Wisemann FGL550 flugelhorn

If there were marks for quality of finish, this flugelhorn would be up there with the best of them. It also handles well and has a good balance. But although it’s good to see a well turned-out instrument, needless to say, I’m really more interested in the sound it produces and the quality of the various parts and fittings.
The supplied generic 7 mouthpiece is clean with a standard cup and no surprises. Playing the instrument produces a straightahead, brassy sound that is easy to control, but at the same time, not very subtle. There is no smokiness here. I even tried an alternative mouthpiece, but the 550 still produced the same sonic characteristics. Interestingly enough, driving the bottom end proved to be a real pleasure, as the 550 sailed through the lower register.

Tuning was accurate and there was clearly a good vacuum. The valves however were a little disappointing. Having played as well as it had I was looking for springs built into the top, but instead found a basic valve design with bottom springs. I was also concerned that there was a possibility of cross-threading when taking out or inserting the valves, a sure sign of cheaper tooling in manufacture. Overall however, the 550 projects well and would undoubtedly have a presence in an ensemble setting, but sadly leaves little room for tonal and timbre interpretation from the individual player.

Coming in a tough nylon Denier zippered case with a sumptuous preformed PVA interior, it has a large exterior zippered pocket with multiple pouches, a backpack harness, a shoulder strap and two comfortable leatherette grab handles. An excellent straightahead or starter instrument, but ultimately not tonally flexible enough for most jazz musicians.  www.bandbandm.co.uk

Parkwood  PWH4 guitar

This is where electric guitars were always going to go. “Hybrid” has become the buzz word, whether it’s cars or guitars. And the PWH4 is certainly at the head of the pack (although there is no digital component), with its combination of Fishman Power Bridge acoustic pickup and the twin Seymour Duncan SM mini-humbuckers. The routed out chambered mahogany body is fitted with a beautifully figured Australian blackwood top, while the scarf jointed mahogany neck is set into the body and faced with a bound rosewood fingerboard fitted with 22 jumbo frets. Grover machine heads with ebonol half moons finish off the very understated headstock.

With all its onboard electronic wizardry, the PWH4 offers some interesting sonic combinations. Using the Power Bridge pickup on its own achieves an acceptable electro-acoustic sound which can be tonally adjusted, although the overall timbre is it seems, always thin and brittle. Introducing the SM1N and the SM3B mini-humbuckers into the mix creates some interesting colour and flavour and the permutations are almost endless. Somewhere in the tonal mix I found a very satisfying combination, but how do you remember which settings and values you are using? The mini-humbuckers on their own produce the sort of sounds that you might expect and there was an interesting depth to the soundscape here, which had much to do with the chambered nature of the instrument.

The slim neck is fast and extremely playable and the ‘string-thru’ body helps to give the PWH4 exceptional sustain. With so many positive points, it’s unfortunate that the Parkwood powers-that-be don’t invest in quality “pots”, as the ’buckers’ volume control didn’t dial in ’til 10 o’clock! The verdict? Great guitar but there is that hardware issue.  www.cort-guitars.co.uk

Wisemann DCL750  Bb bass clarinet

The first thing that strikes you about the DCL 750 is the quality of both the finish and the engineering. Manufactured in China by a Taiwanese company, this is an exceptionally well made instrument. The main body of this bass clarinet is made from a resin composite that is specially manufactured to mimic ebony, while the nickel plated brass crook and the bell are solid and beautifully tooled to fit easily and snugly onto the body. The keys are also nickel plated and are comfortably positioned, well balanced and have a very positive feel. I fitted the generic mouthpiece with a No. 3 reed, and the DCL750 turned out to be a remarkably easy player – particularly down at the bottom end. Intonation was excellent and the tuning was spot on. I was also pleasantly surprised by the depth of the dynamic range, the resonance and the warm, rich tone.

Slightly annoying, though, is the positioning of the non-adjustable thumb rest, which invariably meant catching the Eb key with the top of the index finger and consequently blowing out. Although I never tried it, there is the added convenience of an adjustable lock for those players wishing to play the instrument on a stand.

\The DCL750 comes in a plush lined, fully fitted traditional hard shell case, with reinforced corners, double latch locks and grab handles to both the top and the side.
Good quality bass clarinets are notoriously expensive, so this competitively priced offering from Wisemann could find a ready market for those tempted to go “out to lunch” as Dolphy once said. www.bandbandm.co.uk

Clarinet and Saxophone Mouthpieces Anton Weinberg

This is a gem of a little book, packed with everything you’ll ever need to know about saxophone and clarinet mouthpieces. Design, history, who played what – it’s all covered – even reeds and ligatures get a look in. Each model is illustrated with a very clean and clear photograph, with a sometimes light hearted “food for thought” or a “tip” to supplement the often extraordinarily detailed text. There are also some very interesting and engaging passages where Weinburg draws on his vast experience and his own personal reminisces. Mouthpieces is somewhere between a reference guide and a player’s prayer book and will no doubt become an essential must have item for both student and seasoned professional alike.
www.jazzwise.com