Flip Oakes Testimonials

Bb Trumpet - Cornet Testimonials Here's what some professional musicians, owners and celebrities have to say about The Flip Oakes Wild Thing Trumpet
Check out Gene Zika's Trumpet Cartoons!	ANOTHER GREAT TESTIMONIAL <<<<< *Gary Latham* >>>> Another proud Wild Thing Owner Read Actual Letters (PDF) Dan McMillion (PDF)	Check out Flip's Wild Thing Owners Photo Gallery !
Anthony Cerrone Alan Chez Al Davis Barbara Ling Bruce Bock Brad Curran Bryan Shaw * Byron Jones Bob Michalski Bob Shanahan Clint 'Pops' McLaughlin * Conrad Janis David R. Long Trumpet & Cornet Dan McMillion - WT & Celebration Dan Zeilinger David C. Bass Dean Schilling Don DePascale Don Herman Jr Ed Kennedy - Celebration Eric Moss Eric E. Pointer * UPDATE Forrest Helmick* Frank Glasson * Gary Latham Gary Pack * Gerald A. Hoffman Jamie Tobitt	James Perales Jay Dusard Jim Edwards Jim Sightsinger Joe Martino Joshua M. Sullins Kieth Robinson Kirk Conyers Larry Woods Lee Adams Lex Grantham Lori Wingo* Mack Horton* Mark Brannon Mark Curry* Matthew C. Glenn Michael Anderson* Michael Paige Mike Gibbs Mikel Bartol Michelle Latimer Mike Wittkopp* Nicholas R. Eads Oliver Vidal Paul Christian Hess Peter Kartu * Peter Uppman	Ray Lawrence - Celebration Rainer Müller-Rensing Roger Lane Roger Shelley Roland Chirico * Russ Tell Steve Bulette Steve Dillard Rick Thomas Richard Steele Robert "Chaz" Wroblewski Robert Leatherwood Robbi Robinson Steve Magas Steve McGraw Toby Taubenson Tommy Loy * Tom Taylor Tom Turner - WT &Celebration * Travis Wilson Walt Johnson Walter Sharshon

Alan Chez
New York, N.Y.
(click on the thumbnail to see Alan's picture full size)

Trumpet player on the Late Night with David Letterman TV show.
Officially plays and endorses Flip Oakes "Wild Thing Trumpet"
A great horn and Flip is a great guy. He will help fit you with the right horn, tuning slide, Flugel, or whatever you need. The "Wild Thing" is different than any horn I have ever played. The big bore is surprisingly easy to fill to produce that big ballsy sound.
Thanks Flip for making the "perfect horn"!
WILD THING UPDATE

I have had my "Wild Thing" trumpet and flugel horn for 5 years now.

They both still play great. what ease .
Uusually after 2 or 3 years you get tired of your horn and need to tweak
your sound and equipment. But not with the Wild Thing.

I play them both every night on "THE LATE SHOW WITH DAVID LETTERMAN "
We play with so many different artists throughout the year.
Other players have 2 or 3 different horns for different situations.
The "WILD THING " works for all for all of them.

Rrecently I performed at "THE CONCERT FOR NEW YORK " in Madison Square Garden .

Performed with:
MICK JAGGER
KEITH RICHARDS
DAVID BOWIE
ERIC CLAPTON
BUDDY GUY
DESTINY'S CHILD
and others.

The wild thing trumpet was the only horn I needed for all these
different acts. It is so versatile and free blowing . it is a joy to play

I am so happy I found the "WILD THING " trumpet . I could never even
think of switching to another horn again.

ALAN CHEZ
TRUMPET-LATE SHOW WITH DAVID LETTERMAN
former-TOWER OF POWER
ROBERT CRAY BAND
BON JOVI
CADETS drum corps
CROSSMEN DRUM AND BUGLE CORPS

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It was at the 2000 ITG Conference in Purchase, New York, when I first played the “Wild Thing” Trumpet, my curiosity was definitely up due to the unusual name of the horn.

After play testing the horn, I felt that this was the horn I had been looking for.

The Wild Thing went back to Florida with me and I never looked back.

The first thing you notice is the distinctive look of the horn. It has a large open wrap

with an open throat and wide 5” bell and a .470 bore, the fit of the slides and valves are perfect, no break- in needed, also Flip Oakes spends a considerable amount of time digitally aligning the valves and removing any solder that is sometimes present inside the horn during the manufacturing process, the valves also have brass guides.

The Wild Thing is extraordinarily open and free blowing with The “Big Fat” sound that is needed when playing lead or soloing in a Powerful Big Band. The horn slots accurately

from the bottom to beyond double high “C” with superb intonation all the way, and it has the fastest response of any horn that I have ever played.

I have recorded 3 CDs with the “Wild Thing” and can attest to the fact the recording quality is the best, and the sound really gets on the tape.

Another great feature of the “Wild Thing” is you can tailor make the horn to the work you are doing. Flip offers 8 different tuning slides that change the blow and feel of the horn, 4 standard slides and 4 of the new J slides which give a more flexible blow for the Jazz Soloist. Check out Flip Oakes Webb site www.flipoakes.com for the numbering system for the slides.

The “Wild Thing” Flugel Horn has a .415 bore with a 6” bell and 3 armado water keys, all reachable with the left hand, and the third slide trigger is operated with the left hand.

The Flugel has a Full, Rich, Dark, Smokey sound with fast bottom sprung valves, and the mouthpiece receiver is the “French taper”.

I found the blow to be open and even and the intonation superb.

I can say without hesitation they are the finest and most versatile horns on the market today.

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Dan McMillion

The Dan McMillion Jazz Orchestra For more information on the

2001 Grammy Nominated Flip Oakes Wild Thing Trumpet

CD www.danmcml@aol.com www.flipoakes.com

Concert & Clinic Bookings

Contact Frank Giglio www.bookingsdanmcmil@aol.com

Joshua M. Sullins
United States Navy Band Northeast
Flip,

Here is my testimonial of the horn!

TESTIMONIAL:

My first impression of the horn was that it felt really solid, meaning that the horn felt well balanced and comfortable to hold. Before I even put the horn on my face I was impressed with the feel and aesthetics of the horn (I purchased the gold-plated model). I played it for the first time in a concert band setting, and instantly it "popped" out above the rest of the band.

The sound was warm and huge, with lots of core and overtones. I was very impressed, but I was primarily excited to see how it would perform in the afternoon on a big band rehearsal. After the concert band session was over, I took the horn in a practice room and opened it up. I used the #1 slide. The first note I played was a really nice high C. Strong. In tune. LOTS of overtones compared to my Calicchio studio 1s-2 that I had used through college.

I played an F above high C and it totally locked. This is where my Calicchio (not to mention my strad) started to pinch off and get stuffy. The Wild Thing opened up on the double G. It was powerful, centered, and it had more zing than any horn I had ever played. I was happy. I had purchased the #3 slide and it came with the #2, but after trying the #1, I don't need them. I might consider getting the unbraced "J" slide for combo situations, but I wouldn't change the bore size at all. It is perfect. I did notice that above the double G, it was just sucking the air out of me... I could tell there was a little getting used to required, which is why I haven't submitted my testimonial until now.

Over the last 5 months I have used my gold plated wild thing on COUNTLESS concert, marching, big band, combo, solo, and clinical settings. It remains the most open, free-blowing horn I have ever played. I found that the piece I used to play on (Monette BL3) was simply too closed off and too wide of an inside rim diameter for the wild thing. I switched to a marc. Shew1 and the horn is amazing.

It has a double C that shatters windows. I played in Time Square NYC for fleet week this year and I swear, I hit a double G that reflected off of a building 200 feet away, came back after the song was over and hit me in the face. I now know what it is like to be the lead bone.

So, in conclusion, the Wild Thing is truly an amazing instrument. It takes a little bit of getting used to, even if you are used to playing on big horns like I was, and perhaps a slight equipment/change of blowing, but it is well worth it. I am still working on it and fine tuning my equipment and state of mind while playing on the Wild Thing, but it is the best money I ever spent on a trumpet.

It is also worthy of mention that Flip has THE ABSOLUTE BEST customer service of any instrument manufacture/dealer I have ever encountered. He stands next to his horns and keeps his promises. I wouldn't deal with any other repair man or trumpet dealer again. Thanks Flip!

Joshua M. Sullins
United States Navy Band Northeast
Freelance New England Trumpet Artist/Clinician

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Lex and Lynn Grantham
llswoods@peoplescom.net

Flip:

Below is a description of my regards for the WT. Thank you very much for all you have done in this respect.

Impressions - WT Trumpet (lacquered)

1) There is a great evenness of sound quality from pitch to pitch (low F# to high C).

2) The instrument (I feel) was made to play softly. How many times does a player have to make a subtle entrance at a pp or ppp volume, and all of a sudden the sound is weak or explosive or maybe does not speak at all? Not so with the WT.

3) Playing intervals (octaves, for example) is easier, and one does not seem to have to make so much of a shift in embouchure settings (it is not really
proper to be shifting lip positions anyway, but many players do). The WT helps in this manner.

4) Tonguing feels and sounds more relaxed. Clint McLaughlin and Don Herman have both claimed that tonguing has been faster and cleaner for them on their WT trumpets. I think I will join in their approvals.

5) The low register on the WT is very full.

6) The upper register is more secure and less strained (forced) in sound than I have experienced before. Maybe the WT helps to make up for something that I had been doing incorrectly.

7) The valve action of the WT is excellent...nice feel.

8) The horn does not appear to have to be played very loudly to have decent projection because of the excellence of the tonal qualities. But I am not one to want to blast, either.

9) Everyone must practice an instrument to be more proficient and efficient with it. The WT makes the player desire to play/practice more because of its greater ease.

10) How many times has a player ascended / descended a scale only to sound as though the pitches were from two different trumpets rather than the same horn? The consistent tone quality is the outstanding characteristic here.

11) There is less cracking of pitches (blips) on the WT than other trumpets I have played.

12) I went up to a D above high C, held that pitch for a couple of counts, and then immediately played a G below low C. Talk about ease!

13) There is a definite sameness (core) in all the pitches...kind of like the slices in a loaf of bread are consistent in texture and taste.

14) I have not used the #1 tuning slide as much as the #2 slide, as the instrument seems better controlled with the #2 slide for my involvement in a symphonic band setting.

Flip, thank you very much for what I think is a wonderful trumpet and possibly the most excitement to come (when I play it more) than I have ever had with an instrument.

Bless you for the opportunity.

Lex

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Roger Lane
Subject: Total satisfaction with WT
Dear Flip,

Just a note of appreciation here for the fine silver WT trumpet I am now enjoying. I have had this horn now for over 4 weeks, and every good thing said about it in the web site testimonials section is true. This is the best Bb trumpet I have ever owned. Playing it is a very different experience, and on it I can play with confidence things I would approach with great trepidation on my previous horns.
I don't have to fear to find out what kind of mood this horn is in, nor do I have to beat it into submission. The horn opens up and invites me to play it, it leads instead of having to be followed, and indeed does open up the higher it goes.
My practice time is more productive and enjoyable, and any performing I do is more confident and listenable. I'm not savvy enough to know the difference between the core and the shape of its sound, I only know it sounds the way I want to sound and the tone is superb, rich and vibrant.
The #1 tuning slide is working out the best. I am deeply grateful for the chance to own this horn and for the personal attention you put into every horn you sell. All the best to you, and thank you for your help.
Roger Lane
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ANTHONY CERRONE
Furlong, Pa
Nov, 18, 2003

DEAR FLIP,

When you're right, you're right!. This horn is all you said it would be, free blowing, great sound, great valve action and perfect weight balance. The #1 tuning slide is all I need. WOW!!!
The intonation and sound with mutes are exceptional. My A's and Bb's above the staff are in perfect tune, usually sharp in all of my other instruments,. This still amazes me from High C to Double High C, the sound and intonation are incredibly clear and precise. There is no question, that to appreciate the benefits of this horn, one must be somewhat of a sophisticated player.
The whole experience of the purchase was just as wonderful as playing the horn.

Thanks Flip
Gary Pack
Former soloist w/Stan Kenton, Woody Herman, Don Ellis and others
Former Director of Jazz Studies, University of Southern Maine

This is an unsolicited, unpaid endorsement of the "Wild Thing" trumpet, Designed by Flip Oakes and manufactured by Kanstul Musical Instruments. For most of my professional and academic career, I have had a very definite idea of what it should feel like to play the trumpet and what the sound should be like. In the course of searching for the ideal instrument, I've tried almost every kind of trumpet, new and old.

I never found that ideal instrument until I tried a Flip Oakes' "Wild Thing" trumpet. I have played this phenomenal horn in many varied situations, including "jingles," movie sound tracks, jazz gigs, and even recordings with world class "classical" organizations. The reaction of those around me has always been extremely enthusiastic.

When I allow the trumpet players to play the instrument themselves, they are amazed by the fluid response, the effortless tone production, the absolute minimum of resistance, etc., etc. I might suggest that the Wild Thing is so revolutionary, so different from anything that one might call a trumpet, that there should be a new classification system for the Wild Thing and the other remarkable instruments that Flip has been creating.
Sincerely,

Gary Pack
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Lori Wingo

Lori's First WT Bb Trumpet Testimonial!

Read Lori's Flip Oakes C Trumpet Testimonial too!
Bangor, Maine

Dear Flip,

Well, I have owned this instrument almost one month now, and I have certainly put my Wild Thing through its paces. From a dance band gig with many of the old charts, to the Tchaikovsky Fourth Symphony, to the lead book of "A Chorus Line." I have deliberately tried to find any weakness or flaw in this instrument and have been unable to do so. In fact, the only flaws that turned up were those that I had developed in my own technique over the years, trying to "control" my old Bach Strad 72. I was shocked to discover the battle I had been having with my old horn to get the kind of sound I wanted!

I have further been amazed by comments from both fellow musicians AND listeners, who approach me after a gig and want to know what kind of horn I am playing because THEY have noticed the difference in sound production, resonance, and pitch consistency.
What a joy it is to own a horn you don't have to fight with in any register. I put my mouthpiece in, blow, and out comes pure, centered
sound.

So, I'd like to add my name to the list of happy WT owners! Flip, you have made performance a thousand times more enjoyable for me by making a trumpet that eliminates all the quirks found in other horns that would cause me to "adjust this" or "anticipate that."

Now, to start saving my money for a 'C' Wild Thing..!

Lori Wingo
lori.wingo@umit.maine.edu

UPDATE: Lori's Flip Oakes C Trumpet Testimonial

From: "Lori Wingo" Lori_Wingo@umit.maine.edu

First WT Bb Trumpet Testimonial!

Subject: My testimonial...at last!

Flip -

Feel free to use all, some, or none of my "fan letter."

It's taken a while to get my "pennies" together after purchasing my Bb WT in the fall of 2001, but I am pleased to say that I am now the proud owner of a Flip Oakes C trumpet in silver. When I first contacted Flip in early March, I was actually pretty ticked off at him because his Bb WT had spoiled me in its slotting and responsiveness...something that just wasn't happening with my Bach 239GH/25R. My frustration reached its crisis point when I was preparing for the Mahler 1st Symphony.

Those trumpeters familiar with the piece know how merciless those fanfares can be when immediate response and intonation are CRUCIAL. I made it through the concert, but I soon came to the realization that my Bach was not cutting it for me, so I gave Flip a call. Within a few days, I had a Oakes C trumpet in my hands and compared it to the Bach.

The first noticeable difference was the ease in response (especially after I added one of Flip's short shank C1.5 pieces to the equation). But perhaps the biggest change noted was the intonation. Any player who works regularly on a C trumpet knows the tuning quirks on high Eb, E, A, etc. To my amazement, these notes locked in on the tuner MUCH more easily without
having to do the "alternate fingering polka," or adjusting slides ad nauseum.

Blending with your section is another major hurdle that classical trumpet players often encounter, but again, Flip was very helpful in suggesting ways to darken/warm the sound with the weighted valve caps included with his horn. The principal trumpet of my orchestra(currently a Bach player) and I played for several other musicians and they all agreed the "blend" was very good. The trombonist who listened even quipped that my horn sounded more like a Bach than a Bach, so that reinforced my belief that Flip makes horns that can match whatever "sound" is needed for the occasion.

I have used this horn for about two months now and have been extremely pleased with the results- from the flourishes in Resphigi's "Pines of Rome" to several solo/chamber group gigs, I have been well satisfied with my Oakes C trumpet.

In my recommendation of this horn, I would be remiss if I did not include the customer service department of Flip Oakes Horns- which is Flip himself. Through numerous emails and phone calls, Flip made certain I was happy with the investment I was making in this instrument and was willing to work with me to close the deal satisfactorily. This man takes great pride in the instruments he crafts
and this shows in the sound and craftsmanship of these horns.

I know established classical trumpet players are leery of anything that doesn't have Bach, Yamaha (or occasionally Monette) stamped on the bell, but I encourage anyone who uses a C trumpet for chamber or orchestral work to give this horn a try. If you let "brand name prejudice" get in your way of trying out this instrument, it is definitely YOUR LOSS! Before discovering these horns, I was a Bach fan all the way, but Flip's horns have given me a definite attitude adjustment toward the sound I want my trumpet to make...consistently!

Once again, THANK YOU Flip for creating a horn that is a pleasure to play.

Lori C. Wingo, M.Ed.
lori.wingo@umit.maine.edu
www.acadiabrass.com

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Jim Edwards

Flip,

It’s been just short of a year since I purchased my Wild Thing Trumpet during a visit to California. I was excited about how well the horn played then, and get happier every time I play it. I had played a Bach 72 for 30 years. I liked the horn but over the years something seemed to be missing. Now I know that what was bothering me was the effort it took to make the horn work the way I wanted it to. The Wild Thing blows better than anything I have ever tried.   I tried Bach, Benge, Kanstul, even the new Pro lines from Yamaha, Conn, and Besson, nothing comes close. My range is up, and free of the excessive back-pressure I was experiencing before. I’ve regained the range I had in college but the sound is sooooooo much better.

Recently on a quick trip to visit my parents I was offered a gig with a local cover band. I didn’t have my horn so the local music store loaned me my choice from their inventory. I took the best they had, but by the end of the gig couldn’t get rid of it fast enough. I’m headed back there next week and will likely be playing with the band again. This time I’m taking my Wild Thing! I’m not likely to get caught without it again any time soon. Playing is always fun, but playing my Wild Thing is the icing on the cake.

Thanks for taking the time to read this. Thinking about the trip, this gig and an upcoming road trip with Tabla artist Sandip Burman, just got me going again about what a great horn this is.

Thanks for what you’ve done!

Jim Edwards

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Olivier Vidal

Hello Flip,

I hope this mail finds you well.
I wanted you to know I am enjoying the horn 100%.
It is great. Everything I could read about it has come true.
I also had it tried by one of my best friend lead player in the Paris area and he is just passionate about it.
You really owe one to yourself.

Thanks again for your help and making this experience possible.

Take care.
Very best regards.

Olivier Vidal

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Ed Kenney - Celebration

Dear Flip,

I^'ve promised you a few words about my new Celebration. Sorry for the delay.

About a year ago I briefly tried a WT that was for sale and I felt like I was falling into it, not for me. I started reading the buzz on the Celebration (Pops, Tom Turner and others) and put it on my list of horns to try. I came into some money recently and decided that with your trial policy I had nothing to lose. I knew within a couple of days of receiving it that I wanted to keep it. I briefly tried the #2 slide but quickly settled on the #1. My wife, a professional cellist, agreed with that choice.

Ive played many different trumpets over the years including Bach, Benge, Calicchio and Getzen. The Celebration has the best qualities of all of them. Response and like a Calicchio (1S7) or Benge (5X), core like a good Bach (72*) and the brilliance of my old Getzen Severinson. The slotting and intonation exceed all the others. I thought the horn was flat in the upper register until I put a tuner on it and discovered that I was accustomed to hearing things sharp up there. In the G to G range above the staff it was dead on. The Celebration is also a very versatile instrument. With my Curry BC I could play 3rd trumpet on Ein Heldenleben and with a medium or shallow cup I get a classic lead sound.

I couldn't be happier.

Yours truly,

Ed Kennedy
Tampa, FL

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Lee Adams

Author of "Chops and Air Control for Trumpet".
Lead trumpet Gateway Jazz Orchestra
Former split lead with Carnival & Carolina cruises show bands.

This is an unpaid testimonial for the Flip Oakes Wild Thing Trumpet. I have owned two B flat Wild Things the first I bought used just to see if they were any good and I was very impressed with it. I prefer the protection that plating gives to a horn, so I sold my first lacquered one and made plans to visit Flip personally and pick out my new baby.

I wanted to share my visit with Flip because of the supreme effort that he puts into each and every horn post assembly. I saw first hand the extensive procedure which takes Flip as much as a whole day per horn applying his "enhancement" and digital rotational valve alignment.
I can be a horn builders worse nightmare because I never stop asking questions and I must see everything and have it explained. Flip demonstrated the honing out of solder blobs and the ledges that occur inside any horns tubing fittings when they are initially assembled.

After inserting the special tooling a noticeable amount of solder and brass shavings are removed from every joint in the horn. He also demonstrated how he does the rotational digital alignment, and it was astounding. He actually unsolders the spring barrel on each piston to put the piston ports into perfect alignment with the ports in the valve casings measuring the alignment to exactly match the ports.
How much difference does all of this make??

Flip took a non enhanced Wild Thing right out of the box and let me try it against the horn he had already enhanced, and the difference was very noticeable. Without the alignment and enhancement the horn sounded great but lacked the projection, the free open sound, and intonation of the of the enhanced horn. My buddy Bob Lansdowne was with me and could clearly hear the difference and later purchased his own Wild Thing Trumpet.

This time consuming procedure which Flip puts into every horn eliminates the horn to horn inconsistency which many of us have experienced before. I know I played everything in the shop. Even my choice between the silver and gold plated over silver plate models was splitting hairs trying to find a lot of difference.

Although I did settle on the gold one because it had just a little darker sound. The playing tests which I did were mostly Low F sharp to High C or D. I did wander off 2 or 3 times up to Triple High C and The Wild Thing slots it well and everything in between with remarkable even scale and equal slot sizes from note to note. This can throw you back a little until you get used to it, but its well worth the adjustment mostly learning not to over blow the horn solves the problem.
We put several of the popular pro model horns to the test in Flips living room and I none were even close to Flips creation. Anyone may feel free to email me who would like details about those (other) horns.

Thanks Flip and to your continued success!!!
Lee Adams
Email: aatozhvac@cs.com

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Dean Schilling

"I have both "Wild Thing" trumpets in
gold, Key of 'C' and B flat. I use Monette
mouthpieces. These trumpets are the
BEST I've ever played. The wide dynamic
volume is unbelievable, from a soft purr to
LOUD LOUD, the tone is unmistakable.
I have received lots of compliments about
the pure sound emanating from these
trumpets. They are truly a joy to play."

Dean Schilling,    New Braunfels, Texas

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Byron Jones

All

I have now made the Wild Thing plunge. I traded off the Zeus Olympus which I loved, to purchase a Wild Thing from a list mate who lives nearby. It was too large a horn for the type of playing he does, and he is now in the process of finding another ml bore horn to purchase with the money from the WT.
I received the horn yesterday, and got about fifteen minutes to try it out, until I went to Lawrence, KS to a salsa gig with my band, Son Venezuela. We had a packed house. It was a magical night.
I took the trumpet out in the parking lot and started warming up. I was blowing D's and E's like they were an octave lower. I actually had to test the pitch to tell if I was really popping out the E's. I took the horn up into the higher register for a test drive.
I found G's and A's that I have never found before, and they were slotting so easily. I quit the high stuff so I could save my chops for the gig.
I told all the guys about the new horn as we were setting up, and at least our timbales player and the other horn guys were interested. Rich Wheeler, our sax guy, said I'd probably get some high register assistance with the horn being silver. (his first comments). My Zeus was raw brass. When we did our mic check, I got a chance to hear the horn through the PA. I play on an Audio Techinca wireless rig with a clip on microphone. I put it through it's paces for the check, playing lows and highs, and testing the peak sound. I got cheers from the crowd as I played around. The flexibility of the horn is unsurpassed. Shakes are easy, and the high register was not a barrier.

Anyway, as the night progressed, Rich kept mentioning to me after each tune, how good the horn sounded. I was trying to overblow the WT at first, but started relaxing, and that helped. The entire range of the horn is more centered, and projects more than my previous horn. Also, the flexibility is amazing. Lip slurs are open and not pinched off. It's like an open tube of sound that you just push up as far as you need to, and there it is: a nice round rich high note as easy as pie. The horn is a great fit with the loudness of our band. I could hear myself all night long. The horn speaks so clearly.

Rich was amazed at the difference. Luiz, our timbales player, also commented after each break, how good the sound was. Got compliments all night. Even the conga player, Fernando, came up to me and commented on how good the horns sounded on Bailemos Otra Vez, a tune he brought to the band. He was all over me for how good the trumpet sounded on that tune in particular!

The Wild Thing plays great, like I hoped it would! Even the sound guy came up to me after the gig and said he didn't need to add any highs, just a little low end to the mix, since the horn projects so well.

So, all in all, I had a great night, and I am in love with the horn. And the band is, too.
We had a packed house last night, more than we've seen at the Granada for a long, long, time. It was a good time to sound good.

Thanks, Flip (this testimonial is completely unsolicited by Flip Oakes!)

I'll keep ya'all updated as I explore the horn further. Thanks for your patience.

Byron
www.sonvenezuela.com

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Gary Latham

I know there have been many fine reviews of Flip Oakes' Wild Thing trumpet, but I had such a positive experience in my own purchase and playing of this horn that I wanted to share my thoughts with others they may not have had an opportunity to spend some time with this marvelous trumpet.

Recently, my family visited my in-laws in Irvine, California. Now my wife's family are wonderful people, but my first thought was: How far is Oceanside from Irvine (Flip lives in Oceanside). Would Flip be willing to receive me in his home to try out a Wild Thing personally? I had played a WT about a year earlier and fell in love from the first note, and, although I wasn't necessarily looking for a new horn, my playing style was moving toward a more open blow and I knew the WT would be an excellent match for this approach.

Even though my visit was over the fourth of July holiday, Flip was extremely hospitable in welcoming me (a complete stranger!) to his home in beautiful Oceanside. He was generous with both his thoughts and time, and had both a WT and a Celebration ready for me to test. Although both horns were an improvement over my current axe (and that's saying a lot since my Lawler Model T is a very fine horn in its own right!), I found the WT absolutely irresistible:

The wide open blow, the evenness, the ease of approach in both the upper and the lower register, the laser-tracked slots, and, of course, that SOUND, that big, broad, wrap-around sound that seemed to define an entirely new instrument. I kept switching between my Lawler and the WT for comparisons, and each time I was astounded anew (I know that some players actually prefer some resistance, so this difference may not be realized as a benefit for everyone, but it was for me).

Flip and I were able to chat about the various aspects of the horn and the versatility conferred through the 8 tuning slides, and the more I learned, the more I become intoxicated. The WT makes playing just such a joy for me! And I believed that over time I would acclimate even better to the instrument, suspecting that its intrinsic efficiency would "teach" me how to play with better economy and more effectively integrate all elements of the "human machine" to become a more fluid extension of the instrument, rather than vice-versa. That has proven to be true over the past 3 weeks. For example, just recently, I was sailing through some difficult pieces with an ease that nearly disoriented me; I'm so used to fighting the horn rather than flowing with it.

In short, it is like a whole new world of trumpet playing for me. I am still struck by how effortlessly notes roll out the bell. Those notes I used to reach in gasping desperation now come to ME, rather than the other way around. And the sound: With a regular mouthpiece, the horn spreads a beautifully resonant, fat tone; with a V-shaped piece, it speaks with a dark, smoky flugelhorn-like timbre. The WT hasn't made me a great player, but I know now that the sky's the limit.

I started with the #2 slide, which provides a touch of resistance, but have since moved to the cylindrical 0.47 #1 slide. I love it. The immediate benefits included the sound and accuracy and ease of attacks...my range didn't instantly improve but the high notes that I could play (eg, up to about a high G) were much, much BIGGER. Since then, my range has definitely improved, but this outcome is confounded by the fact that I have now a top notch "superhorn" and have been also been taking lessons with Jeff Purtle online (which I can also recommend!). But I am certain that both factors have had a significant, and probably synergistic, benefit.

Flip even gave me a copy of his band's CD, Dan McMillion's CD, and Arturo Sandoval's latest DVD. What a nice bonus! (They are all simply terrific). Just a fabulous experience with Flip all-around.

Ultimately, I'm just a comeback player who loves to play. My only motivation is the music. The WT simply heightens this joy. If you haven't tried a WT and have a chance, you should do it! It may not be the perfect horn for you, but it just might. It was (is) for me.

(Note: This is a completely unsolicited endorsement. You know, the kind that flows when your enthusiasm is too much to keep bottled up.)

Gary Latham

David R. Long - Flip's Webmaster

I've been privileged to not only own Flip's WT Gold Trumpet and serve him as his webmaster, but am very proud to have Flip and his wife Joyce as personal friends.

Although I have played for many years 'sitting in' with many pro bands around San Diego I still consider myself an amateur player but lately I've starting to play professionally and owe it all to my owning a WT Trumpet.

I have struggled for many years to play well and gain control of my old Conn Director that I played since high school, and then owned and played a French Besson which was a great improvement over the Conn, but when I was given the opportunity to try Flip's WT Trumpet it was absolutely amazing the difference that it made in my playing. It was as if I had jumped to a higher plateau of playing ability. All of a sudden I was no longer struggling with centering or knowing that when I attempted to play a note it was just there with almost no effort. The control and confidence that this horn gave me was instantly recognized and made all the difference in the world with my playing.

I am also a proud owner of one of Flip's Cornet's and love it. I never played Cornet much but I have to say it is now one of my favorite instruments to play in small Jazz venues when soft, and warm ballads are the most enjoyable on the Cornet.

Yes, I'm Flip's friend and Webmaster but after all of these years of posting everyone else's testimonials I thought it was about time I posted my thoughts and admiration for Flip and his talents in creating the most beautiful sounding horn in the world...

We are all benefactors of Flips gift to the trumpet players of the world for his MASTERPIECE!.

David R Long
www.cybermountain.com
drlong@cybermountain.com
619-588-8910

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James Perales
Dear Flip.
Just want to let you all know that I finally got your
fabulous trumpet and am celebrating.
This Wednesday I received my brand new Wild Thing trumpet,and...wow, What a horn! I was able to start breaking it in/getting used to it, last night at my church and the difference was amazing. I found that at times I was overblowing and would hit notes higher than intended, not kidding. The lower register sounded sooo fat and rich, and it is much easier to reach a great sounding upper register. Congratulations on such a great instrument.

If you are in the market for a new pro horn don't buy
one until you try a Wild Thing, the tag line is 100% true
"Come and hear the difference"
Just wanted to share the good news.

Sincerely,
Unofficial Wild Thing endorser ; - )
James Perales

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Clint 'Pops' McLaughlin

'Pops' wrote:

Flip's Demo horn was tied up and I just got it last Thursday. I had promised to give my impression of this horn several months ago. Here is a short review of The Wild Thing Trumpet.
"Damn !!!"

It plays so much better than any other make I've ever played that I now consider those horns to be HS level horns.

Here is why.
The bell is different at the throat and it has almost NO bell flare. A long conical tapered bell. That design element shifts the nodal points toward the mouthpiece and enables the horn to SLOT higher notes than any other trumpet made. including $ 20,000 Monettes. Some horns stop around high A others go to Bb , B and a very few make it to double c. This horn SLOTS double E's.
I played some low, fast, old jazz tunes and was impressed with the quick clean response from low F3 to low C. Some horns are a little stuffy here. The WT sings in the lower register.
The horn plays very mellow but when air is added it can clearly cut through the band. That makes it great for jazz chair or lead.
I played some Clarke pieces on it to check the flexibility. I was able to play 40 beats a minute faster than I could on a Callet, Calicchio or Benge. I mean clearly with clean, crisp attacks and slotted fleshed out notes
I played the Haydn and Hummel concertos on it. After changing to the #2 slide (included with every horn) I was able to play those with a full dark sound and a light bassoon like touch on the triplet arpeggios.
The WT is the ONLY horn I've played that I couldn't out perform.

In a word my description is ..... I'll say it again...
"Damn !!!"

You owe it to yourself to try one of these Wild Thing Trumpets.

I don't put my endorsement out often. When I do, I mean it.

If you are in the Dallas / Ft. Worth / Denton area come over and try out mine.
Pops

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Mark Curry
Lead & Jazz Trumpet
Mark Curry Precision Mouthpieces
Reno NV

Flip, here's a testimonial for you!
Finally, someone designed a trumpet that has everything I have been
looking for! The Wild Thing is easy blowing, with just the right amount of resistance, and a wonderful sound!
You called me about a month ago about making your mouthpiece line and sent me a WT for research purposes. I had been listening to a demo that I had recently recorded with the Reno Jazz Orchestra. I liked the sound of my Schilke X3 beryllium (X4 leadpipe) on top of the band playing lead, but when I got tight on the mike for solos the sound got thin. I was really depressed at the sound quality of my solos.
What was I going to do? With only 3 weeks left until the our first CD, I had to
do something fast! Two days later the Wild Thing arrived. At first, I was taken aback by the easy response of this horn but really liked the sound. How could something that played this open still have that rich, live quality of sound I'd been looking for? You claimed it was mainly due to the "dead bell" design and the brace positioning, as well as some other design tricks.
When I played the WT into a corner and felt the sound come back at me I new I had to give this horn a chance. First Reactions, I was amazed at the sound but starting to notice some difficulty with pitch. This is a natural reaction when the player, armed with the knowledge that this is a super-large bore (.470") horn, overcompensates, both with overblowing and using too much embouchure to try to control the horn. In reality, the Wild Thing trumpet requires that you use only a little more air, and you can relax your chops for the horn to really respond!
One Week Later- Having switched to the #2 Slide a few days earlier I am much more comfortable with the horn, My playing is definitely more centered than it was a few days ago. I'm working mainly on pitch center with a tuner and find that my tuning slide is about 3/8" out. I came in about 3/8" from the first couple of days. I'm also concentrating on relaxing my chops and single-tonguing a lot of scales! The great thing about this horn is that it's response is so even in all registers. Most other horns have their tight registers, but the WT is so even everywhere! I'm finding that I have to unlearn some phobias I picked up playing other horns- this horn is so responsive! And the resistance curve in all registers is so even it's ridiculous!

Three Weeks Later, just getting better! Four days of rehearsals for the session and the horn sounds great. I had made one minor change to my mouthpiece in the second cup. I made the second cup shoulder a little bit more pronounced, then shot it right down into the drill hole. This change gave me a little crisper sound and the added reflection gave me a lot more control! This is similar to what I did on your lead mouthpiece. It will be in all the Flip Oakes Wild Thing Trumpet mouthpieces.

The Session:

We spent the money to have Rich Breen fly up from L.A. to engineer the session. Also, trumpeter extraordinaire George Graham and wife Marilyn (both former Reno musicians) came up to sit in the booth and lend their talented ears to the session. Rich Breen, by the way, engineered Bob Florence's last CD and George's as well. Also, while I'm on the subject, spend the money and get hold of the old RCA radio microphones- nothing handles the percussion of brass instruments better or gets a truer sound.

We recorded some previously unrecorded works of Bob Florence and Tom Kubis along with some dynamite arrangements from Mike Crotty (Airmen of Note). After everyone got over their initial jitters, everything went smoothly. Wild Thing performed beautifully and sounded great!
You know, Flip, this horn is the only one I've had that records great and sounds great live too! Spooky! Huh? And talk about forgiving. On a couple of difficult overdubs, I thought I had scuffed a couple of notes in a passage. On playback, they sounded perfect! How about that! And the solo sound I got was better than any other horn I've had (particularly when my last solo was at 11:00 p.m. on Sunday night).
Anyway, Flip, I could go on and on, but I won't. Kudos for designing
a horn nobody else even thought about. You're not getting this one back!

Mark

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Mark Brannon

Memphis, TN

I just wanted to touch base with you regarding my Wild Thing trumpet and a previous email I sent you. I mentioned a little over a month ago some concern because I could not seem to get the High A working. You gave me a few things to try. I did have my mouthpiece looked at to make sure the end was perfectly round, but I didn¹t do a lot else because I just haven¹t had time.

Anyway to make a long story short, I have really been settling in on how the horn plays. Now the A is all good and no alternate fingerings are necessary and no horn/mouthpiece adjustments seem to be necessary either.

Thanks for making a GREAT horn. My favorite thing is the great big sound down low when you are playing nice and easy and then your rip up two octaves the sound just pours out. Other horns that played so sweet down low would always stop-up right about at a High C. The Wild Things wants to keep going!!

Thank you for your hard work and persistence.
Mark Brannon Memphis, TN

Michelle Latimer
San Francisco, CA

Anyone wanting to see an example of a true Artisan who is also a consummate customer service representative need look no further than Flip Oakes.

Years ago, a friend sent me a link to Flip's URL since he knew I played a Bach and might be in the market for a new horn soon. I looked at the website and definitely was intrigued by the descriptions of the design as well as all these testimonials by people who swore by Batches until they found the Wild Thing.

I myself had only owned one trumpet my whole life - a Stradivarius, and I was irritated by intermittent valve problems with it that were beginning to affect performances even after cleaning and oiling them the day of the show. Just about a month before what was a pretty big solo gig, they started acting up consistently. I had long since tried all my friends' recommendations for oils, degreasers, etc. but nothing worked for very long. I took the horn to my local horn guy twice and even sent it down to Bob Reeves, but they started hanging up again within days of each return, and I didn't know what to do.

I could but didn't want to borrow a horn, and to my disbelief there wasn't even one good pro horn available for rental in San Francisco. It was six days before the concert. I happened to have the money in the bank at the time and had been thinking about taking the plunge to get something new, especially since I'd begun doing more professional work, so I called Flip and asked if he thought I'd be able to get my ears and arms around the sound in that short of time. He took a genuine interest in my playing and asked a lot of questions about what type of playing I did and what my approach was. He told me he felt that I would be able to make the transition in time to give a good performance, but that if I didn't like it, I could send it back to him within a few days for a full refund.

Well, I was eager to get the horn as soon as possible, but at that time Flip didn't take credit card orders (he does now) and so he did an incredibly generous, trusting thing: he said "If you tell me that you're putting a check in the mail today, I will overnight the horn to you today and you'll have it in your hands tomorrow." He did exactly that, and the horn sounded amazing immediately; even more so after I had a few days to "find" my own sound on it.

"My own sound," on the Bach, won me soloist spots with probably 50 different groups, but once I heard what I sounded like on the Wild Thing, it occurred to me as I listened to old recordings that it sounded like I had a sock stuffed in my bell by comparison to the WT. I also tacked three or four notes on the top end of my range that still sounded round and full, which was important to me since I'm much more Cheat Baker than Maynard Ferguson.

I've owned my WT for almost five years now, have played it in just about every genre save Dixieland, and I couldn't be happier. I agree with so many of the testimonials as far as the sound and other technical benefits that I'll just tell you another little customer service story to close out.

I had a conference to attend in San Diego to attend recently, and on short notice realized that I might have time to go and meet Flip if he was available. I could only go early in the morning or evening, though, so I hesitantly called him, knowing it was pretty unreasonable to ask if I could come to see him at 8 in the morning or during the dinner hour. But he said "Things are pretty easygoing here. You can come by anytime you want if I'm not at a gig.

You're just coming to see a friend." Wow. Then, if that wasn't enough, he spent several hours with me, helping me test and evaluate his new slides and mouthpieces, trading off horns and mouthpieces between the two of us so I could hear from the listener's perspective- he even did a custom job on a mouthpiece for me, giving me that totally effortless sound that I'm sure will bring me even more commercial solo work.

And Flip didn't try to push anything on me, either. He even cleaned the horn (for free!) and pulled his big black book out in order to find the page of data for MY HORN and realign my valves exactly as they were when he sent it to me. I also got the new J1 slide, which immediately gave me better control when improvising in the high register and opened me up more overall. I didn't think it was possible to improve upon my former Wild Thing setup, but, incredibly, it was and I am so glad that I went and got to spend some time with this great man.

Some people pay thousands of dollars just for this kind of personal attention, and for a few hundred dollars, I got that and a whole lot more, including making a new friend. Flip is a great player, an incredible horn maker, a skilled listener and an incredibly nice guy. As a result of my experiences, I consider Flip my trumpet "life coach," and I'll look forward to continuing to spread the gospel of the Wild Thing and of Flip's work far and wide.

www.michellelatimer.com

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Robert "Robbie" Robinson

Flip,

I just wanted to say thanks for making a great horn. I've been playing my horn now about 4 or 5 months (I think). I had been looking for a
while for a new trumpet. I played on a Yamaha 6335, and even though I liked it, it didn't give the the response I wanted in the upper register.

I tried a different larger bore Yamaha, thinking it would open up a little, and also tried others, a large bore Bach, and Schilke, none of
which gave me what I wanted. In addition, I tried small/shallow cup mouthpieces, which only tightened up the lower register.

A friend of mine (Mark Brannon) bought one of you horns, and as soon as I played it, I knew I wanted one. I'm used to it how (I played
the Yamaha for 25 years) and my upper register has really opened up.

I can play up to "D" above triple "C", very fully, and that's on a Bach 1B mouthpiece. The lower register really fattened up too. In general,
thanks for making a great horn.

Robert

Robert "Robbie" Robinson
http://www.rrmemphis.com

Michael Anderson
Dana College
TPIN Admin.

I play both the Wild Thing Bb and the Flip Oakes C for mostly legit applications. I have always said that it is a great horn for this setting even though it is marketed toward more commercial players.
What sold me on the horns was my ability to be more expressive on them than on others. It is easier to play with more dynamic range and depth of expression. Like other instruments, there are some pitch issues that I had to deal with, but once settled I am very happy and have improved my playing using them. There are never issues of blending with all sorts of other instruments including Bachs and Monettes.

I think Flip has a great instrument and would recommend it highly to anyone, ESPECIALLY orchestra, soloists, and brass ensemble players.
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Steve McGraw
Hi Flip;

I promised to write you about my opinion of the flugelhorn I bought from you:
Let me tell you what I was looking for first.

1). A horn that came close to the mellow tone of my '50's OLDS.
2).Modern valves that the old OLDS just does not have.

So, I wanted Valve action as good as my Kanstul Kustom (KK) and
Tone like my OLDS.

At first my tone was not great, but was good on the WT. After a month I am much more satisfied with this horn.
This is the closest horn I have ever played in my 40 years to what I was looking for. The valves are sweet ( short stroke) and the tone is so Mellow. My wife is my best critic . She has always agreed with me in that I wanted a horn that played as mellow ( sweet) as the OLDS. I think I have finally found this combination and that combination is the WT flugelhorn.
I am a poor musician and could not afford the GOLD horn, but as for the brass finish, BUY IT! I am sold on this horn.
Oh by the way. I sold the KK.

Play well or silently;
Steve McGraw
Dir- Revelation Brass Quintet
Dir- Adaptones ( Jazz Quint)

Frank Glasson
Professional Classical & Jazz Trumpet Player and Teacher
San Diego, CA.

Frank Glasson's Comments On The Flip Oakes "C" Trumpet.
I've been playing both Bb and C trumpets most of my professional career. I've also owned and played everything from Monette, Yamaha /Malone, Bach/Malone. In the last few years my choice has been stock Bach while playing Principal Trumpet with the State Theater Orchestra and the Cape Town Symphony Orchestra in South Africa.
Also in playing in brass quintets and recitals I've found that the Bach 229/25H has given the most constant results. Like everyone else, I seek to find a "C" trumpet which plays in tune with a good sound, while having an even scale, but most of all a horn that doesn't get in the way of my performance by closing off in the upper register and being smooth and fluid.

I am currently freelancing in the San Diego Area, playing everything from orchestras and brass quintets to shows and big bands, in the section and as a soloist. Recently I tried a very interesting "C" Trumpet made by a man in Oceanside, Ca. by the name of Flip Oakes.
Since returning from South Africa, I have heard many trumpet players talking about what great results they were getting from Flip's Bb Trumpet. Being mainly a "C" Trumpet player myself, I was very interested in trying Flip's new C trumpet so I made an appointment with Flip to try the horn, and to my disbelief found his horn to have the same quality of sound as my Bach, just more of it. What really amazed me about the horn, was that it was half the effort, and twice the sound! I could also play passages with ease that would otherwise have challenged the best of me. I played the horn for several different Trumpet Players who's opinions I trust, and they all agreed that I sounded better all around and the intonation was far better than the Bach.
So, in conclusion, I now happily own a Flip Oakes "C" Trumpet. I'm also waiting for a Flip Oakes "Wild Thing Bb Trumpet".
Thank you Flip very much for all your help and patience, but most of all for designing such Incredible Instruments, to make my job easier, and more enjoyable.
Sincerely,

Frank Glasson

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Jay Dusard
Photographer, author, cowpuncher
Cochise County, Arizona

In October, 2005, I sat in with the Dixieland band that was playing for the reception of my photo exhibit at a Scottsdale gallery. The cornet player offered a horn swap for a few tunes. I recognized the short model Wild Thing he was handing me, while I handed him my large bore Getzen Eterna. I was familiar with Flip's website and had heard a good review of the horn from a buddy in the Cornet Conspiracy. Playing on the WT was a revelation; I had never played with such ease and fluency. I knew on the spot that I HAD to own one of these fabulous-sounding babies.

I'm a serious amateur player, certainly not in the league with most of Flip's WT endorsers. I had the jazz chair in a big band trumpet section for several years before motor fuel prices and lack of car- poolers forced me to quit making 100-mile round trips to town for rehearsals and gigs. My only moment in the limelight was as guest soloist with the Jack Daniel's Original Silver Cornet Band a few years ago in Sierra Vista. If they come back, they'll find this WT owner better armed and more dangerous. I'm afraid my Bessons and the Eterna are in the closet to stay.

I'm in a jazz trio that plays sporadically in Bisbee. The warm, juicy sound of my stubby little WT seems to really please my bandmates and our patrons. It damn sure pleases me! As a visual artist, I'm so in love with the form and lines of Flip's creation. In fact, this joy- forever should be reproduced thirty feet high and placed, bell down, in the center of the Guggenheim Museum in Manhattan.

Jay Dusard

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Roland Chirico
When I first read all the hoopla about the Wild Thing on the trumpet network (TPIN), I presumed that it was a joke, a trumpet pipe dream. How could any trumpet be that good? How could any trumpet be named “The Wild Thing”? Well, I have since learned that the trumpet is real; and is named the Wild Thing, designed by a very real, and I might add, a most congenial Flip Oakes and made by Zig Kanstul, a reputable manufacturer.
I have always preferred the blow and sound of my Bach Strads (43lr, 72 bells) over the half dozen other trumpets I have owned and dozens I’ve tried at brass conferences. But from the first note I knew that the Wild Thing was unique. Incredibly, it seemed to offer the advantages of both medium and large bore horns, easy blow, quick resonance, precise slotting, excellent intonation, consistently open sound from the very low to the super highs.

Although I usually have no problem changing mouthpieces or horns on a whim, even on a gig, the Wild Thing did take some getting used to because it demands a different approach. I wasn’t comfortable shelving my tried and true Bachs until after I had worked with the WT for about two months trying to relax, let go and literally let this horn play.

I doubt seriously that I will play my Bachs again.
In fact, I have already sold one of them. Having spent a lifetime with trumpets and trumpeters, I’m not flip enough (pardon the pun) to claim that the Wild Thing is the “best” trumpet on the market or that it is for everyone, even though I believe that Flip Oakes has made a major breakthrough in trumpet design that doesn’t strain the left arm. I must say that the Wild Thing gives me more of what I want in a horn than any trumpet I have ever played as a professional big band and theater sideman for more years than I care to admit. I have to add, however, that because of its, er, peculiar name, I’m shy about publicly admitting that I get giddy as I play with my “Wild Thing” every night.

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Tommy Loy
Plano, TX (Dallas suburb)
(click on the thumbnail to see Tommy's picture full size)

"I have owned literally dozens of instruments throughout my playing career. Some good, some OK, some not so OK. I'm on a honeymoon with my new Flip Oakes Wild Thing CORNET...a vastly superior horn in every way from a master designer.

I met Flip in Oregon at a festival in 1989. I love his playing so I was sure his horns would reflect that same level of skill.

"Flip.... Thanks, this cornet is the best I have ever stood behind." All heads turn when it speaks. It has an almost ethereal quality and a center as big as all outdoors. The guys in my band (The Upper Dallas Jazz Band) noticed the change in sound right away and they are as in love with this new sound as I am.

Some of my Dallas compadres want to take a look and have a play at it. I'll recommend it without reservation! The WILD THING is the best cornet I've ever played!".
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David C. Bass

IT'S HERE!!!! WOW....what a horn! I love it...
I know...give it some time but it could only get better. Everything is so open....like nothing I have
ever played! From low to high all the notes are there, although the slots are in a little different place than my other horn was, it is so free. Lean on it a little and it will light up. (:') I am able to play a G over high C at P or softer...very easy to control! It is also very easy to double and triple tongue from High C to low F#. The sound is huge, but will narrow down with a little more air. I will put on a tuner later and see what I have been missing. The valves are to die for...fast and smooth. I thought my other horn, a French Besson Brevette was it but now it is gone. I have played many horns...all the big guns but the WT wins hands down. My horn hunting is over! The leather case is also very nice.

    Thanks Flip...you da'man!
                David C. Bass
                    "Trumpets.......Play it Loud"

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Barbara Ling

Hi Flip,

"I'm a comeback player who picked up the trumpet again
after 20 years. Although I had a Bach 37, I chose to
trade that in so my children could get quality student instruments on which to play. Thus I began playing again on a Conn Constellation.

While trying out different instruments, I realized that different brands of trumpets were simply easier to play. 20 years ago, it never would have occurred to me that factors such as maker, embouchure, etc. would have such a telling difference in my performance (I told you I was quite the comeback!). So I researched around, and was sold on the remarkable claims that WT owners were declaring about how their horns were truly unique.

Let me tell you, the claims are justified and more!
Immediately I could notice the difference of sound/projection/ feel/etc. when playing it. And we're not talking complicated pieces here - we're talking holiday music, movie scores etc. I just played and played and played and the WT trumpet just opened and opened and opened up. Wow. It's truly a magnificent trumpet and one that I'm glad to now own.

'Barb'
The Internet Virtual Coach
www.owlbert.com
Email: brl@barbaraling.com

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Rainer Müller-Rensing:

Dear Flip, my Wild Thing trumpet has arrived today. I immediately felt familiar with this trumpet. the wild thing is the right thing for me. With my Monette B2 mouthpiece it has a big, brilliant, full gorgeous sound. In the past I've had very good trumpets from Selmer, Bach, Suchlike, Benge, Courtois, Yamaha and a very good golden Ganterr with rotary valves. This Wild Thing trumpet is unbelievable perfect. This trumpets voice is so unique and rich that you can only compare it with the human voice not even with old string instruments. That Wild thing gives me the possibility to produce the sound I have always dreamt of.

Thank you so much flip for creating and sending a trumpeters heaven all kind regards yours sincerely

Rainer MuellerRensing

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Steve Magas

Hi Flip

Hello from Ohio! I bought a B Flat WT which had apparently been stripped of its lacquer at some point. I have had a chance to play it a bit and, while far from a pro player, I can concur with the thoughts of virtually every other WT owner... it's a fabulous horn... it has a wonderful sound.. it projects, it blends, it soars through the upper register but in a way that maintains the dignity of the sound and NEVER in a tinny, squeaky manner. I'm still learning how to handle this horn and I'm having a blast playing everything from Haydn to jazz, blues, funk, ska and, tonight, a return to my college days to play with the kids in the PEP Band for the University of Cincinnati! One WT horn, my Monette BL mouthpiece and everything is put away! It's great!

I'm not sure how the raw brass effects the sound, but I would presume it 'mellows' it out a bit? It has a wonderful sound, especially in the very lowest ends of the register. I find myself, especially in small jazz settings, using those low low notes a lot more b/c the tone is so good.

So, add me to the list of satisfied WT owners! I'm putting my Calicchio on the block!

Thanks

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Walter Sharshon

Aldan Pa.

I recently purchased a Wild Thing trumpet in C. I'd like to share my experiences with others who may be considering such a purchase.
First, let me say that after about 3 weeks of playing the WT, I'm still finding more things to like about this horn. It is a trumpet that I can adapt to many types of music and performance situations.
My main trumpet for the past 35 years has been a C5 Schilke, which I got when I was a junior in high school. At the time, everyone thought that I was nuts for buying a Schilke ["everyone" played Bachs] and using a C trumpet as my principal horn. When I first got the Schilke [through my teacher, Don Reinhardt], it took some time to adapt to it. Playing in Reinhard't studio or at home was one thing, but playing a Schilke C in high school band and community orchestra settings presented me with quite a challenge.
While in music school, studying with Seymour Rosenfeld of the Philadelphia Orchestra, I got to try out lots of different C trumpets...especially Benges [which Rosenfeld was selling] and Bachs [which so many people were playing]. I liked most of the Benges, but 1960 to early 70's era Bach C trumpets were almost unplayable. My Schilke made me more and more pleased.
Flip [no pun intended] forward to the present. Surfing the web, I first heard of Wild Thing trumpets. In an age when so many people either go straight to Bachs or worship at the alter of David Monette, it's amazing to me that fine products from Blackburn, Lawler, Stomvi, and so many other fine small shops get ignored. There are so many fine products out there seeking a chance just to be tried. I went to Flip's website only because I couldn't believe that there was a trumpet with the name "Wild Thing". It seemed like a gimmick, but it got me to the site.
As you've seen, the site is extremely well constructed. That got me to try out the WT. Flip's trial period is what sold the horn. There is no place near me that carries WTs, and I don't know anyone else personally who plays one. If the horn was no good, I could return it and get my money back.

The afternoon I got it, I felt confused by the WT. It played so differently from other trumpets. It had this big, luscious core, but was there too much of it? That evening, I took the WT with me to a show I was playing. The show and was one of these weird groups, 2 electronic keyboards, an electric bass, drums, and me, an acoustic trumpet player. We were perched 20 feet above the stage and behind thick curtains.

The musical [A Funny Thing Happened...] contained soft, legato passages and very loud, high fanfares. From the first notes in the overture, thru the pounding fanfares, to the final high concert C, the Wild Thing was a dream to play. And each night it got better. It slotted each note well, it sang beautifully, and it felt comfortable. But how would it play in a straight, classical orchestra?
I had 2 rehearsals that week: one in which I would play principal on Tchaikovsky's Sleeping Beauty, and the other where I'd play 2nd in Brahms' 3rd Symphony. I was particularly concerned with how I would blend with the two different groups, and if the WT sound would be right for both principal and 2nd positions.
The Tchaikovsky never felt so secure. The graceful passages were silky, and the fortissimo's were wonderful [later in actual performance, the audience went nuts after one fortissimo ending...I was sure it was because of the WT's bravura sound!]. When I played 2nd on the Brahms 3rd, I was first struck with the huge low F natural [below the staff] on the opening tone. Wow!

Later in the symphony, the 2nd has many greater-than-octave jumps, the higher tone matching the 1st trumpet. In each case, the jump was easy, in-tune, and never overpowered but always matched the 1st player! The unison sounded like one player.
The WT allows for an enormous range of musical expression. It feels secure, making me feel more confident. It is never shrill-sounding, even when I'm feeling at the limits of my range or endurance. Although I worried that the WT wouldn't fit in because of it's unique sound, I've found that it has both let me lead the brass section and let me blend-in.
What a wonderful tool to bring to the job! Not only is the instrument great, but Flip [whom I've never met or had contact with prior to emailings and phone conversations] is a real human being. I can't imagine anyone being disappointed with either the man or his creation: the WT

p.s. I love to play the instrument for someone before letting them see the name on the bell or telling them what the instrument is named! It causes so much cognitive dissonance when people can't believe that so capricious a name goes on such a beautiful looking and sounding trumpet.

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Al Davis

Hi Folks,

I too am on the comeback trail. I've essentially not played for four years being busy on my day gig. I teach full-time now and it was too busy to keep it up.

I was recently diagnosed with asthma and the doc thought bringing back the trumpet would be good for my lungs.

The real help to my progress came in a very strange way. My wife and I live in the LA area. Last week we went on vacation to San Diego. I was thinking of getting an easier playing horn to help my progress and began searching online
for the newest and best stuff to give me a little hand. I've played a few Monettes that I thought were quite good but way out of my price range.

Then I found a small trumpet designer who lives in Oceanside near San Diego. You may have heard of him, Flip Oakes and the Wild Thing trumpet. I thought, what a wild name for a trumpet. Flip's website featured some very compelling testimonials even from some players who I know. I called Flip and we took a couple of hours to go and try out his horn. I already knew they were very large
bore horns and that's what I was trying to get away from.

Low and behold, I played three notes on a silver WT. It is the most centered, easiest blowing horn I've ever encountered. I tried both the gold and then the laquer. My wife who is a professional flutist was blown away. I've only been on the comeback for about two and half weeks and she said that I'm producing the best sound that is
consistent throughout the registers than she's ever heard from me. I bought the laquer WT on the spot. This guy is a genius.

Anyway, a great horn will make your comeback much easier. It's certainly helping mine. Flip's WT is easily the best horn I've ever played. What a sound and what an easy blow. I just noticed his ad on this site. His website is http://www.flipoakes.com/. Check him out. His horns aren't cheap, but they're not outrageous either.

Al

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Mike Wittkopp
Lead Trumpet

www.bigbandofpraise.com
This is day 3 with the silver WT. Plainly stated: It is Awesome!
I just can not quit playing it. At our big band rehearsal last night, my range, power, intonation, and endurance were much improved. As an example, we were working on the end of song where I gliss from Bb below high C to F above high C and hold for 8 counts or more.
Typically, I do not perform beyond G above high C. After the second time through with a long hold on F, I lifted up to Bb above high C. Just to confirm it was not a fluke, we repeated the ending and I played the Bb above high C even stronger! This was the first song of the night and I jump right to the #1 slide to experience the true "Wild Thing". Midway through the rehearsal, we were playing a powerful rendition of "Swing Low". It is a new number for us, but I had such confidence last night. I inserted all the lip-trills and turns I normally would after spending some time in the "woodshed". Also, there were a few long high C's I decided to push the volume on. The horn held right on pitch! What a blessing that is. Makes the player's job so much easier.

At the end of the 3 hour rehearsal, I realized that we practiced all charts that I have lead on. Typically, if a chart has upper range work on lead, I get that. Others, we split between a couple of players. Shares the fun and saves my chops on long gigs. The interesting things was, I was not tired and my chops were pretty fresh. So on the end of the last piece, I took a run up an octave and B above high C rang out beautifully. This is early in the season.
I can not wait until I get my performance legs and really put the horn to the test. As a lead player, this horn is great. The projection is easily heard out front. Also, the bell design allows for the sound to be heard in the section. My other lead horn could not be heard down the row. Also, I found the more I backed off, the easier the upper range was. Now I feel I can use more of my "practice range" as part of my "performance range", since the WT has those notes in the double register "on the horn". Much less effort than most other horns which do not.
Also, I took the horn to my trusted repairman for him to look it over. When I got back, he went on-and-on about how well built the horn was. And, how big the sound was. Flip, from a player's and repairman's perspective, this horn is a winner!
Sincerely,
Mike Wittkopp
Lead Trumpet www.bigbandofpraise.com

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