The 3050 is very much like the Bach Strad. 180S-37. It has a nice core due to the one-piece, hand-hammered, yellow brass bell. ML bore 11.66mm which blows just right for most purposes. A good all-around horn.
The 3051 is similar, but with a one-piece, hand-hammered, gold brass bell. The horn resonates much better to the point where the player feels part of the horn. It seems much easier to play a horn that gives you this much feedback where one not only hears the sound (which is very rich in overtones), but can also feel the sound in your hand. This is the characteristic of the heavy gold brass. This particular horn seems to be in favor right now with the players. Those who like the Conn Vintage and the Yamaha Xeno will love this horn. It shows and sells well in lacquer finish (one of the few pro trumpets that does in our domestic market). Another comment that we often get, which may be due to the feedback aspect of the horn, is that players say they seem to miss fewer notes on it. This is probably due to both the excellent slotting characteristics of the horn which relates to the inside dimensions and bore size, and the resonance. A better all-around horn.
The 3052 is a good jazz horn. It is very open, 11.75mm bore, with a little bit larger bell. The reverse leadpipe makes it even more open. Sell this horn to the lead player who has tried the other two and just can't get enough air into the horn. For those who like to wish to only be chosen as the first trumpet in the section, being capable of easily leading the section with a dominant trumpet.
|Mouthpiece 3050 & 3051
||No. 125 yellow brass
||No. 125R yellow brass (reverse leadpipe)
|Slides 3050 & 3051
||Hand-lapped yellow brass, Square crook tuning slide
||Hand-lapped yellow brass, Round crook tuning slide
||11.66mm (3050 & 3051), 11.75 (3052)
|Bell 3050 & 3052
||No. 137 hand-hammered one-piece, yellow brass
||No. 172 hand-hammered one-piece, heavy gold brass
||First slide saddle, third slide ring
||Clear laquer, bright silver plate, or 14K gold plate