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 <<<<< *David Lyle Strong* >>>> 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 Lyle Strong 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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David Lyle Strong

Clio, Michigan

I take my horn playing seriously like most of you. I wanted to find the best horn made. I've owned several very good trumpets but after 50 years I decided I wanted the best one ever made. Cost was no object and
I would have paid $15,000 for my 'holy grail' trumpet.
I spent the better part of a year trying to figure out which is the best. I came upon Flip Oakes name and his "Wild Thing" trumpets during my quest, so I started digging deeper to learn more about them. I read every testimonial and all the talk about 'Wild Thing' on numerous blog sites. I looked at just 'who' was passing judgement and that was a key factor when I called Flip Oakes for the first time.
Flip Oakes is the best businessman I have ever talked with, dealt with, and know. He took much time with me that he didn't have to. We talked about his trumpets and Flip seemed very honest as he thoughtfully answered all my questions.
While building my horn Flip kept me posted. I got the horn much sooner than I expected - less than a month to get to me in Michigan from California. I was very impressed. Flip then called to get my opinion of his trumpet.
My Wild Thing trumpet is the best horn I have ever held, much less played. I was astounded immediately by its increduble rich tone and the ease at which I could play up in the higher register. I held my horn out and literally thought, "Where have you been all my life?!"
So impressed was I with my Wild Thing trumpet, I decided to get a Wild Thing Flugelhorn. I love it. It has the dark 'sexy' sound I was looking for and it looks and plays like a dream!!
Call me a happy man. If you are looking for a great horn, I most seriously doubt you'll ever top Flip's instruments. If you would like to talk with me, I can be reached at Strongtunes@aol.com   or call 810/ 686 8092 Leave me a message if need be and I'll return your call

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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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Paul Christian Hess:

Thought I'd take a moment and share my experience with my new Wild Thing Bb trumpet.
I just took delivery of one of the finest sounding trumpets I have ever played. My previous Bb equipment list included: Bach 37, Benge 3X (UMI), Callet Jazz, Monette STC1, and a Schilke S32L. None of which (in my opinion) made as great an impact on the quality of my sound as does my new horn. While my old Bb's were great, my new one is outstanding. There is no turning back.
I am impressed with the capability of this horn to go from sweet and intimate to bold and authoritative without sacrificing tonal character or intonation. I am also very pleased with the consistent results I am getting in articulation and timbre. This trumpet possesses evenness throughout the registers that is a true departure from any of the other horns I have tried. I truly enjoy the minimal effort needed to make this horn "speak."
The lower register sounds "liquid" as notes transition from one to another and the upper register lacks the resistance that seemed to create "tension" in my sound. Quiet, delicate playing seems to retain core and presence in each tone no matter how soft I play. As a result, my playing possesses more richness and resonance that translates to greater definition and confidence. This trumpet gives the player great many choices in how each note is presented to the listener.

I am finding that this horn demands a different approach in playing and therefore requires a bit of an acclamation period. Every indication is that the result will be well worth the additional time and effort. It is amazing to me that one horn can change "personalities" so dramatically based upon only slight changes in the amount of air used. Edges of notes can go from crisp and tight to broad and diffuse with minimal effort.
The quality of construction is beyond reproach and clearly displays pride in design and fabrication. The valves and slides are smooth and quick. The "fit and finish" is truly professional.

It is refreshing to have dealt with such a fine company and such a fine individual. I would encourage players to find an opportunity to try one of these wonderful horns.
Thank you Flip, for your professionalism, honesty and your contribution to art of trumpet engineering known as the "Wild Thing."

Paul

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Mack Horton

Dear Flip,
    Just a short note to add to those of your growing list of admirers. I've been playing your silver-plated Bb trumpet for a month now with the third-largest slide (#3) and can't say enough good about it. The adjustment time from my previous horn, a medium-large bore late 1960's
King Silver Flair, was very short, particularly since my old mouthpiece continues to work the best of the several others I experimented with my Wild Thing. I expected a mouthpiece with a tighter backbore would be necessary to compensate for the Wild Thing's larger bore, but this was not the case.
    The response is just phenomenal, and the tone quality and dynamics almost infinite manipulability, from nearly inaudible to a sound a colleague in one band called "as big as a house." I can sound like a flugelhorn or like my old Flair, as I choose. The slotting in the upper register is so much more accurate than any horn I've tried.
I played lead last night at a recording session for a promotion CD of big band dance standards, and it made the job so much easier. The night before, I played a four-hour big band gig, and the bigger bore of the Wild Thing made no more demands on my endurance than my old horn. In fact, it was easier, because of the greater accuracy in the upper register.
But the most important thing is that it's simply so much fun to play. I came home from the recording session and had to take the horn out again and just blow--it just seems to invite the air. Many thanks for your invention!

Mack Horton

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Peter Kartu
Sydney Australia.
Composer and performer of Jazz, Latin and World music.
pkartu@hotmail.com

Proud owner of a silver Wild Thing (# 4145).
I am a composer, trumpet player, repair and salesman in a Sydney brass shop. I loved the horn so much that I became the Australian agent (in conjunction with the Sydney shop "Sax and Woodwind"). I hold a degree in music technology and composition from the University of Western Sydney. My chosen area of study was the physics of the trumpet and I wanted to talk about the WT from a design point of view as well as that of a player.

Most players I imagine are looking for two things in an instrument. A beautiful sound for the audience and an instrument that is easy to play. These two things however do not go hand in hand. The response to the player is governed by how much energy is trapped inside the horn. The sound heard by the audience is governed by which frequencies escape the instrument.
The WT has the most even response of any trumpet I have ever played, while radiating the warmest sound at high volume.

How is this possible? First some physics background.
In a conventional trumpet the energy trapped rises until the 5 harmonic (open G on top of the staff), then drops off sharply. The frequencies that radiate the most however are the extreme high ones (Beyond the 16th). This is why the high notes are relatively hard to play while the trumpet generally has such a bright sound.

In the case of Flip's horn, he has discovered a rare combination of pipe and bell (not to mention the tapered bore) which actually leaks energy in the midrange. This makes the horn sound much warmer to the audience while at the same time, to the player, the horn seems more even to blow because the normally strong notes are now as weak as the higher harmonics. This would make the instrument very quiet however, so by increasing the bore to .470 (and using a taper) the total volume of the instrument can be increased to a sufficient amount for the loudest gigs. If less volume is required the smaller slide can be used. Brilliant eh?
A by product of the WT design is that the area of the tuning slide critically affects the performance of the horn. The darkness of the sound, the resistance and the loudness of the instrument, can be changed to suit the players gig without having to resort to different mouthpieces, backbores or even horns. (There are currently two more slides under development).
I just love the design. It really appeals to the physicist and engineer inside me. To me the WT represents a leap forward in trumpet technology that has not been experienced since Vincent Bach designed the Stradivarius 80 years ago.
At the brass shop where I work I spend a lot of time doing valve alignments. Most pro players know valve alignment is critical to overall performance. I love how beautifully the WT aligns both vertically and rotationally. Flip uses a special rubber that gives extreme accuracy and stability. He adjusts the rotational alignment post factory. This means that every horn is a winner not just one in 10. The valves are very quiet and with a fast short stroke.
Even if I did not play I would own a Wild Thing as an object of engineering art. As a player I just love it. It is the most easy to play and most easy to listen to horn ever. It does take some getting used to and this is my impression of the adaptation period. I played the smaller slide for about 10 days. I found that I had to learn not to force the sound in the high register as I was used to doing on the old Calicchio. After about a week I found that I was playing effortlessly. To me it feels like the horn is playing itself and I am just along for the ride!
My range on this instrument has increased also. I found myself playing loud double Cs where previously I was lucky to play a squeaky G. I did find however that the small tuning slide was not loud enough for some gigs so I have been working with the large one for a week. On the larger slide I can get a much louder dark sound which is great for acoustic jazz particularly with a drummer on a small stage. It definitely takes more air however. The smaller slide can be used to great effect with a microphone and also when more attack is required such as the Steel Pan band I play with. The other thing I have noticed is that the WT blends so much better with trombones and vintage saxes
such as the Selmer MkVI

I've fallen in love with the horn so much so that I convinced the management of the store I work for (Sax and Woodwind, Sydney) to become agents and importers for Flip's horn. One was sold to within an hour of its arrival. I have been taking the horn around to as many pro players as I can think of and everyone agrees that it is just magnificent and a blessing to have them here in Australia.
Thanks a million Flip.
Peter Kartu, Sydney Australia

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Eric Moss

Hi all,

There are so many things to say in tribute to Flip's horns and service that a short, cohesive summary is hardly possible. So, I'll just start talking...

A year ago I started playing trumpet after a 15 year 'sabbatical'. The first horn I bought started with 'S' and was really a fine horn. As it happened, though, that horn sounds like that horn no matter what I do--every attempt at a different timbre brought me back to the same sound--good, but not amazing and certainly not flexible. The dynamics were ok, but seemed compressed. The overall make-quality was excellent, but the valve alignment was sub par.

I started looking at very heavy horns that started with "M", but was discouraged by the price and overly-artsy and secretive attitude. Then I saw Flip's advertisement for the "perfect" horn. Well, now, it's not often that claim comes around (not!), but the 'try-it-first' offer was too good to pass up. So, I tried the horns, and ended up buying his trumpet, cornet and (Kanstul) flugel, and it's been brass bliss ever since.
The flugel is great (really beautiful), but the trumpet is even better, and the cornet is absolutely spectacular. Both the trumpet and cornet provide warm, thick and fat timbre with large-bore mouthpieces, and "terrible-swift-sword" edge with lead mouthpieces--a flexibility I never really felt with my other horn. And with Flip's mouthpieces, I am able to pick a size that's comfortable, and then make the sound what I want as I play.

For example, I just used the cornet for a 20's jazz-folk fusion CD I'm practicing for, then for Nat Adderley arrangements blending with a smoky alto/tenor sax pair, and finally in a parade, where I out-blew four other trumpet players combined. OK, loud isn't everything, but it proved to me that at all levels (until my mouth gave out), the attack was still there, the notes were still in tune and the sound always blended well. Moreover, at medium and especially high volume, an amazing timbre comes through, one I liken to certain expensive midrange loudspeaker horns that have an I-can-hear-it-a-mile-away, but-I-want-to-get-closer sound--raw, rich and 'dark-chocolaty^'.
I can go on, but it won't do you as much good as trying his horns (and mouthpieces!) for yourself. So, here's my prescription for happiness (I like the cornet the most, but you might prefer the trumpet--so try both).

[1] Try the cornet (and/or trumpet and/or flugel). Figure out any modifications you want--I got Amado water keys, which make it easier to keep the horn spiffy-looking.
[2] You will have fallen in love by this point, so go ahead and order the cornet (er... and/or trumpet and/or flugel).

[a] Get the heavy valve caps and your favorite size mouthpiece from Flip. Some people don't like really secure slotting of notes as provided by the caps, but I do, and the caps look cool, too.

[b] Get the horn and caps and mouthpiece gold plated. The result is unbelievably gorgeous and long-lasting. Really--everyone stops and ogles the horn when I am practicing in the park.

[c] If you get the trumpet/flugel, and don't need lots of space for doodads in the case, go for the Walt Johnson cases. The others are really good, too, but the Johnson's can be used in self-defense. ;)

[3] Have tons of fun with the horns and write Flip a nice testimonial--he deserves it.
Oh, one last thing, which is actually the reason behind why the horns are so great. Flip Oakes has proven himself to be one of the few people who does what he says he'll do, when he says, how he says, and why he says. He's friendly, helpful and honest, and it shows to good effect in his products and service. Short of a winning lottery ticket being included with every horn, I could not be any happier!

Thanks, Flip!
Eric Moss
Chicago IL
ericmoss@pacbell.net

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Ray Lawrence

I am really proud to be playing this instrument. People ask me well what kind is it? They are expecting a brand name and I say Flip Oakes and give them the info.

Last weekend I was playing a rehearsal for a private school high school graduation and after rehearsal the band director for the school, who is a woodwind man and an excellent piano player whom I have known for years, came up to me and said how nice I sounded and wanted to know if I got a new trumpet. I get those comments from many people all the time.

I have bought 7 new horns over the last 40+ years and I have always been skeptical about the money I spent on the new trumpets. I can assure you I have never felt better about spending money for this trumpet and the way it plays. I wish I had this trumpet 30 years ago.

Sincerely,

Ray

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Robert Leatherwood
Hi Flip;

Just wanted to let you know that the more I play my new WT the more I love it!!! I'm doing a program this evening - big band with symphony backup and really enjoying playing. Thanks for designing such a great horn.

And thanks for sending me "Up Your Brass". Dan McMillion is astounding and that jazz orchestra really cooks. It's great.

Bob Leatherwood

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Mikel Bartol

#1 Flip,

Here's my story and I'm sticking to it!

I retired as a professional trumpet player in 1984 and began playing again in May of 1998, 14 years later. I currently play with a jazz band sponsored by Hewlett-Packard in Boise Idaho, made up of HP employees. One of the players in this band found out that I had played before and me for months until I finally said I'd play. So, I dusted off my old Holton T100X, had the cork replaced on the spit valves along with a professional cleaning. Armed with my old/new horn, I began playing. Once under way, the music bug hit me again but this time I didn't have to make a living at it! Good thing because I sounded HORRIBLE due to years of inactivity!

To make a long story longer, I noticed that some of the other trumpet players in the HP jazz band were playing on newer horns with lighter valves and various technological advantages over my instrument. This was the catalyst for me beginning my search for a new horn. I began surfing the web and finding one manufacturer after another and analyzed everything I could get my hands on, including those instruments made in third world countries.

One day, another trumpet player in our band mentioned that a gentleman by the name of Flip Oakes invented a new type of trumpet called The Wild Thing. My immediate response was "that's a funky name for a horn".

NOTE: By this time I'd been playing about six months and my chops were really starting to come back. As a result, I started playing over half of all jazz solos with the band.
I found Flip's website and began asking questions of current WT owners. My interest began to peak as I too read some of the testimonials, thinking it's too good to be true. Meanwhile, I traveled to different cities and tried various trumpets along with some very expensive instruments made by Curtois and Taylor. Finally, I narrowed my search down to just a few horns and was going to give the WT a try once my finances allowed it.

In the February/March timeframe, I had the following trumpets in my hands for trial.

* Taylor Jazz Trumpet
* Taylor Lead Trumpet
* Antoine Curtois Evolution I

Finally, I called Flip and arranged to have a WT sent to me. At this point the Taylors were my favorites, especially the Lead version, however, I had not yet tried the WT. The next day I received the WT by mail, while at work. That afternoon I took the WT home with me and thought I'd give it a gratuitous try, thinking that I'd settled on the Taylor Lead Trumpet.
So, I get home and unpack the horn, put my favorite mouthpiece in and aim the WT at a corner in my house to get an idea of the sound. After the first note came out I realized that Flip was right! The sound was incredible, with overtones ALL over the place. I played the other trumpets again, just to give myself a sanity check and there was NO comparison, they sounded thin by comparison. The WT's scale was even from very low all the way up into the stratosphere and I could color my sound with ease.

I immediately sent the other trumpets back to where they came and have been using the WT ever since.

In a nutshell I observed the following:
* My range has improved, primarily due to the WT being so free blowing
* I had a full sound to begin with but now it is my trademark
* I do not work as hard as I used to for complex passages
* Never needed the smaller tuning slide, I just took off with the .470 bore and never looked back.

Another item worth mentioning is Flip's willingness to help in any way. I spent quite some time talking to Flip before and after the purchase and found him always congenial and most of all, honest.

My parting comment is this: Last Saturday I was featured during our Festival on "NIGHT IN TUNESIA", as played by Dizzy. The last chord is a B that's held while I play my last few licks. I soloed up to the high F# and had no problem glissing up to the Double "B", holding it out. There is NO WAY I could have done that on my Holton!

Looking forward to trying those Curry mouth pieces next.

Very Kind Regards,

Mikel

#2 Hey Flip,
2/14/2006

Can you believe it has been 7 years since I purchased my first Bb WT trumpet? Now I have a WT American cornet and Flugelhorn in my arsenal of instruments.   They have been used on various television shows, recordings and live performances with recurring comments on their beautiful sounds.

Bb WT Trumpet: Attached is a sound file (Pa ‘Gozar ) from a CD of my latest Latin music project which was released last week Feb 9th, 2006. You’ll notice that the horn actually slots a double C# at the end of the trumpet solo. Not just one of those lip slurs to hit the note but right on the money. Try doing that on another trumpet!!!   Not that it’s impossible on other trumpets but the ease of slotting those notes on the WT makes it a joy and not an Olympic workout J

Additionally, I receive comments on the quality of sound and that it fills the room.

Bb WT Cornet: This instrument plays extremely well in tune and its sound rivals that of the trumpet, albeit a more rounded/fuller sound in my opinion. I also recorded ‘Claudia’ using this instrument and you can hear the very clear and full sound of this instrument on the wonderful Ballad, originally recorded by PAQUITO D'RIVERA. Although I am not the featured instrument on this recording, you can hear how the cornet compliments the Alto solo during the transitions into the improvisational section.

Flip Oakes Flugelhorn: Year after year I have tested Flugelhorns and been through so many that I lost count. Time after time one of two major problems exists in the Flugelhorns I’ve tried; 1) The instrument plays out of tune or 2) It plays in tune but the valves are horrible.   After receiving your flugelhorn a few weeks ago on a trial basis, it only took one day to figure out that this one was VERY different.   The next night I was playing a very high profile charity function and needed to use the instrument on a tune called “Freckle Face”. At the beginning of the solo section the other musicians immediately turned around to see what I was playing. The other musicians said the difference between the ‘other’ flugelhorns I have used and yours was dramatic with way more core and overtones. NUFF SAID, EH?

Respectfully,

Mikel Bartol

MP3 sound clips

Listen to Mikel's WT Trumpet sound clip of 'Pa Gozar' from his CD "Caliente"

Listen to Mikel's WT American Cornet Sound Clip on "Claudia"

Email: calientejazz@msn.com

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Bruce Bock
Bruce.A.Bock@Boeing.Com
I got my Wild Thing and took it to a practice without having played it first.
From the first note it responded exactly like I imagined. I didn't have any
trouble with it not sounding like a trumpet. The tone was excellent and the
ease of playing astounding.
It took very little effort to play this horn. That may be the only thing I'll have to work on. Not pushing like on other horns. I play in a very large church and on sunday gave the horn it's real test. I had a solo in a song and heard from friends that in the back they heard it with no
trouble even though I wasn't pushing very hard.
The horn just fills up every corner. I definitely won't need a microphone to be heard. I'm going to try out the number 1 slide and see how that does now. I know the number 2 works just fine.

Thanks Flip for such a huge contribution to the trumpet community.

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Matthew C. Glenn
5-12 Instrumental Music
Sac City, IA 50583

Hi Flip,

I'm a band director grades 5-12 , and I am presently finishing my Master's in Music Ed at Penn State, and I just wanted to let you know that the cornet I purchased from you a couple of weeks ago is really a wonderful instrument.

Not only does it help me perform to my ability, but it makes we want to practice more and more. For example, the fact that there are no "bumps" between the two low harmonics has made me realize that teaching the trumpet as having a "comfortable middle" from which to expand range is not an inextricable part of brass playing...it is simply that all of the other trumpets I've played are not as well manufactured to help a player sound as good as possible.
Thank you for proving that lip slurs don't have to be tortuous...they can be a comfortable and enjoyable part of playing the trumpet.

Yours,
Matt

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Peter Uppman

From: Melbourne. Australia

I am very proud to be the FIRST owner if Flip Oakes "Wild Thing" here in Australia to have taken the plunge in buying a Wild Thing Trumpet.As a constantly employed professional musician for the past 16 or so years, I was intrigued by the endorsements that the Wild Thing was getting and wanted to find out more. Flip couldn't have been more helpful or understanding in regards to the tirade of questions I had for him and as a Pro player himself, he understood where I was coming from.

It's taken me several months of owning this horn to now honestly write the following:" Of the dozens of horns I have owned or tried in my career as a professional performer, the Wild Thing is by far, the best horn I have ever played!" I'm not one to be sucked into advertising gimmicks, nor would I buy something just 'cause someone else says you should or because someone famous is using it; this was a purchase made on 'gut' feeling, a feeling that Flip was telling me the truth about his horn.

No product or trumpet ill satisfy everyone, but the Wild Thing in my honest opinion, is far more superior in every area of trumpet performance. It is capable of producing the most luscious warm lyrical sound at whisper-quiet levels, to being a most dynamically powerful lead horn. Any trumpet can do this at some level, but the Wild Thing takes it to the extreme, to create the most wonderfully exciting and inspiring musical experience a performer can have. In my personal experience, the Wild Thing doesn't give you instant range that you didn't already have, but it WILL make that range much more easier to achieve and maintain so hence, helps assist you strive for obtaining a higher ceiling.

Nothing I could say here is going to make someone rush out and order a Wild Thing, but I will suggest to those serious about their horn playing, that you'd be doing yourselves a tremendous disservice if you at least didn't give it a fair trial. You WILL immediately notice the difference!!!!

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Mike Gibbs

My name is Mike Gibbs, I am the proud owner of a Flip Oakes Wild Thing
American Long cornet. I play in a jazz quartet, Dixieland Band, and do
some filling in with a local Big Band all with my Wild Thing Cornet. I
love it and wouldn't swap it for any other horn in the world.

I am chuffed to have the first Wild thing Long cornet. Sorry you cant have it back I love it, and I am clutching it to me. Seriously I am very happy with it. I have played many horns in my playing life. but The Wild thing is my favorite.

Thanks
again Flip for a great Axe.

Kind regards Mike Gibbs way down here in New Zealand.

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Forrest Helmick
Blue Street Jazz Band
http://www.bluestreetjazzband.com

Dear Flip:
Forbidden Fruit at 8,000 Feet
I am a music educator, and founder of the Blue Street Jazz Band. My first time playing the Wild Thing was when Flip first started to market them. We were both performing at the Sacramento Jazz Jubilee about ten years ago when he walked up and handed me this beautiful trumpet to try. At that time the horn was forbidden fruit--I had no money available to buy a new horn. I knew as I played it that this is a horn that I would own. It had what I liked--a free and open sound like my Claude Gordon trumpet. It was better than my CG horn. I also knew financially that I shouldn't get attached to it. I had to hand it back and say no to Flip's introductory offer. I wished had the money back then!

In 2001, I began to research different trumpets to eventually buy one in the future. The Internet was buzzing with articles about new trumpets, scientific analysis, note slotting, cryogenic treatments, etc. I came across Flip Oakes web page after reading a review of the Wild Thing trumpet. Wow, what a web site. Obviously, Flip was having great success with his new horn that I once tried way back when.

I emailed Flip and asked if I could try out the Wild Thing at a weekend jazz festival where we were both appearing. It turned out to be the 2001 Mammoth Lakes Jazz Jubilee. That's at 8,000 feet! If I like the horn at 8,000 feet, I'll like it anywhere. He brought up a hand picked, new silver model for me. From the first performance, I knew that I had myself the horn I wanted. Even at that altitude, it has a responsive, consistent sound from the low to high register.

My sound was fat and buttery with my medium small mouthpiece. It responded like a new sports car and gave me courage to jump around with new ideas. I would venture to say that it was easier to play.

Members of the Blue Street Jazz Band commented: "Forrest, that horn rocks. Buy it! Whoa. Ya gotta get it! Don't save up. Get a loan!" The best thing that I heard was after the Saturday night set. It was from Flip: "I've never heard you sound better. I want you to take this horn home with you." I found a way to buy it when I got home. It was worth it. I got the gold plating added too.

The rest is history--more gigs and recording sessions. I love to let other trumpet players try my once "forbidden fruit." They do react with those short astonished descriptions. That's how the horn got its name.


Forrest

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Robert "Chaz" Wroblewski

Buffalo, NY
rwroblewske@adelphia.net
Hi Flip,

I have owed you this e-mail since March 2002.
First of all, it was a pleasure e-mailing, speaking and doing business with you. You responded promptly and thoroughly to a long list of questions and concerns I had in my search for the ultimate AND most flexible horn...and I certainly have found it.
To be busy in Buffalo means you play everything...all styles...and teach, and probably have a day job. I do all of this and then some. I sent you a long list of questions a year or so ago about the Wild Thing about tone quality, range/openness, slotting in upper register, core, responsiveness, blending with Strads in small legit ensembles etc.
You confidently answered "Yes" to all via e-mailed and cordially followed up with a phone call. I had some initial doubts that all of this was possible...then a student of mine got a WT.
I was blown away immediately and your claims were ALL TRUE.
A little while (for saving money) later, & one more conversation with you which led to my deciding on the gold model & I am very happy, have never sounded better and I've never looked back. For the first time in my 33 year career I'm not looking for the ultimate horn anymore...I have it. It is everything: sweet, wild, cutting, blending, IN TUNE, a chameleon, I could go on. I no longer need a good, old Strad and a lead horn (had many) that I'm not entirely satisfied with.....just my WT & an occasional switch of a slide. It is wild and it is alive. I just can't say enough. I AM an educated consumer and could start spouting technical stuff, but others have done so very eloquently.
Whoever reads this, just believe my sincere passion about music and the instrument and feel free to contact me. I back up what I say with my playing...and my playing has never been better...and now continues to get better. A ceiling has been removed and some of the notes that this thing will SLOT can only be heard by dogs (OK I'm getting a little carried away).

A few brief points:
1.The gold is GREAT...not just pretty & not having to be polished....the sound is so much more rich...NOT "muffled" like some other gold rigs.
2. I WAS happy with my expensive/heavy lead mouthpiece for a few years...it did not get along with the WT...especially in the lower register: Many thanks to Bryan @ GR Technologies for taking a lot of time working with me & getting me dialed in on a new piece...which I eventually re-ordered in gold. Unbelievably even blow through the horn and mouthpiece through all registers.
3. Got the heavy caps...didn't need them, don't really use them, but they are interesting to fool around with....and why not get some toys this far into it.
I use the #1 slide mostly..#2 in some legit situations and that's it. I own a #3 and may try a #4 some time, but I agree with you Flip: #1 IS the horn and there's nothing else on the planet like it.
Thanks again for everything and feel free to use my comments any way, anywhere, anytime.

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Larry Woods

BACKGROUND:

Played trumpet for several years in elementary school and switched to valve trombone, baritone (euphonium if you must) and tuba while wearing braces in high school. After that I lost interest in music and did not play a lick for about 14 years. An interest in the church orchestra led me to get out the old King Tempo trumpet and give it a go. In a matter of weeks the King was not meeting my needs. Under the advice of a music professional, I purchased a Bach Strad ML180/37.

Looking back now, I really wish I would have looked around and shopped for the RIGHT horn for me. Anyway, I continued to play the Bach, but was never really pleased with my sound on it, the responsiveness, the feel, or much of anything. By the way, I've had the Bach played by several knowledgeable musicians and they all comment that it is a good playing Bach, mine was not a dog or one of the bad ones you some times hear about.

THE SEARCH:

Finally, after about 6 years on the Bach I began a search for a suitable replacement. After trying several different type of horns, heavy vs. light, small through large bore, etc., I learned that the right type of horn for me is a std. or light weight with a large bore. Now that the search was narrowed down, half the battle was over.

THE FIND!:

I was finalizing my decision and was leaning to a large bore with large bell combination offered by a fine reputable company, but then had the opportunity to try one more horn, the Wild Thing. The first trial was in Flip's living room and I was a little nervous playing with a business associate and Flip sitting there, but I fell in love with the horn anyway. That was it, I had to have it!
COOL DOWN PERIOD:

I did not buy the horn on the spot, mainly because I did not have the money lined up yet and had not had the chance to play it in the environment I would be performing (mostly Church group and solo stuff with some sporadic Community Band as time allows). The months passed by and eventually did purchase a Wild Thing.

Shortly after I received the horn, I had my wife go to the church with me and do a blind study hearing test. It is a fairly large sanctuary that gives a beautiful echo effect without the audience and accompaniment music. The first tune I played was on the Bach. Wife's feedback - that's pretty, which horn was that? Of course I did not tell her. Then I played the same tune with the WT and she said, before I even finished, "That's the new one, that's the new one. The sound is richer, I haven't heard you sound like that before".
Test after test, with different styles of music, the conclusion was the same, the WT simply sounds better. One way of describing the sound difference is that the Bach was very focused, while the WT "filled the room". My wife is not really musical, but that was the best way she could describe it. To me, what I am hearing is that the WT has more overtones which add a richness and uniqueness to the listening experience. The icing on the cake is that the WT plays easier. Yes, it's true, it is easier to sound better with the WT! As you can imagine from my limited background, I was apprehensive about the need for a different horn. After all, I'm not making a living with this or anything.

I was also concerned that an amateur such as myself may not be able to "fill the horn" or tap into any of the benefits of such a high quality horn. Believe me, every time I get the chance to play the WT, I am happy I made the switch. I am recharged to strive for even more personal improvement and see just how far I can take this beautiful instrument.

One last endorsement, my range has improved from C above the staff to E and an occasional F above the staff with this horn. I'm really not into stratospheric playing, but the increased range greatly improves my confidence in executing those Cs and Ds in performance.
Finally, sorry for being so long winded, but I would like to ensure that everyone truly understands my motive for providing this testimonial. It is simply that I get such enjoyment out of this horn and was becoming so frustrated with my previous horn and my slow development that I would like to help someone avoid that situation. If you do not feel your horn is working for you, then TRY SOMETHING ELSE. And I heartily recommend that you try the Wild Thing.
Sincerely,
Larry Woods, Orange, TX

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Kirk_Conyers

I was fortunate enough to try the Wild Thing Flip had sent over to TPIN for evaluation and after playing on it for a few days, I decided to purchase it. The things that impressed me were the horn's huge and rich sound and the way it requires very little effort to start a tone. I shouldn't leave Flip's customer service out of the list, he really knocks himself out to make your experience with the horn a positive one! Playing this horn and switching back to my Yamaha was similar to switching to a shallow cup mouthpiece after playing for an hour on a deep cup mouthpiece: it was very difficult to make the Yamaha speak at all. A remarkable difference.
Despite having always played on medium bore horns, I have not noticed any endurance problems on the Wild Thing as long as I use a little restraint. The lack of resistance makes it easy to overblow to get that familiar feeling of back pressure and blowing that hard wears me out in a hurry! It's important to note there is no reason to blow that hard on this horn, it's just a habit that needs breaking. I look forward to signing the guest book again in a few months when I'm more familiar with the horn.

Thanks, Flip!
4 years later!

Hi, Flip, I hope all is well with you!

Has it been four years already since I bought my Wild Thing? I can hardly believe it. My last
horn had totally frustrated me in less than three years, and that's when I found out about Wild
Things. I like it more all the time. I am still learning about the horn and getting better on
it.

The best thing about the horn is that it has kept the same sound all those four years. Finding
the right sound was why I switched horns in 1995 (to a Yamaha), but in a short time I had managed
to work the new horn back into my old sound. This wasn't something I did intentionally, it just
happened and I couldn't do much about it.

But the Wild Thing has kept the same sound. It is a sound that frequently earns me complements.
Other players want to know what kind of horn I use, so I tell them! When they try it, I love the
surprised expression on their face. Unfortunately, I have been a poor referral, as I haven't been
able to get anyone to actually buy one. It is so different, I think it scares them off.

One change I have made is I switched to a Monette B4S mouthpiece last July, and that has
drastically improved things. The combination is so responsive, I can play much faster and still
keep a crystal clear sound. No mud between the notes. Also, the new combination has evened out
the intonation from top to bottom, improving my endurance.

Last Thursday I performed Arban's Carnival of Venice variations with the Blair Area Community Band
here in Nebraska and it went very well. The concert was two days before my 43rd birthday and the
good performance made a neat birthday present.

Well, I better go, but I wanted to let you know how well the horn still plays four years later,
and how great a combination I think it makes with the Monette mouthpiece.

Thanks again!

Kirk Conyers

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Tom Taylor

Flip,
I may have a little different perspective on the Wild Thing trumpet. I am, primarily, a 55yr old lawyer. I practice daily and play with several community bands, a community orchestra that supports a choral group, several amateur theatre company musical or G/S pit orchestras and the occasional Easter service or wedding. I am definitely an amateur musician. My usable range tops out at F above high-C and, unless I get pretty excited during a ride, I don't play above Eb above high-C in public. I am not looking for a horn that "lets me use my full potential" or that "doesn't get in the way of what I am trying to say."

I want a horn that can make a definite contribution to getting me through the program. It needs to have clean and confident initiation of tone because my attacks aren't always precise. It must have good intonation, even when I get tired and don't listen as well as I should. I need a lot of dynamic range, without always having perfect support, ranging from playing solos from within the section in a concert band at outdoor concerts to backing Mozart with the church choir. I have played modern, large-bore horns (a Schilke and two Calletts) since 1970, but the Wild Thing is an entirely different experience.

It seems to have all of the advantages of other large-bore horns, such as a lot of projection and great flexibility, but without the problems. With my other horns, I had trouble with clean attacks, intonation up and down the scale, especially when tired, and maintaining sustained piano passages without buzz or breathiness. The Wild Thing just doesn't have these problems. Curiously, I have reached the conclusion that the Wild Thing avoids some of the large-bore pitfalls by taking the large bore characteristics to an extreme.

The tonal center (by which I mean sub-semitone range over which I have the ability to lip the note up and down without adversely affecting the tone or overstressing the chops) is so large that good intonation is easy. I may have to flat my top-of-the-staff G's a little when I get tired, but it is easy to do so without sounding like I am lipping-down. I think that the large area of good note production also results in repeatable perfect attacks. Even if my set-up and attack is a little off, the range of conditions within which the Wild Thing will make a good sound is so large that a good result comes out.
I don't have a theory as to why such a free blowing horn can play such beautiful pianos. On other large-bore horns, playing piano gives me a very "constipated" feel as I create resistance in my air column, trying to keep support up while carefully metering out the air. The Wild Thing doesn't require that technique. It seems to just accepted the air that comes to it and responds accordingly. I like this Thing. It makes me a better player.

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Don Herman Jr.
Monument, Co.

I've had my Wild Thing trumpet a month, and it just gets better. I played my Bach Strad to see how it compares; it doesn't. The WT is more open, with way more projection and much cleaner sound. I played pro years ago -- my Bach had a gorgeous midrange, but strained highs and weak lows.

I tried Schilkes, Getzens and others; some were better in some ways, but none quite right. After a ten-year layoff, I decided to look again. I talked to players and makers, read TPIN, and finally sent Flip a note. He called, and we discussed philosophy for an hour. It was uncanny how his experience paralleled mine, though he is a pro and I am a recovering amateur. What I found lacking, and the sound I wanted, were what Flip built! When asked how to break in my new horn, Flip responded "just add air!" Even so, my first few minutes were rough. But, without really knowing what I did, a bit later my (pianist) wife said it was deeper and cleaner than my Bach. Numerous other musicians/audiences have praised the sound. I didn't magically gain range or endurance, but the WT makes what I've got sound GREAT!! I had two minor problems.
Flip fixed a slightly misaligned slide, and Walt Johnson had a run of bad cases. Flip called Walt and I got a new case with a nice note from Walt - no questions asked! Flip takes any flaws very personally, and kept in touch frequently during my trial. After a last gig with my Bach, I went back to the Wild Thing, and it's taps for the Bach. The difference is obvious to me and everyone else. The Wild Thing is gorgeous throughout my range, and I can shift instantly from hymns to jazz to wedding dances. It's a terrific horn, Flip's a great guy, and our pride in the horn and its sound have made "Wild" Don a very happy owner!

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Michael Paige

I've had my Wild Thing trumpet (#42) for 6 months now and am very pleased with it. My concert band and big band associates rave about the sound I get from my Wild Thing trumpet. It's a very versatile instrument, too. As you know, I'm a serious amateur but not a professional player, and I was worried about being able to play it. No fear. I can heartily recommend it to amateurs and pros alike.

Best, Michael Paige

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Kieth Robinson

San Diego, CA

"There is nothing like it. I will never go back to my old Bach Strad. The second I picked up the "Wild Thing" I could play faster, cleaner, and easier with a better sound than ever before. Even people who have no clue about trumpets can hear the difference instantly. Once you pick it up you will never put it down!"

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Jamie Tobitt
Big Time Operator Swing Band
San Diego, California
mailto: JamieT@msn.com

I'm the proud owner of a Wild Thing (#36). I did not take this purchase lightly. I had only heard about the Wild Thing by word of mouth. I did a lot of asking and researching before deciding to buy it. Then I played it hard during the trial period, giving it a thorough test drive. I asked Flip a lot of hard questions and he always gave me a detailed and honest answer. So here's my conclusion:

The Wild Thing plays and sounds better than any horn I've played (my opinion and that of my fellow band members). I may not be the best trumpet player around (yet), but I'm serious about my playing, and why wouldn't I want a horn that plays and sounds like I'd want my ideal horn to be? If you are thinking about buying a Wild Thing, feel free to e-mail me and ask away...

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Bryan Shaw

Digital Brothers Recording Studio, Professional Trumpet Recording Artist
"I just finished recording a new jazz album for Arbors Records, and I used the Wild Thing during the entire recording session.. It recorded great and everyone kept talking about my tone! I love this horn! Thanks,"

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Conrad Janis

Motion Picture & Television Actor/Producer, Musician.
Los Angeles, CA

"Flip Oakes plays with my group 'The Beverly Hills Unlisted Jazz Band' and I have had the opportunity to hear Flip over the past two years. Flip is a wonderful, inventive and swinging trumpet player with a very full and rich sound. He plays a trumpet of his own make called the "WILD THING", A BEAUTIFULLY CRAFTED INSTRUMENT WITH A SUPERLATIVE SOUND. I've asked Flip to build me a trombone as good as the trumpets he has created. These instruments are in the true tradition of fine custom hand made works of art! They have my unstinting and enthusiastic recommendation."
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Steve Dillard

TRUMPET WITH
Paul Anka
San Diego Chamber Orchestra
San Diego Pops
Righteous Brothers
Montavani Orchestra
Johnny Guitar Watson

DEAR POTENTIAL BUYERS
"The "Wild Thing" name on the horn does not do the instrument justice. The "wild" is the rave reviews the horn gets not only from the players but from the audience as well, and this horn is truly is a "thing" of beauty.

I've known Flip Oakes for twenty years. He is not only a fine player on every instrument he plays, but he also has the reputation of being a great repair technician. The "WILD THING" is a product not only from a great player but from a man who has done his research. He is often called upon as a design consultant for professional instrument makers, so you can believe that when he made his own horns, all of his experience went in to making the finest trumpets on the market today. This horn does it all! It has a very true scale from the very lows to the extreme highs. For me the most impressive thing about the horn is the beauty of its full rich sound matched with its playing ease.
Go ahead and play the horn, and then you'll be the WILD THING...."
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Toby Taubenson

San Diego, CA

"I have owned a Flip Oakes Wild Thing trumpet for about seven months and honestly believe it's the best trumpet I've ever played. I just returned from a trip to Europe, Schmadling, Austria, for the WASBE (World Assoc.Symphonic bands). There were many displays of instruments (trumpets, i.e. Besson, Bach, Yamaha,etc.) and I found nothing to compare to my trumpet. "

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Brad Curran

Curran Music Studios
Oshkosh, WI

"As a performer I've always looked for an instrument that was free-blowing yet responsive, with a warm and full sound. The WILD THING is it! Flip, you've done it with this one. Not only great sounding, but fun to play. I sampled three "Wild Thing" trumpets along with two other instruments considered to be the "best" by many professionals. Flip's horn was clearly superior to the "major brand" instruments in sound, pitch-center, evenness of scale, and ease in response. If you consider yourself a serious trumpet player, you owe it to yourself to try one of these horns. Thanks Flip, for showing me how much fun playing can be."

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Don DePascale

Professional Trumpet Player
New Jersey.

"The "Wild Thing" trumpet is the most responsive, user friendly trumpet I have ever played. I use it for small group playing as well as some big band work. The concept of a dead bell is truly amazing! Flip Oakes is a master trumpet maker as well as an equally great player."

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Walt Johnson

Professional Lead Trumpet Player
Los Angeles, CA

#1 Top call studio musician from New York to Los Angeles
Manufacturer of the Walt Johnson Fibercase® Custom Instrument Cases
"I tried the "Wild Thing" Trumpet and found it to be an easy blowin', well made, versatile instrument. Of course I also like the case the Wild Thing comes in."
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Steve Bulette

Assistant Principal, Granite Hills High School
San Diego, CA

"The "Wild Thing" is the most responsive trumpet with biggest sound that I have ever played. When I play my old Reynolds Contempora, it reminds me of a Christmas tree ornament in comparison. I am now cured forever when it comes desiring another trumpet.Try it, and you will immediately recognize the difference. Flip definitely knew what he was doing when he designed this horn. Thanks to Joe Dyke, who encouraged me to check it out. I am now more motivated to improve my playing as a result."
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Joe Martino

Jazz Promoter & Trumpet Player
San Diego, CA

"I am the proud owner of the wild thing and want you to know that this is the finest blowing trumpet that have experienced in my fifty years of playing. The richness and fullness of the sound of this horn is beyond belief . It is the horn that I have been looking for all of my life."

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Dan Zeilinger

"I'm a professional Tuba player, but I've heard musicians play "The Wild Thing" and then switch back to their own trumpet. The difference is remarkable. Players just sound more confident on "The Wild thing" I've worked for over 20 years with trumpeter Bryan Shaw, and when he switched to Flip's horn he was sold. I've played with Flip over 10 years now and his sound is amazing!! So being a part time trumpeter I tried the "Wild Thing" You have to try it to believe it. A great Instrument! "

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Jim Sightsinger

Oceanside, CA (formally from Orange Co. CA)

"I've been blowing trumpet for the Past 65 years. During this time I had the pleasure of performing with a lot of HEAVY'S. Recently I met Flip Oakes, through a friend. I knew of his reputation for making a fine customized trumpet. On June 28,1997 I blew this horn, and life hasn't been the same since.---- NO SH-- !!! I HAD to HAVE IT !! AND, AM NOW THE "PROUD OWNER". This thing really is wild

! GOD BLESS YOU Flip!"..

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Nicholas R. Eads
Baltimore, MD

"Flip, I promised I would sign your Guestbook and tell people my opinion of your horn, so here it is... I looked at every horn that I could find to replace my old large bore horn and never found anything that remotely approached it UNTIL I FOUND YOUR HORN. Quite simply, YOURS IS THE EASIEST SPEAKING, MOST FREE-BLOWING AND RICH SOUNDING TRUMPET I HAVE EVER PLAYED. No more feeling like I've got a sock stuffed in the end like all of the high-end "professional" models I have tried. I am as excited as I have ever been because I am playing on an instrument that allows me great flexibility (thanks to the two tuning slides) as well as better intonation and center. Your willingness to discuss this trumpet and all my other concerns has been remarkable, and your honesty and sincerity is greatly appreciated by my wife and I. I am proud to be an owner of a Flip Oakes "Wild Thing." THANKS! "
Your (new) friend, Nick Eads

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Russ Tell

Hi Flip,
Just a note to tell you that I am keeping the "Wild Thing".

It has been quite an interesting trial. I am by all means not a pro player, so the horn change kind of threw me for a loop for the first day. It took a few of hours to figure out a minor embouchure change and begin to "turn on the heat" with the horn, but after I did, what a sound!
I can make the sound go from flugel to laser in the same breath. Intervals that on my Yamaha always seemed a little awkward, were right where they belong on the Wild Thing. My rips and half valve never sounded better. It just seems like the notes connect better. The dynamics are very nice. Whispering is no problem with this horn. You have also added about 4 steps to my pedal range. The valve action is excellent. Smooth and Quiet. The best of any of the new horns I have owned.

Alas, the only real drawback of the Wild Thing is the fact that none of my mutes fit the bell flare so I'll just have them recorked so I can hear the effect.

I want to thank you for making your design available and also for the warm and friendly manner in which our conversation took place.

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Gerald A. Hoffman

Tucson, Arizona
I have recently purchased a new FLIP OAKES WILD THING CORNET. I have never met Flip, I do
not know Flip, I do not work for Flip, I get no compensation from Flip. I have only dealt with him by telephone during the purchase of this cornet.

I went from an Antoine Courtois to a WILD THING. I have tried most of the other popular horns, and the openness, free blowing, rich "cornet" tone, and intonation of this horn is the best I have found. In my opinion it was worth the premium price to get a superior instrument. It appears to be built with much special care, and Flip, the creator, is very available for advice and any help needed. I "bothered" him several times with questions, special requests, and slight modifications. In every instance, he was very accommodating and willing to do whatever was necessary to make this my "perfect" horn. When he said he would do something, he did it! I am playing it in a British Brass, German, and Civil War band, and am able to style and blend my playing into whatever mode is required. I am also going to use it in the big band I play in for solos on slow ballads to get that almost flugel sound. My trumpet is a B6 Schilke. If it wouldn't threaten the stability of my home life, I would be tempted to try out the WILD THING trumpet. Maybe that day will come! Jerry Hoffman Tucson, Arizona (Yes, but it's a dry heat) .

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Bob Michalski
Cinnaminson, NJ
Dixieland Cornet
SpeakEasy 6

Hi Flip,

After over a week of intense playing and testing , here's my reaction to the WT cornet.
Unlike most all of your other testimonials, I'm not a professional musician but have played Dixieland for over 30 years as my main interest outside of my job. I have played virtually every cornet on the market today, including a large selection of the antique horns I had overhauled. Until I received the Wild thing, my turn of the century Lyon and Healy was my best horn in terms of tone and blowing qualities. I also like my 1969 Benge 8Z, but it's getting old and so I searched for a good replacement.

All the modern horns I tried did not blow as open or free as I prefer, especially the British horns. Other horns like the Bach 184 look good and blow nice but don't have that traditional dark cornet tone. The Getzen Eterna does a good job, but I'm a stickler for the traditional Courtois design and so I turned to your WT. Upon arrival, I took your 5 mouthpiece and blew a few phrases with it on my Lyon and Healy, and was very pleased with the fit and ease of playing in the higher register without effort, because I play a shallower mouthpiece for endurance. It also gave my L&H a darker tone. I then put the 5 mpc into the WT and blew the same phrase - I hate to copy another person's testimonial comment but the word - Damn! came out of me, also !.
I should first mention that my wife had heard me play the same phrases a short time ago on my Benge, Eterna, JW Pepper and Lyon and Healy and voted for the Lyon and Healy as to best tone and general audience reaction.
So it only made sense to get her reaction between my L&H and the WT. There was no comparison. Like me she was immediately impressed with the mellow tone and chose the WT over the L&H without knowing what horn she was picking. From the player's viewpoint, I couldn't believe how easily I went all over the scale to high C without effort, despite the deeper cup mpc. I had intended to keep using my old mpc with the WT but now there was no reason to. Your 5 fit me very well and gave me as much endurance or more than I had before. I don't understand how, but I I think your mpc is just a perfect fit for the WT and they belong together.

I can't speak to all those technical things your other professional testimonials refer to. I just know I have greater endurance, range, free open blowing with hardly any resistance, a great tone, ability to hit the notes I want and the sound of a true turn of the century horn with modern engineering.

There is no equal.

In closing, I also want to thank you for your kind attention to my many questions, prompt delivery and inclusion of the 5 mpc. I wish you continued success.

Rick Thomas
New Braunfels, Texas

Flip,

Just a note to say thanks. I got my gold plated wild thing about six months ago. I decided to wait on sending you a message to see if, after the excitement of the new horn wore off, I would be as happy with my horn. It has lived up to its expectations and I'm still excited about my sound. My other "good" instruments are now ok at best. It is amazing at the difference in sound and ease of playing in tune. This horn is a doll and worth every penny. Now if I could get you to make me a fluegelhorn to match it.....
Thanks again.
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Erik E. Pointer

Flip...

I got the horn today and it was everything all the testimonials said it would be. After I played for a while,

it seems I need to add another adjective, or emphatic point to the descriptions, but the English language doesn't cover it.

This trumpet is simply the best engineered and most beautiful sounding instrument I have ever played. ( I'm looking forward to day #2!). After playing and owning Kings, Holtons, Benge, Bachs (3), Getzen, French Besson and Selmer, I think I have found the horn that I obviously have been looking and listening for, my entire professional career.
Thanks for a truly incredible trumpet!!!!!
( Note...the 1.5 C Oakes Mouthpiece is great, also. It sure makes the "W.T." sizzle.!)

epointer@iland.net

UPDATE: 03/06/2005

Flip,
"I used my 'Wild Thing' trumpet on my new CD release, "...Better late, than Never..." and it worked like a dream.
Regardless of whether I muted it or not, the scales were even, the sound was full, everything spoke, and the horn just plain
delivered. I have had my horn for a few years, and it still is the most incredible trumpet I have ever owned or played."

"Thanks again for a wonderful product."

Sincerely,

E.E. Pointer        epointer@earthlink.net        www.eepointer.com

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Bob Shanahan
"Sorry about the long time interval before telling you how much I have enjoyed my new Wild Thing, but wanted to be certain that it was as good as I thought, and not just the novelty of the horn.

I have used the #1 tuning slide exclusively, with a Bach 1C mouthpiece. I have played a half dozen engagements, and the horn is everything you say it is. Fellow musicians noticed the difference immediately.

In comparison to my old horn, the D in the staff and the A above the staff are in tune. I no longer have to expend great effort in order to lip these notes into tune or use alternate fingerings. High notes slot easily, and the tone in the low register is really great.
True, the horn is expensive, but amortized over the life of an instrument, it's really quite reasonable, and is well worth price if only to reduce the aggravation caused by struggling with a lesser instrument."

Many thanks,

Bob Shanahan

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Roger Shelley
Mr Oakes

I just want to tell you how much I like my Wild Thing. I don't like playing my Kanstul Burbank or my Calicchio any more. I get a pro sound or better sound than some pro's with a medium mouthpiece!

I play in a Big Band and in a good Praise and Worship band of which we are cutting a CD soon. I just love the rich and full sound that I get, especially at MP & MF. My trumpet buddy said I sound like those pros on trumpet CD's, and all I have done is swapped horns.
My other horns sound like a soprano bugle to me now. You horn is a totally new concept and isn't a Bach prototype of any sort.

Thank you again for this dream horn.
Roger Shelley
roger@multipro.com
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Rich Steele
Charlotte, VT

Hello Flip,

I would be very pleased to have my comments added to your testimonial page. I love my cornet more and more each day, and will promote your products with enthusiasm to everyone I meet. In my mind there is an interesting comparison to be made with the WT Cornet.

Each year in my area there is held a meeting of the Northeast Street Rodder's Association. Hundreds of these fabulous automotive creations can be seen ruling the roads. Like these vehicles, the WT Cornet combines the highly nostalgic with high tech all woven together by the designer's flair and genius.
The WT Cornet handles beautifully, has all kinds of power, and is the center of attention. All this is rolled into a metal sculpture that must not be parked just for display, but put into motion. Even after trying to imagine how great a horn can be made, I am stunned by the beauty of this cornet!
I have always been a player who has placed a "Big Rich Sound" at the top of the priority list, and the "Wild Thing" delivers richness like maple syrup, but twice as sweet! The only thing I'm missing now is a "Wild Thing" trumpet to go along with it, so I'll now start saving for one.
Thank You Flip, My New Friend....
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Tom Turner
Dublin, Georgia

Tom Turner's second Wild Thing instrument testimonial, on the "short model" cornet:

This is my second gold-plated Wild Thing instrument, and follows closely its trumpet "brother" I got last year (in 2001). With the trumpet consistently proving superior over all other trumpets I've played in my 41 years of playing . . . and continuing to "grow" on me with each passing day, I truly expected the other WT instruments would also be great. I was not disappointed! Like the trumpet, it raises my level of performance where it really counts . . . on the stage and on the bandstand with awesome tone and precise "blow!"

Flip sent me both model cornets and the new flugelhorn to take to an annual meeting of cornet collectors from around the planet. All were impressed with these awesome instruments . . . and I simply couldn’t bear to return that gold-plated short model cornet. I truly was NOT in the market for another horn but this horn was so superior to every cornet I^'ve played and/or owned (including my awesome 1911 Boston 3-Star) that I couldn’t pass it up.

As I write this testimonial the sounds of the short model cornet are playing on my hi-fi. I’ve NEVER heard such a rich, mellow, warm sound from a cornet before like this! I’ve never had a horn make me sound this good! The tone is truly stunning to experience both on a recording and live . . . and from both the listener AND player's sides of the horn!!! Reaction to this horn on a recent combo job was very vocal too from crowd and my band alike! What a winner!!!

Like the trumpet, the short model slots every note perfectly, from the petals to Triple C with each note ascending sitting on an exact sized "step." It is still stunning to pick up a Wild Thing instrument and feel this wonderful phenomenon of having each note "feel" exactly the same throughout the registers, blow-wise. It makes performing on a WT so secure!

The intonation on the short model is so WONDERFUL too, and the supremely easy "blow" and super-fast response (always Wild Thing attributes) make Wild Thing instruments my favorites by a huge margin. Flip's horns ARE superior to other designs and the enhancements Flip personally makes to each and every one of his instruments optimizes the way they play.

Warmest regards to you, Flip!

Tom Turner

Travis Wilsonn

In Sept of 2005 (9 months before writing this) I bought a Wild Thing
Bflat Trumpet from Flip Oakes. I had played two of them before I bought
mine, and liked them more then any other horn I played. But still, as a
"comeback player", a professional in another field, not music, I was
concerned that maybe there was something I was missing. Others talked
about needing more resistance, or suggested problems that might come up
with such a "large free blowing horn". They suggested especially
potential problems with range and endurance.

well 9 months later, I play longer and higher then I ever had before
buying this horn (including that time in which playing the trumpet was
intended to be my life's work. I was one of those All State high school
players and attended college on a trumpet scholarship) . I have never,
not one time, felt a problem with my Wild Thing. It blows easier in the
upper register then any horn I have tried, and my endurance has only
grown. There is never a sense of this being a hard horn to play because
it is "large". Rather the sense is that it is easier to play. I have not
regretted for one moment getting my Wild Thing, and in fact I am
becoming a bit in love with flugelhorns, and if that love lasts more
then a few months, I will put in an order for my Wild Thing Flugel.

Aside from the quality of the horn, just doing business with Flip is
great. You really do feel like part of the "Wild Thing Family" and not
just a number on an invoice. Flip has gone way out of his way for me in
several ways, and has shown a continuing interest in my music, and has
to this day still not met me. I recommend both Flip and his trumpets
without reservation

Travis Wilson
Houston, Texas

ENDORSEMENT:

I’ve had my Wild Thing Bb trumpet, in gold, for two full weeks. During this time I’ve played a wide variety of gigs (jazz/rock combo, brass quintet, solo performance and Dixieland), both indoors and out, so I’ve tested it enough to give an accurate assessment. In a word: AWESOME!

I’m a 49 year-old performer who never quit playing! I majored in music in college, served as a trumpet soloist during my three year Army enlistment and have performed a wide variety of types of trumpet playing since then. I currently lead a 19 piece big band in central Georgia, play with the Georgia Brass Band out of Atlanta, play in a brass quintet, and am a member of a jazz/rock combo here in Georgia and a Dixieland band down in Florida. I also perform a bunch as a contemporary Christian soloist and artist and am a member of the Holy of Holies ministry-a worship team that does events all over the country.
I had been playing a great custom Bach Strad with a Pilczuk leadpipe when a Wild Thing owner, Lee Adams (“Mr. Triple C”), turned me on to the Wild Thing. I’ve had a lot of great horns through the years but I’ve NEVER played or heard a trumpet like this! I’ve been on a continual quest for the perfect “soloist” trumpet for years . but not any more! When I blew the WT, out came this HUGE, FAT, DARK, AWESOME sound!
How do you break it to your loving wife of 27 years that you’ve found a horn, so far beyond all others, that it is worth a whole bunch of money? The best way I found was to get the horn first and PLAY it for her! Once she heard that awesome sound she understood and didn’t fuss at all (WHEW)! Then I handed it to our 16 year-old, trumpet-playing son. After she heard him on it she said, “It improves his sound even more than yours!” Gee . . . do I see another WT in our future?!!!
I love free blowing horns and almost immediately ended up using the #1 slide. The #2 does sound brighter so I’m glad I have it too. Even an ex-Army bandsman like me can’t overblow it, and I was stunned how I could play things on this horn during performances that I could never pull off before! Great intonation; incredibly crisp valves; even slotting on all notes up to triple C; every note of uniform tone quality; every pitch “feeling” the same . . . I could go on and on!
A significant benefit, I’ve retired my huge Warburton 2DD mouthpiece (bigger than a Bach 1 *). I sound just as dark and rich now on mid-sized mouthpieces for classical, and can now use the little screamers and they don’t sound like razor blades in the wind for lead work! This means getting an incredible tone quality AND more range, control and endurance. DARN, I thought trumpet playing was supposed to be hard!
It is still “strange” to blow the horn and hear this HUGE, dark, wall to wall sound come out! I’ve been playing continuously since 1961 and I’ve never heard anything like it. Like many have said before me,. man, this Thing is Wild!
Tom Turner
Dublin, Georgia

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Now don't you want to call Flip and order your "Wild Thing"?
(760) 643-1501

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