Pollard PP35 by Paco Perez

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La trompeta PP35L es un instrumento diseñado principalmente con el músico todo-terreno principalmente, aunque dotada con una faceta comercial excepcional, que permite su uso tanto en agrupaciones sinfónicas como en grupos comerciales de pop-rock, jazz o estudios de grabación.Es precisamente en los ensembles comerciales donde este instrumento se encuentra en su medio ambiente natural; dotada de un potente y brillante sonido, un increíble paso de aire que parece no tener límites, y una flexibilidad y estabilidad del sonido y entonación en todo el registro de la trompeta que la convierten, a mi juicio, en el instrumento más consistente en el campo comercial, sin despreciar en absoluto su faceta “clásica”, especialmente destacable en la música de cámara por su inmediata respuesta y tono versátil.

Sus competidores más directos son la Kanstul 1600 y la Yamaha Artist LA (ambas diseñadas para Wayne Bergeron), o la legendaria Jerome Callet Soloist.

En la comparación directa con la Kanstul 1600 (o su “clon” la Yamaha Artist L.A.) destaca su mayor flexibilidad y mejor paso de aire. El sonido “humo” de las Kanstul y Yamaha las diferencia de la PP35, haciendo que éstas tengan un carácter exclusivamente enfocado hacia la música comercial, siendo la PP35 mucho más versátil por la facilidad que ofrece para cambiar el sonido del instrumento y encajar perfectamente en todas las situaciones.

En la lucha con la legendaria Jerome Callet “Soloist” debo decir que el mayor diámetro de campana de la Callet hace que el sonido sea ligeramente más grande y oscuro que el de la PP35, pero a cambio la Pollard ofrece una mayor consistencia en el registro medio y una mayor proyección del sonido.

Mi conclusión: Si usted se dedica profesionalmente a la música comercial o a grabar en un estudio, la PP35 será la trompeta de su vida, jamás querrá cambiarla. También le dará muchas alegrías a aquel que tenga que lidiar en esas plazas ocasionalmente, aun dedicándose a la música “clásica”.

En el apartado “en contra” está la limitadísima producción de Peter Pollard, que apenas produce un par de decenas de trompetas al año, lo que garantiza una atención al detalle verdaderamente excepcional.

En el apartado “A favor” destaca exactamente lo mismo: la limitada y exclusiva producción de Peter Pollard, que garantiza un acabado perfecto y un instrumento excepcional, tan sólo al alcance de unos muy pocos afortunados.
Report about Peter Pollard PP35 B flat trumpet.

The PP35 trumpet (handmade by Peter Pollard) is an instrument designed for the all-round player in mind, but with an special focus on the commercial side, which allows its use in symphonic settings as well as in pop-rock, jazz or recording studios.

Actually is in the commercial settings where this fantastic instrument finds its own path; provided with a powerful core and brilliant sound, almost unlimited free-blowing which seems to have no limit, an extreme flexibility and accurate pitch in all ranges, makes it, to me, the most consistent trumpet in the commercial and all-round spectrum.

Its natural competitors are the Kanstul “1600” and the Yamaha “Artist L.A.” (both designed for Wayne Bergeron), and the legendary Jerome Callet “Soloist”.

Comparativelly to the Kanstul (or its Yamaha clone) I would detach the better flexibility and free-blow of the PP35. The “smokey” sound of the Kanstul (and Yamaha) makes them a bit different to the PP35, but those are just “commercial” horns, not intended to be used out of those settings, making the PP35 most versatile than those horns. The PP35 is capable to fit in symphonic and chamber music settings with ease.

In the unfair comparison to the legendary (and discontinued) Jerome Callet “Soloist”, I have to say that the bigger bell of the Callet makes it slightly darker with a bit bigger sound, but the PP35 offers more consistency in the middle register as well as a far better projection.

My opinion: If you play professionally commercial music, or doing your living in a recording studio, this is your horn. No doubt. It will be the love of your life, you’ll never think about another horn. The PP35 will offer tons of joy to those “classic” players who plays commercial ocassionally.

Cons: The extremelly small production of Peter Pollard, who barelly makes a couple dozen horns per year. But finally, this means he cares about everything, total attention to the detail, resulting in exceptional instruments.

Pros: Exactly the same. The extremelly small production is a warrant of a perfect instrument, only available for very few lucky and exclusive customers.

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About pollardtrumpets

With 46 years working in the music industry worldwide, his knowledge and experience stocks a comprehensive music store, the one stop shop for instrument advice, repairs, new and second-hand sales. Peter's apprenticeships with some of the world's leading craftsmen in Britain, the United States and Canada, have given him a thorough working knowledge of acoustical engineering and instrumental design creating a unique understanding of the instrumental needs of wind musicians. No longer will instrumental connoisseurs have to go to London when choosing and maintaining an instrument, when all their needs can be met in Manchester. A true Artisan, Peter has been fine tuning brass and woodwind instruments for musicians of the leading ensembles and institutions for many years, the Hallé, BBC Philharmonic, Royal Northern College of Music and Leeds College of Music and passing on his expertise in instrumental academy seminars in Scandinavia and Europe. A UK Brass specialist, Peter's skills have led to a growing demand for his custom range of brass design and parts, trumpets, flugels, cornets, bespoke lead pipes, bells, cork parts and mouthpieces. An exponent of 5 Star spa treatments for trumpets, a Pollard MOT involves deep freeze Cryogenic resonance restoration, ultrasonic cleaning, valve alignment and the application of his own patented valve oil 'Superfly' with a unique cleaning agent to ensure agile acrobatics when playing. 'Superfly' has now been licensed for distribution in the United States and Europe. Peter is the figure driving the sponsorship masterclasses and live music at Band on the Wall attracting stars such as Bobby Shew, Snake Davis, Ian Bousfield, Jigs Wigwam and Peter King, the Comedy Store, Liverpool's the Cavern Club and the Hallé, breath of fresh air for the region's live-music industry
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