Introducing the second generation of the Xeno Artist Model “New York” series Bb and C trumpets. In collaboration with David Bilger, Principal Trumpet of the Philadelphia Orchestra, Yamaha trumpet designers scrutinized the redesign of parts and manufacturing down to the micron-level in order to ensure the highest levels of quality, craftsmanship and tone control for the performer that is striving for perfection.
The area where the bell meets the valves has been redesigned for optimum playing resistance and brilliant, distinctive tone. High note playability has been significantly improved as well. The bell has a traditional bottom seam that results in ideal balance with the new thinner valve casing and pistons.
tilizing a leadpipe that is thicker than the previous design, an original style Malone Pipe MB2, and a lighter mouthpiece receiver, Yamaha trumpet designers have achieved improved tone and response while providing the performer with an ideal level of air resistance. Malone Pipe Based on leadpipes designed by renowned brass instrument artisan Bob Malone, the Malone Pipe is available in several keys, offering quick response, superior intonation and unparalleled evenness of tone: Originally a trumpet player himself, Bob Malone opened his own custom brass shop in Los Angeles in 1983. Trumpeters flocked to his shop to have him personally customize their horns. His original leadpipe design has enjoyed wide acclaim and is still held in high regard among trumpet players. Since Bob joined Yamaha’s Research and Development team in 2001, his Malone Pipe design has made its way into a number of Xeno Artist models and Custom series instruments. Rich and brilliant tone with excellent projection, the Malone Pipe brings total expression to your music.
Thinner valve casing and pistons, as well as the modified angle of the branch tube (Knuckle, marked in blue in the photo), result in improved response and provide the performer with an ideal level of resistance. Modifications to the shapes of the piston button, top cap, and bottom cap, as well as production refinements, have made it possible to deliver a deeper tone while improving projection.
A traditional square crook is used (the Chicago model has a semi-square crook). The socket of the main tuning slide brace(marked in blue in the photo) is taller and the brace is heavier to achieve balanced resistance and a vivid sound quality that leads to brilliant presence in orchestral settings.
The shape and position of the bell braces has been modified to achieve better weight balance that results in quicker response and livelier tone with a solid tonal core.
The slide stopper is designed to prevent the trumpet slide from falling off. The slide stopper is made of silicone rubber, which will not harm the finish. Providing both strength and elasticity, it can remain attached to the instrument during performance. (Length: 12 cm)
David Bilger Hailed by the New York Times for his playing of “easy brilliance” and by the Washington Post for his “engaging legato touch,” David Bilger has held the position of principal trumpet of The Philadelphia Orchestra since 1995. Prior to joining the Orchestra, he held the same position with the Dallas Symphony. As a soloist, Mr. Bilger has appeared with The Philadelphia Orchestra, the Dallas Symphony, the Houston Symphony, the Chamber Orchestra of Philadelphia, the Oakland Symphony, the Indianapolis Chamber Orchestra, Philharmonia Virtuosi of New York, and others. His solo appearances with The Philadelphia Orchestra include 2013 performances of Hummel’s Trumpet Concerto, a 2008 US Premiere of Herbert Willi’s “Eirene” for trumpet and orchestra as well as performances of the Tomasi Trumpet Concerto at Carnegie Hall, and on tour in North and South America in 1998; Haydn’s Trumpet Concerto in February 2003; Copland’s Quiet City in October 2004; and Bloch’s Proclamation in 2006. Mr. Bilger has performed recitals in New York, Washington, D.C., Cleveland, Los Angeles, Philadelphia, and other major American cities. Mr. Bilger has appeared with the Chamber Music Society of Lincoln Center, with which he recorded Bach’s Second Brandenburg Concerto. Other chamber music appearances include Chamber Music Northwest, the New York Trumpet Ensemble, Saint Luke’s Chamber Ensemble, as well as guest appearances with the Canadian Brass and the Empire Brass. He released a recording of new electro-acoustic music for trumpet and synthesizers with composer Meg Bowles. Mr. Bilger is currently on the music faculties The Curtis Institute of Music and Temple University, and was a former faculty member of the Hugh Hodgson School of Music at the University of Georgia. He has performed master classes at dozens of institutions, including the Juilliard School of Music, Indiana University, the University of Michigan, the Manhattan School of Music, and the Peabody Conservatory. He has also taught at the Pacific Music Festival and the National Orchestral Institute most recently at the Aspen Music Festival and School. Mr. Bilger holds a Master of Music degree from the Juilliard School of Music and a Bachelor of Music degree from the University of Illinois.
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