Bell Bracing

I recently did some work on a '24 Conn 22B. Straightening and buffing etc. I had the front bell brace off while I cleaned up the solder and buffed the parts and removed the lyre holder. After testing playing it, I've decided to not reinstall the brace, unless I decide to sell it. It made a huge difference in the upper range and general responsiveness. That could be the result of returning the instrument to approximately its original shape and or the removal of the brace just might be contributing to the improvement to the sound. Looks good!

The position of the brace has been the subject of much debate. This is even a debate / sales gimmick for Euphoniums and Baritones. I think if you never drop the horn, you should be fine.

In the case of this 22B, the instrument was distorted on a couple of planes. I've never played a "factory new" condition early model 22B so for myself I can't compare the difference between that and the one in my possession. Even if I put the brace back in position, I'll never know for sure how the original played and sounded. That's part of the price you pay for buying an old used instrument as opposed to going for a creampuff at 10 times the price. I have to say though, after cleaning the thing up, what I thought was a so-so instrument has turned into a real beauty and one of the best players I have. When I purchased it, I thought, well it's no great shakes. It was serviceable but I saw none of the magic that a 22B is supposed to possess. This illustrates the danger of making any serious judgements about a particular model when it is first hauled out of a moldy case. At this time, I can see no good reason to replace the brace. It couldn't possibly improve the sound of the instrument and it looks great with the bell free all the way from the valve block.



This evening I removed the threaded tuning stops and buffed it clean. It's playing so well, it's hard to put down. Go Conn!

Reply #3 - Mar 17th, 2012,

I'm certain that the position of braces has no discernible effect to the listener. But, if it can make playing more pleasurable to the player, so much the better.


Reply #4 - Mar 22nd, 2012,

The belief is that the brace may deaden the sound. Like using different metals or making the bell without turning the edge.



It also helps keep the bell from falling off when you run into something.




Reply #5 - Mar 22nd, 2012,



People with considerable reputation have pronounced it in videos, websites, and literature.



Where does that really leave the lowly dabbler such as me? Well, I certainly wouldn't want anyone to take my word on anything of a technical nature unless it were concerning home renovations or residential construction and even their caution is advised.



I recently refurbished my '24 Couesnon Eb cavalry trumpet. The tuning crook was stuck, and I hate that. There was no freeing it up by tapping, pulling, heating, soaking in PB Blaster or any of the noninvasive methods. So, I finally took the bull by the horns and disassembled the instrument. The crook was seized up badly plus there was one small dent that made the separation harder than it might have been.



Once apart and polished, I fit the parts together unsoldered.



Anyone who has played one of these little Eb trumpets will know that they have only one register, High. I haven't seen the new versions, but the Oldtimers are always soldered along the length of the tubing. This makes for three full length beads. The difference in playability was like night and day. The instrument, free of restriction, played easily up to a high concert F without undue strain. Prior to the repairs I was lucky to get the Eb. The other improvement that I found was the upper partials were easier to peg down, some of which you originally had to fight to get. The sound, from the players’ perspective was more sonorous throughout the range. Even the pedal opened. I am 63 years old and not some young buck with unlimited resources. So, for me to notice this much of a difference says something.



I suspect that the benefits of free pipes are more easily had with a small brass instrument where the bracing or longitudinal soldering represent a greater percentage of the tubing area. On the larger brass, these spots don't add up to as much of the total area and are probably less likely to impede the sound. Historically, the sections of brass instruments were always friction fit and even the wood block spacer with the braided cord didn't become popular until the 1600's. Modern trumpets and cornets have only very small braces and flanges. The contact area being quite small, so the possible impedance is small compared to that of a bugle or parade trumpet.

Some manufacturers apparently acknowledged this problem. This Mahillon Bugle is a pre-1900 military version of an Eb Bugle that has minimal bracing.



I'm sure the reason they solder up the English and French military field trumpets is for no other reason than to create a solid structure with few parts. Something that can be thrown over your shoulder, a saddle or carried on the top of a backpack. In the case of the Couesnons and a dozen or more other French contractors these things were made on mass and expected heavy usage. They weren't cheap however and the new ones are very expensive, so they were expected to be musically sound and play well. The solder was a compromise and of course the trumpeters were trained to manage the instruments as they were made.