A light hearted, satirical approach to the instrument that we both love and hate simultaneously. At trumpetastic.com you will find all sorts of trumpet related news, articles, product reviews, events, blatant advertising and some completely useless stuff that will make you laugh or curse, depending on your take on playing the trumpet.
The Besson 180th Anniversary Sovereign Cornet offers unrivaled playability to the professional musician, with a custom finish for a stunning appearance. The gold brass bell produces warm, dark tones, whilst the hand hammering ensures an authentic sound.
The Sovereign series of brass instruments are renowned for their smooth playability and exceptional build quality. The cornet’s hand lapped pistons offer a consistent response to your playing, whilst the key tops have a gripped feel to eliminate finger slippage. This limited edition model is the perfect choice for the professional player.
The limited edition Besson instruments celebrate the company’s 180th anniversary. These cornets are limited to 70 units worldwide, each featuring a custom satin plated finish for a stunning aesthetic. The tuning slides also feature a custom bright silver plating, as does the inner bell. This model also features a brand new ‘Besson London’ bell logo, which will later be used on all models.
Everything You Need
The Sovereign cornet includes everything needed to continue playing. The hardshell wooden case has a rugged exterior that is suitable for taking on the road. The case’s plush interior lining protects your cornet from impact whilst keeping the finish polished. The cornet’s care kit features protective polish and valve oil. The included mouthpiece has been specifically selected to match the cornet’s sound.
Key Of: Bb
Bell Diameter: 4.88”
Bell Finish: Hand Hammered Gold Brass
Bore Size: .460”
Waterkeys: 2 Lever-Style, Forged
Valves: Top Sprung Hand-Lapped Monel Pistons
Finish: Satin Silver
Accessories: Hard Wood-Shell Form-Fitted Case, Lyre, Care Kit and Mouthpiece
Maurice André did for the trumpet what Segovia did for the guitar, bringing the instrument from its humble origins into both the classical mainstream and popular culture. It had a parallel in his own life: he spent five years down the pits before escaping to music school. The trumpet demands perhaps more physical strength than any other instrument; André attributed his own resilience to those five years at the coal-face, “moving 17 tons of coal a day”.
The importance of André’s example is difficult to exaggerate. Paul Archibald, former professor of trumpet at the Royal Academy of Music and Royal College of Music, said: “The impact and influence that he had on generations of trumpeters was monumental. He defined the art of solo trumpet playing with his beautifully refined phrasing and his effortless technique.” But as well as setting standards for the musicians who were to follow him, André enjoyed a huge popular following, appealing to listeners of every stripe and hue, and crossing musical boundaries with ease.
André was born to the trumpet: his miner father played it, in the colliery band, and for local events. Maurice had two years of school solfège before, aged 12, he began to play the cornet, which his father had won as a prize. He made startlingly swift progress, soon appearing alongside his father, who sent him for lessons with a friend, Léon Barthélémy, a teacher at the Conservatoire in Nîmes. André continued to work in the mines until a near-fatal accident forced him to take time off work – time he used with religious devotion, practising for three hours every morning.
Barthélémy suggested his student join the band of the Eighth Régiment des Transmissions at Mont-Valérien, and it was as a military musician that, at 18, André began studying at the Conservatoire de Paris – though playing in uniform and living in barracks. His principal teacher there, Raymond Sabarich, was demanding and uncompromising, even thumping André when he played a wrong note. The unconventional approach worked: after six months André won the Premier Prix d’Honneur for the cornet and the Premier Prix for the trumpet a year later.
To begin with, there was little demand for a trumpet soloist, and André had to settle for orchestral positions, playing with the Orchestre Lamoureux and the Orchestre Philharmonique de la Radio France, and thereafter with the Opéra-Comique. He also played in night clubs and theatres, but his breakthrough came in 1955 when, asked to join the jury of a music competition in Geneva, he chose instead to appear as a competitor, walking away with first prize.
He was soon making records, many for Erato. He notched up some 300 recordings, and enlarged the trumpet repertoire by raiding those of other instruments. One recording – of Vivaldi concertos with the Berlin Philharmonic and Herbert von Karajan – sold 1.5m copies but got off to a shaky start: when André got a call from Karajan’s assistant, he assumed it was a friend winding him up.
It was with Baroque music that he made his reputation: two signature performances were of the Second of Bach’s Brandenburg Concertos and the “Badinerie” from the Second Orchestral Suite. He played the high piccolo trumpet with an ease and elegance that astonished – it looked incongruous in his fleshy hands and applied to his round face beneath a thatch of white hair and two bushy black eyebrows. He looked cuddly, approachable, and the TV appearances that began in 1980 brought him an even larger public.
Although André joked that contemporary music reminded him of the noises he used to hear down the mine, composers were hardly going to leave such a resource unexploited, and Boris Blacher, André Jolivet, Jean Langlais and Henri Tomasi were among those who wrote for him.
With the work ethic he had learned as a youth, he had gruelling schedules, averaging 180 concerts a year at his busiest, in the 1970s. But concerts were a family affair: André’s manager was his wife, Liliane, and he often appeared with his brother, Raymond, also a trumpeter, and later with his son, Nicolas, another trumpeter, and daughter Béatrice, an oboist. From 1967-78 he was a professor at the Conservatoire de Paris; his memoir Le Soleil Doit Pouvoir Briller pour Tout le Monde (“The Sun Should Shine for Everybody”) appeared in 2007.
André put the length of his career down to the fact that he had never strained to play and so didn’t tire his lips. He settled in the Basque country in the early 1990s and, though supposedly taking life easier, continued to practise for four or five hours a day, finding time also for painting and wood-carving. His farewell concert was in Béziers in 2008: he should have retired earlier, he explained, but some work on his teeth allowed him to keep going.
For Paul Archibald, the trumpet “was part of him and he sang with an intensity that was pure heart and soul … He was much more than an instrumentalist. His musical personality was natural, honest and sincere and the integrity of his playing is an example to any musician.”
Maurice André, trumpeter: born Rochebelle, Cévennes 21 May 1933; married 1956 (one son, one daughter); died Urrugne, Bayonne 25 February 2012.
The Bach Stradivarius Centennial Trumpet is a limited edition professional instrument to celebrate 100 years since Vincent Bach started his business. This centennial trumpet is based on the famous Bach 190S43 model but with a number of enhancements added to it.
These enhancements include the #43 bell with a side-seam, two-piece valve construction, gold plate-trim, luxurious engraving and also a limited edition case and Bach mouthpiece. All of these features come together to create a truly marvellous trumpet, celebrating what has been an incredible 100 years for Bach.
The Bach Stradivarius Centennial Trumpet is abundant with special features to celebrate such a righteous occasion. The well known #43 bell includes a side-seam running under the braces which combines the disturbance points of the bell to provide better resonance and tone. This side-seam coupled with a steel bell wire provides the perfect balance of sound and projection. The valve casings on this model are constructed using a two-piece design, reminiscent of vintage Bach trumpets.
The bottom two-thirds of the casings are made from yellow brass and the balusters are made using nickel silver to make the trumpet lighter. The final addition to the centennial trumpet is the luxurious plate engraving on the bell. This deluxe engraving is not found on any other Bach trumpet and is the perfect finish to such a triumphant instrument. Included with the Bach 190S43W2 is a limited edition case which features a wine-coloured nest and a special case badge to commemorate the 100th year of Vincent Bach’s business.
All instruments in the Bach Stradivarius series are handmade in America to ensure the highest standard of engineering. The highly skilled craftspeople are still using the original designs used from the 1920s. The .459″ medium bore on the centennial trumpet provides a well-rounded sound with plenty of range. Features such as the standard weight body, standard weight bell and standard #25 leadpipe all contribute to the trumpets premium sound.
The yellow brass found in the bell provides a nice balance between the various playing parameters, which makes it the most widely used and commonly played alloy in the world. Once the centennial trumpet has been constructed a layer of silver plate is added to keep the horn looking newer for longer.
The Bach Stradivarius Centennial Trumpet is filled with high-end features that you would expect from Bach. The #25 leadpipe creates slight resistance which is essential for perfecting tone production and also centering notes. Similar to other Bach trumpets, the centennial model also features 1st and 3rd slide thumb saddles with the addition of a rod stop on the 3rd slide, so precise tuning can be achieved in extreme registers. The valves in the trumpet are crafted from monel which is a nickel and copper alloy. The majority of premium trumpets have monel valves because it is very dense and is more resistant to corrosion, meaning they won’t flake and are less likely to seize up.
The Stradivarius series of instruments are the premium symphonic models originally designed and manufactured by Vincent Bach in the early 1920s. All of the models in this range are made using the highest quality materials to ensure only the best possible instruments are produced. The name “Stradivarius” originates from the first trumpets made by Vincent Bach himself. Musicians would refer to his original trumpets as having a “Stradivarius” sound, which later inspired the name Stradivarius.
Bach have been making trumpets since 1924 and are viewed as one of the best trumpet manufacturers in the world. Musicians frequently referred to Bach trumpets as having a real “Stradivarius” sound, referring to the world-famous string instruments. To this day, Bach Stradivarius trumpets remain the choice of artists worldwide.
We are compiling a category, on the website, of Top Tips for Trumpeters.
Many of the best tips for players are born out of vast experience and trial and improvement. These are often priceless titbits that you won’t find in any books.
Do you have a Top Tip for Trumpeters? Send it to us with your links, vids, pics and shameless advertising and plugs and we will publish it here at trumpetastic.com. You might also help a fellow trumpet player!
Send your stuff directly to me and I will do the rest for you:
Audition: September 25rd 2018 and possibly September 26th 2018 in Harpa, Reykjavik, Iceland. Application deadline is June 30th 2018.
Audition: September 25rd 2018 and possibly September 26th 2018 in Harpa, Reykjavik, Iceland
J. Haydn: Concerto for Trumpet in E-flat major.
1st movement (including cadenza).
2nd movement (played on a Bb trumpet).
Arthur Honegger: Intrada
Orchestral excerpts will be available at least two weeks before the audition day. The excerpts will be sent to applicants by e-mail as well as information regarding the audition location.
Applications Application deadline is June 30th 2018. Please send the application as well as a copy of diplomas and curriculum vitae as an attachment to firstname.lastname@example.org. An account of training and previous experience is required together with contact information.
Selected candidates will receive an invitation by e-mail shortly after the deadline as long as they have completed university level education in instrumental performance. Application deadline may be extended. All applications will be answered.
About the position The vacant position is a full-time Principal Trumpet in the Iceland Symphony Orchestra from season 2018-19. Salary and benefits are subject to wage agreements between the association of ISO players and the Ministry of Finance. Individuals from outside EES need to apply for a work permit which is subject to approval by FÍH ( Association of Icelandic Musicians) and Directorate of Immigration.
For further information please contact Human Resource Director, c/o Una Eythorsdottir (email@example.com), tel. (+354) 898 5017.
The P.E.T.E. is a unique tool to use to perform isometric exercises that strengthen and develop the embouchure. The P.E.T.E. is the only tool on the market that exercises the exact musculature involved in playing wind instruments. Regular use of the P.E.T.E. will result in increased endurance and flexibility, and for many players, increased range.
If they only knew what he was truly capable of, they would tremble, bow or prostrate themselves before him. Their very existence depended on his mood or whimsy at any given time. Their feeble minds could not even comprehend his being nor could their senses perceive him yet, the power of life, death or suffering lay firmly in his hands. As the powerful August sun beat down relentlessly for another seemingly endless day, the decision was made. Today they would live, undisturbed, allowed to continue their pointless tasks oblivious to how close they came to total annihilation by the hand of a single entity. Today, but only for today, he would allow the status quo to continue…
Elephants and Allegations
I remember 1976 most clearly because it was really hot and Granny had given me a large magnifying glass that spent the whole summer glued to my hands. It made small things look big, my mouth look giant to my sister but above all, it turned me into the god of ants. Had I seen ‘Apocalypse Now’, I would have shouted “ I love the smell of formic acid in the morning” each day, before setting out upon my ghoulish duties of garden eugenics, genocide and above all else, a taste of real power. I would dream of owning a suit of armour, later a real Dalek and earlier my very own elephant.
Roger’s elephant first burst on the scene during Mrs Grey’s story time, on the mat at Wordsworth First School. “Who has a pet?” was answered with the expected yet boring replies of “cat”, “dog”, “hamster” until “I have an elephant” was heard from a small brown boy in grey shorts and a yellow tie. As one can imagine, this announcement was something of a show stopper which was met with not inconsiderable disbelief. However, after explaining that because we came from India, it was quite normal for small boys to own an elephant and if anyone would like to see it, they were more than welcome to come to my house for a personal viewing.
This development meant that I experienced popularity for the first time and was quite drunk on my new found celebrity. The only flaw was the undeniable fact that there was no elephant or any likely hood of there ever being one any time soon. My first major public humiliation soon followed and I say major as it was not the first I had endured. Warm up events preceding this were: The ice cream van, being hit by a car, grabbing a stranger who was not my mum and of course, the circumcision. As the hoards of expectant five year old urchins pounded on the door to 28 Howards Grove, I stood resolute in the belief that there would be an elephant in my garden somehow, by some means and provided by some higher power that I was yet to meet but would be indebted to for all eternity. Alas, no elephant.
During the period 1972 (Liverpool FC commemorative coin rolls behind the kitchen cupboard for ever) to 1976 (Dad’s car is officially hotter than the surface of the sun) I learned all about disappointment and that the mere act of wanting something to happen does not guarantee its manifestation. Concepts I still struggle with today and refuse to accept as applying to me. This meant that an alternative and better reality was needed and fast.
Power cuts, mountains of rubbish in the streets, strikes, no money and ridiculously cold winters made things a bit more interesting but the underlying sense of normality prevailed which was definitely not what I had signed up for. Bowling a googly (curved ball for Americans) became good sport for a while until a diagnosis of being ‘retarded’ was bandied about by Miss Perkis after the Bumble Bee incident in the cloakroom.
The first of these staged events took place in the summer of ’74 at the Summer Concert and Performance of ‘The Pied Piper of Hamlin’ at Wordsworth First School. Due to the poor and inconsiderate scheduling of the programme, the recorders were required to play ‘Summer is a Cummin in’ immediately before curtain up for the second act of the play. Musicians doubling as actors was prevalent then as now and equally under appreciated. This meant that make-up had to be applied to the Town Councillors (a moustache) back stage leaving the overworked Musos, currently entertaining the crowd, hirsutely bereft. As the only Town Councillor in Hamlin without a moustache, it fell to me to make a stand. Tonight, the delivery of the crucial line “One! Fifty thousand!!” would not be made. In its place however, a simple yet heartfelt speech of protest.
Allegations of sub-normality continued abound resulting in a trip to the optician to see if not-seeing might be the cause. This was the seventies after all and the addition of big plastic National Health spectacles to the only brown face in a white working class inner city council estate primary school must surely help with self esteem, self confidence and a sense of fitting in. It didn’t. Enter Yvonne and Sharon from the towers overlooking Wordsworth First School. This wonderful duo were the architects, engineers and the driving force behind the finest rolling barrage of mental and physical abuse by any Super Power since the Second World War. Their campaign? Quite simply, “ What colour’s your willy Roger?” Resistance to this kind of sustained attack was futile and led to the inevitable capitulation known as ‘The great unveiling’ of 1975.
A Tragic Turn
The 1973 Chilean coup d’état was a watershed event in both the history of Chile and the Cold War. What followed was an extended period of social and political unrest between the center-right dominated Congress of Chile and the elected socialist President Salvador Allende, as well as economic warfare ordered by US President Richard Nixon. Allende was overthrown by the armed forces and national police. All hell broke out in Chile which meant a much needed diversion and reprieve for me. This horrendous up-rising allowed the Cavalo family to seek asylum in the UK and most importantly of all, the addition of another scared, small, brown boy to Wordsworth First School. I was off the hook!
Jose could run and I mean really run and he could fight like his life depended on the outcome which it had, back home. However, Jose could not speak a word of English. Now, I had never been any further than Devon at this point and the only Spanish I knew was Sombrero so the obvious answer was to put us together ‘cos we were both a bit odd. To my delight, in 1974–75, Wordsworth First School belonged to Jose and I. As it turned out, my new found ally could provide the necessary muscle and I the brains to ensure both our safety, domination of the playground, dressing up corner
and Mrs Goodwin’s undivided attention.
The Mysterious Case Children
The 1970s was a tough decade for everyone. Misogyny, homophobia and racism were the norm. There was no such thing as ‘Health and Safety’ or ‘Child Protection’ and bullying was the accepted form of natural selection. A nation still recovering from World War 2 (a mere 30 years earlier) was struggling to find its identity and importance on the world stage, post empire. And of course, nuclear war was imminent. Paranoia was rife albeit from the Soviet threat and the new threat of thousands upon thousands of immigrants from Asia and the Caribbean flooding the country with their weird food and funny foreign ways. Fueled by Enoch Powell’s ‘Rivers of Blood’ speech, the far right in the form of the National Front reared their disgusting heads creating fear and division amongst fragile new communities across the land. Not a great time for a small bespectacled brown boy to be making his way in the world!
However, September 1975 was the time for 8 year old Roger to make the transition from safe cuddly Wordsworth First School, under the protection of the feisty Jose Cavalo, to the large, unpredictable and scary world of Foundry Lane Middle. Stories of elephants as pets would no longer cut it and despite having an older sister already in situ, the fear was palpable and I knew it would not take long for the bullies to find me. I needed something to give me an edge, to stand out for different reasons and above all, to command some respect. Many young people these days find gangs, weapons and dangerous older role models for the exact same reasons that I was struggling with but these, mercifully, were not available to me and I know had they been, this is the path I would have chosen.
No, something else presented itself to me. The mysterious case children.
What were these strange wooden cases that children were carrying back and forth from school everyday that created an aura of mystique, respect and class and above all, how could I get hold of one? Not your modern trendy gig bags but old fashioned wooden coffins that occasionally gave away their secret by their shape. Is that a violin, a guitar perhaps? My parents reaction to my announcement of wanting to play an instrument was simple. “You gave up playing the recorder, what makes you think playing the trumpet would be any different?” My reasons were not musical at the time but this decision came to shape my life for ever.
Having decided that becoming one of the Mysterious Case Children by taking up the trumpet and raising my status amongst my peers was the way forward, I set off to school armed with a letter from my mum for the music teacher and an appointment was made with the visiting brass teacher the very next week. Unfortunately, Terrance Maldoon, a lovely boy from a musical family, had the same idea. There was only one instrument left in Mr Everest’s cupboard so an impromptu ‘play off’ was arranged. Monday morning came and Terrance and I were led off up a spiral staircase in this creaking old Victorian school to the very top of the building to a small creepy room where the instrumental lessons took place. There could only be one!
Waiting to greet us was Peter Whitehead the brass teacher, also Tuba player in the acclaimed Bournemouth Symphony Orchestra, and the solitary remaining trumpet. Sitting on the table in its moth eaten mouldy wooden case lay the most exciting object I had ever seen. The musty aroma combined with valve oil and brass polish was intoxicating and is still a smell that excites me to this day. Terrance was up first and he nailed it. A perfect, loud middle G that parted Peter’s hair, bounced around the room and did a little dance before leaving a big smile on Terrance’s face. Wow! I was up next. A big breath… and nothing. Puffing of cheeks, blowing for my life and still nothing. Barring a few pathetic squeaks and pops, absolutely nothing of any substance came out of the end of the trumpet. Unsurprisingly, Terrance got the gig and I was sent away devastated.
A long forlorn walk home without a mysterious case that evening was followed by cheerful supportive comments from my family. Dad pointed out that nothing worthwhile was ever easy and the mere fact that we couldn’t afford to buy me a trumpet of my own was by no means a bar to my entry into the musical world. Off he went to his shed where he set about making me a trumpet out of an old copper water tank and some off-cuts of copper pipes. Dad was a plumber after all so how hard could it be? Several hours passed with considerable banging, sawing and swearing emanating from the shed before a triumphant dad emerged clutching a Heath Robinson esque contraption vaguely representing a trumpet. There was no mouthpiece and the copper made my lips go green but I loved it. A moment in time where I truly loved my dad and for which I will be forever grateful. My musical career was born.
The Yamaha YTR9335VS has been produced in collaboration with Allen Vizzutti – an American virtuoso, composer and educator. This trumpet offers slightly more playing resistance but an improved response which is ideal for delicate phrasing indicative of Allen Vizzutti’s technique. Similar to Allen, this trumpet is versatile and is ideal for classical and jazz styles.
High Quality Design
The silver plated brass improves the tone making it more solid and more responsive. This helps to provide maximum playability and give clarity to those fast, detailed passages compared to the standard aluminium. For more resistance and improved control a brace on the 1st tuning slide has been added and the size of the 3rd tuning slide knob has increased.
The inclusion of gold plated valve buttons and caps not only contributes to the appearance, the gold-plated valve buttons, upper valve caps and lower valve caps contribute to the tone. The specially designed synthetic valve guide supports a quick, nimble response whilst performing. The synthetic valve guide also reduces the valve noise as well as giving extra power and speed. The black mother of pearl valve buttons provide an excellent feel to the valves and well as an elegant look.
The YTR9335VS is supplied with an Allen Vizzutti signature mouthpiece with a gold rim which allows for a more rich an warm tone. A backpack style case is supplied with a carry handle and two backpack straps, convenient for 3 way portability. The side pocket is large enough to accommodate A4 sheet music and other accessories.
Allen Vizzutti has performed across 60 countries with an impressive array of artists and ensembles including Doc Severinsen, Chick Corea, The NBC Tonight Show Band, the Airmen of Note, the Army Blues, Chuck Mangione, Woody Herman, Bill Watrous, Japan’s NHK Symphony Orchestra and the Kosei Wind Orchestra. Performing as a jazz and classical artist, he has appeared as a guest soloist with symphony orchestras in Tokyo, Germany, St. Louis, Syracuse and Honolulu to name a few. Vizzutti has performed solo at the Hollywood Bowl, Carnegie Hall, Newport Jazz Festival, Banff Center for the Performing Arts, Montreaux Jazz Festival, the Charles Ives Center and the Lincoln Center in New York.
Bell Material: One piece, yellow brass
Bell Diameter: 123mm (4-7/8″)
Bore Size: ML 11.65mm (0.4589″)
Finish: Silver Plated with gold-plated trim (valve buttons, top valve caps and bottom valve caps)
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The new Yamaha SB-7X silent brass system for trumpet including pickup mute and headphone amp sees an improved and more ergonomic product that not only looks good, but produces a fantastic sound. Suitable for people practising in quiet environments, this mute will allow you to believe you’re still in a rehearsal room.
New and Improved Physical Design
Yamaha have improved just about every aspect of the new pickup mute, replacing the old model with a stylish and lightweight device. The mute is much easier to attach with its grooved outline, making it easy to push in and grab back out. The mute fits right inside the bell of the instrument. This has two benefits: it won’t slip out the end of the instrument and it pushes the weight of the mute closer to your body making it easier to use for a long time. When not using the instrument, the mute can easily be stored inside the instrument and will still fit in most conventional cases. Yamaha have also gone to a lot of effort to make the mute as lightweight as possible, making it so that it will feel like there is no mute in at all whilst playing.
Improved Resonance Technology
With the new microphone, this miniature microphone has been modified to better equip itself for the range in dynamics and overtones produced by a brass instrument. Its new placement also means that the resonance technology can be fully optimised. The Silent Brass unit takes best advantage of being able to listen to yourself while you practise in near silence. Digital technology has helped Yamaha develop an authentic acoustic environment where the instrument is still allowed to sing and improves on the quality of tone produced by its predecessor.
The Ins and Outs of Silent Brass
The Yamaha Silent Brass Unit allows for a number of scenarios. The headphone output lets the performer to simply hear the instrument as if in a practise room, and with the new mute design, it sounds great. So good in fact that it can be used to record yourself as you play. The Silent Brass also comes with an auxiliary input, which enables the performer to play along to favourite tracks while performing.
Model: PM7X (for Trumpet & Cornet)
Dimensions: 82 x 139mm
Internal Microphone: Electric Condenser Microphone
Pickup Output Jack: Mini Phone Jack
Brass Resonance Modeling: Yes
Dimensions: 70 x 20 x 98mm
Weight: 71g (Without Batteries
Jacks & Terminals: Mute In, Aux In, Phones
Control: Volume, Rever Type, Power
Brass Resonance Modeling:Yes
Power supply: AA Alkaline or Nickel Metal Hydride Batteries x 2 (3V DC)