pm
Quote from: john sandhagen on Jun 04, 2009, 03:43PMRichard...most of the hosting sites offer templates...type text and import...done. Add some pics and captions...TADAH!
If it sounds like I know what I'm talking about don't be fooled...I watched my wife do it.
Sounds simple enough. Bach42BOS doesn't know it yet but he's going to be helping me a lot.
Okay, everybody. Send me your Earl Williams trombones so I can take pictures of them. I'll return them to you as soon as I can.
If it sounds like I know what I'm talking about don't be fooled...I watched my wife do it.
Sounds simple enough. Bach42BOS doesn't know it yet but he's going to be helping me a lot.
Okay, everybody. Send me your Earl Williams trombones so I can take pictures of them. I'll return them to you as soon as I can.
Earl Williams Trombone
Posted: Thu Jun 04, 2009 4:53 pm
Johnl does your wife realize you just volunteered her services? Tell her Thank You So Much!!!
Earl Williams Trombone
Posted: Thu Jun 04, 2009 5:01 pm
Quote from: Richard Tadaki on Jun 04, 2009, 03:22PMI appreciate your confidence but, sorry, I can't do it. I learned to design websites back in the mid-90's and learned to do it by writing HTML code. Nowadays, it's all done by software and I haven't even looked at any, let alone tried any. Sorry about that. I wish I could be more helpful. haha don't worry, idk crap about all these HTML codes and whatnot! i just copy/paste whatever i can find online and use that lol! it's so much easier when someone else does the hard work for you!
Quote from: Richard Tadaki on Jun 04, 2009, 04:28PMSounds simple enough. Bach42BOS doesn't know it yet but he's going to be helping me a lot.
Okay, everybody. Send me your Earl Williams trombones so I can take pictures of them. I'll return them to you as soon as I can.
ohhh boy i think i need to run and hide
but i will help you take pictures and the like if people send you their horns LOL!!!!!!!!!!! 
Quote from: john sandhagen on Jun 04, 2009, 03:43PMRichard...most of the hosting sites offer templates...type text and import...done. Add some pics and captions...TADAH!
If it sounds like I know what I'm talking about don't be fooled...I watched my wife do it.
Quote from: jnoxon on Jun 04, 2009, 04:53PMJohnl does your wife realize you just volunteered her services? Tell her Thank You So Much!!!
haha i was thinking the same thing! i was gonna say it sounds as though you're volunteering your wife to help out, haha!
haha don't worry, idk crap about all these HTML codes and whatnot! i just copy/paste whatever i can find online and use that lol! it's so much easier when someone else does the hard work for you! Quote from: Richard Tadaki on Jun 04, 2009, 04:28PMSounds simple enough. Bach42BOS doesn't know it yet but he's going to be helping me a lot.
Okay, everybody. Send me your Earl Williams trombones so I can take pictures of them. I'll return them to you as soon as I can.
ohhh boy i think i need to run and hide
but i will help you take pictures and the like if people send you their horns LOL!!!!!!!!!!! Quote from: john sandhagen on Jun 04, 2009, 03:43PMRichard...most of the hosting sites offer templates...type text and import...done. Add some pics and captions...TADAH!
If it sounds like I know what I'm talking about don't be fooled...I watched my wife do it.
Quote from: jnoxon on Jun 04, 2009, 04:53PMJohnl does your wife realize you just volunteered her services? Tell her Thank You So Much!!!
haha i was thinking the same thing! i was gonna say it sounds as though you're volunteering your wife to help out, haha!
Earl Williams Trombone
Posted: Fri Jun 05, 2009 8:09 am
To be honest she's does trombones once a year...at the Boneyard sale. She'll cook, host, tolerate us...for a day.
I know for a fact that someone with the initials John Noxon has a lot of pics already, waiting to be emailed...somewhere south and west of us....
I know for a fact that someone with the initials John Noxon has a lot of pics already, waiting to be emailed...somewhere south and west of us....
Earl Williams Trombone
Posted: Fri Jun 05, 2009 9:18 am
I know the feeling! My wife tolerated the repair business 4 20 years. Her job was to spend some of what I made! In the summer the house was full of horns, living room, her side of the bed every where!From May to October! Wives have thing about it is there house, the garage was mine.
If your wife does web design maybe she can give me some pointers?
I aint giving up easy here!
If your wife does web design maybe she can give me some pointers?
I aint giving up easy here!
Earl Williams Trombone
Posted: Fri Jun 05, 2009 10:02 am
It didn't look that hard. You need to register for a domain name, pay them. Then they give you access and a bunch of options...looks, features, etc. Then you add text to the features.
It looked a little harder than understanding/doing and Excell speadsheet...
It looked a little harder than understanding/doing and Excell speadsheet...
Earl Williams Trombone
Posted: Fri Jun 05, 2009 10:42 am
I have done the domain name thing. Then Mike McGuire did the site for us. www.Swingstreet. Info very basic.
Earl Williams Trombone
Posted: Fri Jun 05, 2009 11:34 am
I'm anxious to hear where the 10's are. I've put blowing a few notes on one on my personal "Bucket List." I hope I have quite a bit of time to accomplish this.
BTW, I've used NetObjects Fusion to build the Band's and Orchestra's websites, but I'm (very) slowly working on a new ones using Drupal. Google Drupal and Joomla to see what can be done with websites using those tools.
http://www.the-kicks-band.com
http://www.kckorchestra.org
BTW, I've used NetObjects Fusion to build the Band's and Orchestra's websites, but I'm (very) slowly working on a new ones using Drupal. Google Drupal and Joomla to see what can be done with websites using those tools.
http://www.the-kicks-band.com
http://www.kckorchestra.org
Earl Williams Trombone
Posted: Fri Jun 05, 2009 12:58 pm
Quote from: jnoxon on Jun 05, 2009, 10:42AMI have done the domain name thing. Then Mike McGuire did the site for us. www.Swingstreet.info/ very basic.Somebody wanna fix that link?
http://www.swingstreet.info/
http://www.swingstreet.info/
Earl Williams Trombone
Posted: Fri Jun 05, 2009 4:15 pm
What an investor should do is buy the name "Williams.org" and offer to sell it for a higher price. That is what you see on ebay all the time. Just look for obama on eBay. $250,000! for just a web page.
Earl Williams Trombone
Posted: Sun Jun 07, 2009 4:36 am
Kanstul makes several versions of the 1606; four different bell thickneses, brass and bronze, soldered and unsoldered and at least two slides. Can anybody tell me which combination most closely matches the Williams?
Earl Williams Trombone
Posted: Sun Jun 07, 2009 11:55 am
Actually none of them do. They are great horns in ther own right but not a Williams. The allow is wrong, the construction is different, bell thickness. But they are a very good horn. The basis for the 1606, I think that is the number, is a copy of a model 4 a fellow in Irvine Ca owned. He took it to Kanstul for refinishing and the took a good hard look at it. Again the Kanstul is a great horn, and probably the closest production to a Williams bit it is not a WIlliams.
I actually like the 1606 the best of the bunch. The original version, first one they did.
I actually like the 1606 the best of the bunch. The original version, first one they did.
Earl Williams Trombone
Posted: Sun Jun 07, 2009 5:57 pm
Quote from: jnoxon on Jun 07, 2009, 11:55AMActually none of them do. They are great horns in ther own right but not a Williams. The allow is wrong, the construction is different, bell thickness. But they are a very good horn. The basis for the 1606, I think that is the number, is a copy of a model 4 a fellow in Irvine Ca owned. He took it to Kanstul for refinishing and the took a good hard look at it. Again the Kanstul is a great horn, and probably the closest production to a Williams bit it is not a WIlliams.
I actually like the 1606 the best of the bunch. The original version, first one they did.
Hi John.
Thank you for your reply to my question.
I have been reading this forum for about five years now, as the Williams has achieved almost cult status among the forumites. I have never had the opportunity to play a Williams 6, but I am very curious about the sound and the playing characteristics that have everyone so impressed by the Williams 6. Descriptions I have read here, such as, "plays bigger than it is," and resonates well in all registers," aren't much help. I remember you saying before, as well as today, that the Kanstul is a pretty good Williams 6 clone (though not an exact duplication.) I was hoping to learn which version of the 1606 that you (and others) are referring to when comparing the 1606 and the Williams. I happen to own a Kanstul 1606 with an unsoldered .025" bell (That's the heavy one), and a brass slide. It is an absolutely fantastic horn !!! Is this what the Williams is similar to, or is it more similar to the lighter bell / slide versions? The first 1606 made, the one you really liked......do you know anything about its spec's?
Of course, you COULD just loan me your 6 for awhile, so that I could learn about a Williams first hand.
I actually like the 1606 the best of the bunch. The original version, first one they did.
Hi John.
Thank you for your reply to my question.
I have been reading this forum for about five years now, as the Williams has achieved almost cult status among the forumites. I have never had the opportunity to play a Williams 6, but I am very curious about the sound and the playing characteristics that have everyone so impressed by the Williams 6. Descriptions I have read here, such as, "plays bigger than it is," and resonates well in all registers," aren't much help. I remember you saying before, as well as today, that the Kanstul is a pretty good Williams 6 clone (though not an exact duplication.) I was hoping to learn which version of the 1606 that you (and others) are referring to when comparing the 1606 and the Williams. I happen to own a Kanstul 1606 with an unsoldered .025" bell (That's the heavy one), and a brass slide. It is an absolutely fantastic horn !!! Is this what the Williams is similar to, or is it more similar to the lighter bell / slide versions? The first 1606 made, the one you really liked......do you know anything about its spec's?
Of course, you COULD just loan me your 6 for awhile, so that I could learn about a Williams first hand.
Earl Williams Trombone
Posted: Sun Jun 07, 2009 6:56 pm
Quote from: CharlieB on Jun 07, 2009, 05:57PM... I remember you saying before, as well as today, that the Kanstul is a pretty good Williams 6 clone (though not an exact duplication.) I was hoping to learn which version of the 1606 that you (and others) are referring to when comparing the 1606 and the Williams. I happen to own a Kanstul 1606 with an unsoldered .025" bell (That's the heavy one), and a brass slide. It is an absolutely fantastic horn !!! Is this what the Williams is similar to, or is it more similar to the lighter bell / slide versions? The first 1606 made, the one you really liked......do you know anything about its spec's?
You might try contacting Noah Gladstone at Ferguson Music (aka Horn Guys). He plays a 6 (among other horns) and Ferguson carries Kanstul trombones so he would know how to answer your question. Noah is a forum member so maybe he can post an answer here so we can all find out what he thinks.
Here's the link to Ferguson Music: http://hornguys.com/
You might try contacting Noah Gladstone at Ferguson Music (aka Horn Guys). He plays a 6 (among other horns) and Ferguson carries Kanstul trombones so he would know how to answer your question. Noah is a forum member so maybe he can post an answer here so we can all find out what he thinks.
Here's the link to Ferguson Music: http://hornguys.com/
Earl Williams Trombone
Posted: Sun Jun 07, 2009 8:42 pm
Not all the William horns were the same either. I have two 6's, one is heavy and the other light. I like both and have played them interchangeably. They're different, but the same. I happen to prefer lighter horns because of the way they feel in my hand. I'll make anything sound the way I want.
Earl Williams Trombone
Posted: Sun Jun 07, 2009 9:34 pm
Quote from: CharlieB on Jun 07, 2009, 05:57PM The first 1606 made, the one you really liked......do you know anything about its spec's?
The protype Kanstul 1606 (the first horn made) is owned by a player here in Chicago. It is a fantastic playing horn. The bell is the lightest bell offered by Kanstul for the 1606. It has a nickel slide.
Also in regard to the Williams 6. I have owned a few. I have played four others. They all played and sounded different from one another. One was an absolute dog.
It is hillarious to read all of this hype about a horn that never was sought after by the majority of players when they were being built.
Many Conn players, many King players, many Bach players.
Williams?
Not so much.
The protype Kanstul 1606 (the first horn made) is owned by a player here in Chicago. It is a fantastic playing horn. The bell is the lightest bell offered by Kanstul for the 1606. It has a nickel slide.
Also in regard to the Williams 6. I have owned a few. I have played four others. They all played and sounded different from one another. One was an absolute dog.
It is hillarious to read all of this hype about a horn that never was sought after by the majority of players when they were being built.
Many Conn players, many King players, many Bach players.
Williams?
Not so much.
Earl Williams Trombone
Posted: Sun Jun 07, 2009 11:28 pm
Quote from: Koz on Jun 07, 2009, 09:34PM... Also in regard to the Williams 6. I have owned a few. I have played four others. They all played and sounded different from one another. One was an absolute dog.
It is hillarious to read all of this hype about a horn that never was sought after by the majority of players when they were being built.
Many Conn players, many King players, many Bach players.
Williams?
Not so much.
Well in all fairness to the Williams owners, those of us who love our Williamses think they're great horns and you can hardly call our personal opinions about our horns hype. It's just their opinions and it's fine if you disagree with them. With regard to having many more Conn, King, and Bach players (I love my Bachs too), the production and distribution of these instruments far outnumber the number of Earl Williams trombones ever made so it only stands to reason that there would be far more owners of the mass production horns than the custom made Williamses. Let's put this all in perspective and be fair about it.
If you still have your Williams trombones and don't like them, I'll take them off your hands.
It is hillarious to read all of this hype about a horn that never was sought after by the majority of players when they were being built.
Many Conn players, many King players, many Bach players.
Williams?
Not so much.
Well in all fairness to the Williams owners, those of us who love our Williamses think they're great horns and you can hardly call our personal opinions about our horns hype. It's just their opinions and it's fine if you disagree with them. With regard to having many more Conn, King, and Bach players (I love my Bachs too), the production and distribution of these instruments far outnumber the number of Earl Williams trombones ever made so it only stands to reason that there would be far more owners of the mass production horns than the custom made Williamses. Let's put this all in perspective and be fair about it.
If you still have your Williams trombones and don't like them, I'll take them off your hands.
Earl Williams Trombone
Posted: Sun Jun 07, 2009 11:31 pm
Players as diverse Jack Teagarden and Conrad Herwig dug the Williams. A lot of heavy cats liked the williams, and they didn't make a whole lot so they were pretty well represented.
Of course a lot of guys have been payed to play Bachs, Kings, etc.... larger companies, larger distribution, more money for endorsements....
Z
Of course a lot of guys have been payed to play Bachs, Kings, etc.... larger companies, larger distribution, more money for endorsements....
Z
Earl Williams Trombone
Posted: Mon Jun 08, 2009 4:24 am
Quote from: Koz on Jun 07, 2009, 09:34PMThe protype Kanstul 1606 (the first horn made) is owned by a player here in Chicago. It is a fantastic playing horn. The bell is the lightest bell offered by Kanstul for the 1606. It has a nickel slide.
Also in regard to the Williams 6. I have owned a few. I have played four others. They all played and sounded different from one another. One was an absolute dog.
It is hillarious to read all of this hype about a horn that never was sought after by the majority of players when they were being built.
Many Conn players, many King players, many Bach players.
Williams?
Not so much.
They were fantastic instruments. Real singers. I have never played a "dog" Earl Williams...not that I doubt that they might exist, especially after 40 or 50+ years of possible meddling... nor have I ever played a bad Wallace Williams.
Hilarious?
How many pages of hilarious do we have here?
18?
Hmmmmm....
Some were lighter than others.
Some were reputedly buffed down even further to fit a very light LA studio approach.
Others were treated to Herrick leadpipes.
But even after not playing mine for 7 or 8 years, when I picked up the one that Isrea Butler bought recently and played it, that "Williams" feel was right there.
It's not "hype" if more than about 3 really serious players loved it.
Dick Nash.
Jack Teagarden.
Billy Byers.
Off the top of my head.
So maybe Earl wasn't the greatest businessman. Irascible is the word that comes to mind after hearing Jimmy Knepper speak of him. (I can relate...) Or maybe he was unwilling to make the compromises that inevitably come with expansion. But "hype"?
I think not.
"Hero" sounds more like it.
Later...
S.
P.S. I have played a number of Kanstuls. Good horns. But I have never played one that sang like a good Earl Williams 6. Never. And yes, I do think that it's in the metal.
P.P.S. Irascible? Jimmy told me that Earl wouldn't even tell his own son his horn-making secrets. Sounds like one of those Japanese sword makers.
The Earl Williams Katana model.
Played exclusively by Musashi Miyamoto.
Like dat!!!
Also in regard to the Williams 6. I have owned a few. I have played four others. They all played and sounded different from one another. One was an absolute dog.
It is hillarious to read all of this hype about a horn that never was sought after by the majority of players when they were being built.
Many Conn players, many King players, many Bach players.
Williams?
Not so much.
They were fantastic instruments. Real singers. I have never played a "dog" Earl Williams...not that I doubt that they might exist, especially after 40 or 50+ years of possible meddling... nor have I ever played a bad Wallace Williams.
Hilarious?
How many pages of hilarious do we have here?
18?
Hmmmmm....
Some were lighter than others.
Some were reputedly buffed down even further to fit a very light LA studio approach.
Others were treated to Herrick leadpipes.
But even after not playing mine for 7 or 8 years, when I picked up the one that Isrea Butler bought recently and played it, that "Williams" feel was right there.
It's not "hype" if more than about 3 really serious players loved it.
Dick Nash.
Jack Teagarden.
Billy Byers.
Off the top of my head.
So maybe Earl wasn't the greatest businessman. Irascible is the word that comes to mind after hearing Jimmy Knepper speak of him. (I can relate...) Or maybe he was unwilling to make the compromises that inevitably come with expansion. But "hype"?
I think not.
"Hero" sounds more like it.
Later...
S.
P.S. I have played a number of Kanstuls. Good horns. But I have never played one that sang like a good Earl Williams 6. Never. And yes, I do think that it's in the metal.
P.P.S. Irascible? Jimmy told me that Earl wouldn't even tell his own son his horn-making secrets. Sounds like one of those Japanese sword makers.
The Earl Williams Katana model.
Played exclusively by Musashi Miyamoto.
Like dat!!!
Earl Williams Trombone
Posted: Mon Jun 08, 2009 4:47 am
Quote from: sabutin on Jun 08, 2009, 04:24AMIt's not "hype" if more than about 3 really serious players loved it.
Dick Nash.
Jack Teagarden.
Billy Byers.
Off the top of my head.
Dick Nash: Much of his recording discography was played on a Bach. Plays a Bach 16M now.
Jack Teagrden: Played just about every horn - the Williams bein gonly one of many. To my ear, Jack Teagarden did not sound his best on the Williams. (based on available recordings)
Billy Byers: Also a Bach player
It seems that many players toyed with the Williams horns but all switched to other instruments.
They were nice horns.
Some were good.
Some were dogs.
Cult status?
Nope.
Just a nicely built trombone with its' own unique quirkiness.
Hary
Dick Nash.
Jack Teagarden.
Billy Byers.
Off the top of my head.
Dick Nash: Much of his recording discography was played on a Bach. Plays a Bach 16M now.
Jack Teagrden: Played just about every horn - the Williams bein gonly one of many. To my ear, Jack Teagarden did not sound his best on the Williams. (based on available recordings)
Billy Byers: Also a Bach player
It seems that many players toyed with the Williams horns but all switched to other instruments.
They were nice horns.
Some were good.
Some were dogs.
Cult status?
Nope.
Just a nicely built trombone with its' own unique quirkiness.
Hary
Earl Williams Trombone
Posted: Mon Jun 08, 2009 7:08 am
Quote from: Koz on Jun 08, 2009, 04:47AMDick Nash: Much of his recording discography was played on a Bach. Plays a Bach 16M now.
Jack Teagrden: Played just about every horn - the Williams bein gonly one of many. To my ear, Jack Teagarden did not sound his best on the Williams. (based on available recordings)
Billy Byers: Also a Bach player
It seems that many players toyed with the Williams horns but all switched to other instruments.
They were nice horns.
Some were good.
Some were dogs.
Cult status?
Nope.
Just a nicely built trombone with its' own unique quirkiness.
Hary
As you must.
No great horns work for everyone, all of the time.
I have owned...besides my Shires horns that I basically put together so that they would fit my varying needs...about 5 horns that I have considered "great" instruments.
A '30s Conn 78H Special.
A gold plated Mt. Vernon 16 that had been converted to single bore by John "Peppy" Pettinato.
An Earl Williams 6 that I had to gold and silver plate to settle it down enough to deal with today's volume needs without overvibrating.
A '30s Conn 76H...dual bore .525/.547, TIS.
A '30s Conn 70H ...also dual bore (.547/.565), also TIS.
Just because I am not playing them now doesn't mean that they are not great instruments, it just means that they do not fit what I do. Today. If I was just playing small group post-bop, I imagine that I would still be playing that 76H. Its resonance is unearthly. And if Dick Nash didn't think that the Williams instruments were great horns, why did he collect so many?
Minnick 100Hs and Earl Williams horns are the peak of instrument making in that era on the west coast. Hundreds of fine players realize that, whether they play them now or not. What's the point of putting down the Earl williams horns? Do you really think that we are all just a bunch of star-struck teenagers?
S.
Jack Teagrden: Played just about every horn - the Williams bein gonly one of many. To my ear, Jack Teagarden did not sound his best on the Williams. (based on available recordings)
Billy Byers: Also a Bach player
It seems that many players toyed with the Williams horns but all switched to other instruments.
They were nice horns.
Some were good.
Some were dogs.
Cult status?
Nope.
Just a nicely built trombone with its' own unique quirkiness.
Hary
As you must.
No great horns work for everyone, all of the time.
I have owned...besides my Shires horns that I basically put together so that they would fit my varying needs...about 5 horns that I have considered "great" instruments.
A '30s Conn 78H Special.
A gold plated Mt. Vernon 16 that had been converted to single bore by John "Peppy" Pettinato.
An Earl Williams 6 that I had to gold and silver plate to settle it down enough to deal with today's volume needs without overvibrating.
A '30s Conn 76H...dual bore .525/.547, TIS.
A '30s Conn 70H ...also dual bore (.547/.565), also TIS.
Just because I am not playing them now doesn't mean that they are not great instruments, it just means that they do not fit what I do. Today. If I was just playing small group post-bop, I imagine that I would still be playing that 76H. Its resonance is unearthly. And if Dick Nash didn't think that the Williams instruments were great horns, why did he collect so many?
Minnick 100Hs and Earl Williams horns are the peak of instrument making in that era on the west coast. Hundreds of fine players realize that, whether they play them now or not. What's the point of putting down the Earl williams horns? Do you really think that we are all just a bunch of star-struck teenagers?
S.
Earl Williams Trombone
Posted: Mon Jun 08, 2009 7:55 am
Quote from: sabutin on Jun 08, 2009, 07:08AMDo you really think that we are all just a bunch of star-struck teenagers?Sam Burtis? A star-struck teenager? There is no smiley strong enough for my reaction to that image.
Earl Williams Trombone
Posted: Mon Jun 08, 2009 7:57 am
Quote from: sabutin on Jun 08, 2009, 07:08AM What's the point of putting down the Earl williams horns? Do you really think that we are all just a bunch of star-struck teenagers?
S.
Not putting the Williams horns down at all.
Just questioning the growing hype about a horn that was a nicely built trombone of its' time. The horn was liked by some and disliked by some.
The cult status that the Williams trombones have achieved is amusing.
High school students?
As a matter of fact there are several high school students contributing to this thread portraying themselves as experts.
As for you, I respect your point of view and your years of experience.
H.
S.
Not putting the Williams horns down at all.
Just questioning the growing hype about a horn that was a nicely built trombone of its' time. The horn was liked by some and disliked by some.
The cult status that the Williams trombones have achieved is amusing.
High school students?
As a matter of fact there are several high school students contributing to this thread portraying themselves as experts.
As for you, I respect your point of view and your years of experience.
H.
Earl Williams Trombone
Posted: Mon Jun 08, 2009 8:23 am
Tried a true Williams 6 which was a dog!!!
I own a Donelson Williams which is fantastic.
Why isn't it my main horn?
I find that my Vintage Bach 12 is easier to blend in sections with, even if the horns being used are different makes!!!
This Bach has more presence than the Williams. Most of you will probably find that hard to believe.
I have a Minick 100H (real deal) on it's way to me
I'm told it is an absolute MF....... Maybe I'll start a Minick appreciation thread once I've put some hours and gigs on it
I own a Donelson Williams which is fantastic.
Why isn't it my main horn?
I find that my Vintage Bach 12 is easier to blend in sections with, even if the horns being used are different makes!!!
This Bach has more presence than the Williams. Most of you will probably find that hard to believe.
I have a Minick 100H (real deal) on it's way to me
I'm told it is an absolute MF....... Maybe I'll start a Minick appreciation thread once I've put some hours and gigs on it
Earl Williams Trombone
Posted: Mon Jun 08, 2009 9:10 am
i had a buyer for this one[before the kid got hip to the w] //also for israe butler's just in case it didnt fit
---------
sams old gold and silver was pretty lite in the bell //compared to a tennesse i had at same time
i can see why certain bells would be for certain jobs
---------
Quote from: bachbone on Jan 23, 2009, 06:50PMJust got my first Earl Williams Horn (Model 6)!!! This horn is a beast, I never would have imagined the sound that this thing produces!
I am hooked on my trombone right now. Can't feel my lips, but I keep playing. Kinda like someone put some tobacco in the mouthpiece. I am addicted to playing it!
This horn isn't leaving my grip. If anyone sees me selling it, tell me to stop! I have that awful habit of getting a new horn every week. Knock some sense into me!
All and all, this is the most amazing horn I have ever played!!!!
---------
sams old gold and silver was pretty lite in the bell //compared to a tennesse i had at same time
i can see why certain bells would be for certain jobs
---------
Quote from: bachbone on Jan 23, 2009, 06:50PMJust got my first Earl Williams Horn (Model 6)!!! This horn is a beast, I never would have imagined the sound that this thing produces!
I am hooked on my trombone right now. Can't feel my lips, but I keep playing. Kinda like someone put some tobacco in the mouthpiece. I am addicted to playing it!
This horn isn't leaving my grip. If anyone sees me selling it, tell me to stop! I have that awful habit of getting a new horn every week. Knock some sense into me!
All and all, this is the most amazing horn I have ever played!!!!
Earl Williams Trombone
Posted: Mon Jun 08, 2009 10:09 am
Quote from: Chris Fidler on Jun 08, 2009, 08:23AMTried a true Williams 6 which was a dog!!!
I own a Donelson Williams which is fantastic.
Why isn't it my main horn?
I find that my Vintage Bach 12 is easier to blend in sections with, even if the horns being used are different makes!!!
This Bach has more presence than the Williams. Most of you will probably find that hard to believe.
TRUE. I had a Donelson Williams (which was sold by Calicchio to Rick Stepton in 1994). The gauge of the bell was twice as thick as normal (apparently they were spun by Getzen, too). I used it the first few months on the Glenn Miller Orchestra until some soldering came apart on the slide. I borrowed Larry O'Brien's spare 2-B until I could get my horn repaired; INSTANT difference in the blend of the section that several guys in the band remarked about. I never played that Williams in the band again -- I traded it in for a Rath R10 without even having repairs done. I'd say the Donelson is a great solo horn, but not the best for section work.
Somewhere in a Williams topic, I already posted a video of Rick Stepton and Conrad Herwig playing Williams horns with Buddy Rich. This one is better though....
http://www.youtube.com/watch?v=ZitzjtJrVYo
(you'll just have to excuse lead trumpet player Lin Biviano's last note....that's just Lin -- reckless <and I love it>)
Williams aren't for everybody. I think you not only have to have your you-know-what together to get the most out of the horns, but there is an adjustment period. When I play another horn for a while, then go back to the Williams, I have to learn it all over again. It's a different kind of blow, which I think comes from the design of the tuning slide and set-back bell, and perhaps even the sleeveless slide. But once I find that "sweet spot", it's over; there is no other horn to me. When I'm feeling out of shape, I pull out the ever-forgiving Yamaha Z. For jazz soloing, though, I would take the Williams over anything else I've ever played. I feel I can play more subtly on it than others, but more importantly it has the sound I grew up hearing from Rick Stepton and Jeff Galindo on their Williams. If you say there are no Williams players out there, you've not spent much time in Boston, let's put it that way.....
I own a Donelson Williams which is fantastic.
Why isn't it my main horn?
I find that my Vintage Bach 12 is easier to blend in sections with, even if the horns being used are different makes!!!
This Bach has more presence than the Williams. Most of you will probably find that hard to believe.
TRUE. I had a Donelson Williams (which was sold by Calicchio to Rick Stepton in 1994). The gauge of the bell was twice as thick as normal (apparently they were spun by Getzen, too). I used it the first few months on the Glenn Miller Orchestra until some soldering came apart on the slide. I borrowed Larry O'Brien's spare 2-B until I could get my horn repaired; INSTANT difference in the blend of the section that several guys in the band remarked about. I never played that Williams in the band again -- I traded it in for a Rath R10 without even having repairs done. I'd say the Donelson is a great solo horn, but not the best for section work.
Somewhere in a Williams topic, I already posted a video of Rick Stepton and Conrad Herwig playing Williams horns with Buddy Rich. This one is better though....
http://www.youtube.com/watch?v=ZitzjtJrVYo
(you'll just have to excuse lead trumpet player Lin Biviano's last note....that's just Lin -- reckless <and I love it>)
Williams aren't for everybody. I think you not only have to have your you-know-what together to get the most out of the horns, but there is an adjustment period. When I play another horn for a while, then go back to the Williams, I have to learn it all over again. It's a different kind of blow, which I think comes from the design of the tuning slide and set-back bell, and perhaps even the sleeveless slide. But once I find that "sweet spot", it's over; there is no other horn to me. When I'm feeling out of shape, I pull out the ever-forgiving Yamaha Z. For jazz soloing, though, I would take the Williams over anything else I've ever played. I feel I can play more subtly on it than others, but more importantly it has the sound I grew up hearing from Rick Stepton and Jeff Galindo on their Williams. If you say there are no Williams players out there, you've not spent much time in Boston, let's put it that way.....