It is my extreme pleasure to introduce to you a good friend and my right arm Northwest Sales Representative for Kanstul Music, Greg Byers. Greg is a very talented musician as his new CD “Trumpets, Voices and Memories” will attest.

You can hear his early influence on the trumpet through his tribute to Herb Alpert’s style of trumpet playing. Like Herb, he loves the Benge style of trumpet, and like Herb, chooses to play it on his KANSTUL CHICAGO 1000. The beautiful sound of this instrument can especially be heard on the tracks “Cry Me A River” and “The Look Of Love”.

Not to be outdone is his unique use of the KANSTUL 1525 COPPERBELL FLUGELHORN. The versatility of this instrument can be heard throughout the CD as Greg uses it for section voices in the trombone arranging. The section tracks are all played by Greg on his CHICAGO 1000 TRUMPET AND KANSTUL 1525 FLUGELHORN. With the exception of the opening song “Jamaica Farewell” where he uses his KANSTUL 920 PICCOLO TRUMPET.

Also of note, Greg does all his own horn arranging, in the studio, on the fly. This allows him to save his clients time and money. Add to this his talent on the Electric Bass and his ability to carry a tune on “A Room Without Windows”, along with the talents of Mark Kershner’s singing and you have a very enjoyable, feel good album.

If you would like to sample some of the above mentioned tunes go to Greg’s website. For all you cat’s living in the Great Northwest, Greg has been instrumental in representing Kanstul Music the last 7 years in Bend, Oregon. You can be confident he will be able to assist you with all your KANSTUL BRASSWIND needs. So give him a call…he looks forward to hearing from you.

To The Great Northwest Music of Greg Byers!!!

Jack Kanstul

During the Baroque Era there was a certain style of playing on the Natural Trumpet called CLARIN. This was a very High Register playing. It reached it’s peak under the influence of the famous composer J.S. Bach in his masterpiece for the Natural Trumpet-The Brandenberg Concerto #2. Bach had his favorite CLARINO TRUMPETER in mind, Johann Ludwig Schreiber, to perform this most difficult piece. The Natural Trumpet he used was Pitched in HIGH F.

Fast Forward a few hundred years to the Romantic Era of Music and we see a resurgence of interest in the Baroque style of music. Except now we have the development of the MODERN TRUMPET IN Bb which did not lend itself to the very High Register playing of the CLARINO TRUMPETERS of the Baroque Era on their High Pitched NATURAL TRUMPETS. SOLUTION: Start making High Pitched MODERN TRUMPETS in F,D,& G. This finally gave way, thanks to Maurice Andre and his association with the Selmer company, to a PICCOLO TRUMPET pitched in Bb/A. It obviously got it’s name from the PICCOLO in the flute family which is Pitched One Octave Higher than a flute. Now we have a MODERN TRUMPET Pitched One Octave Higher that can play those beautiful Bach Baroque pieces with EASE.

That is if you have the right…PIC. You see the first PICS were short and tight, .415 in the bore. This made it harder for trumpeters to switch. ENTER: Renold Schilke and the long bell, .450 bore P-54 Piccolo Trumpet was born. This made it easier for a Trumpeter to switch to a Piccolo. This was the Benchmark of the Piccolo Trumpet for years.

ENTER: Zigmant Kanstul. Trained by Foster Reynolds and Elden Benge and with a gift of his own, he has created a New Standard in the Piccolo Trumpet Realm. INTRODUCING THE 920 AND 1520 PICCOLO TRUMPETS. So what makes them so unbelievable and easy to play? And what is the difference between the two?

The answer to the first question is obvious to anyone who has ever had the pleasure to play a KANSTUL BRASSWIND. Simply put…No one in the industry understands this TAPERED TUBE business like my father. The higher the pitch and the tighter the wrap the more you need to know or it will play off and not blow freely. The higher you go in the pitch of an instrument the closer the partials, and if you are a little off you are way off. Plus the smaller the length of the instrument the more difficult to make it blow freely.

As to the second question…What’s the difference?…It comes down to…Which came first? The 920 or the 1520? The answer: The 920…which was modeled after the Schilke P-54. Except the KANSTUL 920 has a bore of .460. This coupled with the knowledge of my father who knows how to get everything to line up and RESONATE like no other Brasswind. There are many World Renowned Trumpeters in Symphonies and Recording Studios all over the world who record on the KANSTUL 920 PICCOLO TRUMPET. So what is the purpose of the KANSTUL 1520 PICCOLO TRUMPET? It was designed to work with the TRUMPET SHANKS as opposed to the CORNET SHANKS on the 920. Up till now manufacturers of Piccolo Trumpets have been unsuccessful in making a PIC play an even scale using the TRUMPET SHANKS. However that is no problem for the KANSTUL 1520 PICCOLO TRUMPET. As Bernie Adelstein said when we sent him one to try…..It just SOARS!!!

So if you are looking for the BEST PIC in the World, KANSTUL 1520, or want the one that beat the Benchmark Standard, KANSTUL 920, give me a call. No one beats us on Service or our exclusive Lifetime Warranty. We have satisfied customers from ALL OVER THE WORLD. You will get WORLD CLASS INSTRUMENTS with WORLD CLASS SERVICE.

To The Music,

Jack Kanstul

Created as a specialty trumpet in Germany around 1820 and used mostly by military brass bands, the BASS TRUMPET is the same length as a trombone but using valves. Wagner even used it in his Der Ring des Nebilungen. It has a very Metallic and Hard sound and therefore not as good a choice for TRUMPET PLAYERS who generally use it for a doubler in LATIN, POP or JAZZ ensembles. The reason TRUMPET PLAYERS use it in these types of ensembles is obvious…..they want a TROMBONE SOUND without hiring a TROMBONE PLAYER or having to use a SLIDE. However because of THE BASS TRUMPETS DESIGN it does not get the rich full sound of a TROMBONE. Is there a better DESIGNED INSTRUMENT for the job? And is it as easy to use as the BASS TRUMPET?

INTRODUCING THE KANSTUL 955 FLUGELBONE. The BETTER DESIGNED INSTRUMENT. It is truly a CONCERT SOUNDING TENOR TROMBONE DESIGNED TO BE HELD LIKE A TRUMPET with 3 valves. But that is where the similarities stop when compared to the BASS TRUMPET. Pitched one octave lower(just like a TROMBONE) than your Bb TRUMPET it is DESIGNED in a more Conical fashion with a TRUE TENOR TROMBONE BORE OF .500 AND A TRUE TENOR TROMBONE BELL OF 8 1/2″. Compared to the BASS TRUMPETS .485 BORE AND 7 1/2″ BELL and more TRUMPET LIKE DESIGN you can see why THE BASS TRUMPET is no match for the KANSTUL 955 FLUGELBONE.

THE KANSTUL 955 FLUGELBONE is also easier to HOLD than THE BASS TRUMPET. Again that has to do with DESIGN. THE BASS TRUMPET tends to be BELL HEAVY due to it’s unusually LONG DESIGN. The FLUGELBONE is more CONICAL and COMPACT like a CORNET making it easier to handle. It is the PERFECT INSTRUMENT for any TRUMPET PLAYER who needs a doubling instrument for his ensemble or even the MARCHING BAND looking for a more manuverable TROMBONE.

It comes standard with a 12C mouthpiece which tends to be easier for TRUMPET PLAYERS to use. However we do offer it like all KANSTUL INSTRUMENTS WE SELL with YOUR CHOICE of any KANSTUL ONE-PIECE MOUTHPIECE. And you always have the option to MAKE IT YOUR KANSTUL by calling me to discuss your different options.

To The Champion Of The Valve Trombone Sound In Music,

Jack Kanstul

A GOOD MOUTHPIECE can make a BAD instrument play BETTER and A BAD MOUTHPIECE can make a GOOD instrument play WORSE. This scenario helps us to see HOW IMPORTANT the selection of the RIGHT MOUTHPIECE is for your instrument. How does one determine the difference between a GOOD or BAD MOUTHPIECE? And which MOUTHPIECE is RIGHT for you?

To answer the first question about DIFFERENCE between GOOD or BAD MOUTHPIECES it comes down to Two Things: THE DESIGN and THE CRAFTSMANSHIP. To help us understand the design element a simple illustration may help. There are different sizes to BRASSWIND INSTRUMENTS like TRUMPET to TUBA. You would not think of using a TUBA MOUTHPIECE (if it could fit) in your TRUMPET anymore than you would think of using a TRUMPET MOUTHPIECE in your TUBA. The latter would fit but not right and that is the point. THE DESIGN is wrong for the size of the instrument. It needs to be MATCHED to the size of the instrument. The second point is it needs to be CRAFTED RIGHT. That is the machining of the metal, it’s dimensions and tapers need to be smooth and accurate to the finest degree. This is no easy task.

Now we come to the fun part: WHICH MOUTHPIECE IS RIGHT FOR YOU? FIRST we need to know WHAT A MOUTHPIECE DOES. Basically it is used to help your EMBOUCHURE to SET UP PROPERLY to make a SOUND in that RESONATING TUBE called a BRASSWIND INSTRUMENT. Sound Easy? Not Really! As there can be literally THOUSANDS of combinations. The key words here are SET UP PROPERLY. And it get’s more complicated in that NOT EVERYONE PLAYS with the same EMBOUCHURE. Some use a more SMILE APPROACH and others a more PUCKER APPROACH and everything in-between. Also you have differences in the ORAL CAVITY of the player which will make a difference in which size of CUP, wider-narrower…deeper-shallower, FEELS THE BEST. HOW CAN LASER TECHNOLOGY HELP?

ENTER KANSTUL MUSICAL INSTRUMENTS. My father, Zigmant Kanstul, has developed a REVOLUTIONARY approach to MOUTHPIECE MANUFACTURING. Using a RUBY LASER PROBE he has been able to make an exact copy of any mouthpiece OUTSIDE and most importantly INSIDE. Yes right down to the BACKBORE. Then using a MODULAR SYSTEM of design it allows you to match ANY MOUTHPIECE CUP to ANY MOUTHPIECE BACKBORE of MOST MANUFACTURES MOUTHPIECES. Also to help in this regard you can use his amazing MOUTHPIECE COMPARATOR which allows you to overlap one over the other to see the differences.

To give you guidance in all of this I offer my knowledge and assistance. Having been raised and trained by the best in the industry I have insights into BRASS PEDAGOGY. I can help you to select the right combination for you and your playing situation. So give me a call.

To The Music And Selection Of The Right Mouthpiece,

Jack Kanstul

The Turn Of The 20th Century was a marvelous time for music. The CORNET was King and BRASS BANDS ruled the day. From GILMORE to JOHN PHILIP SOUSA, it was a time of lyrical music and the Conical Nature of the CORNET made this easier than the trumpet. Fast passages with triple tonguing were the fashion and cornetist like the famous HEBERT L. CLARKE made the CORNET the premier soloist instrument.

One feature of the early CORNETS were their SHEPARDS CROOK BELLS. This did amazing things to the SOUND especially in regard to it’s NODAL POINTS. Of course the ARTISTRY is knowing How and Where to put these bends. Leave it to my father THE MASTER CRAFTSMAN to Know How to do this. His KANSTUL 1530 SIGNATURE CORNET is a Masterpiece in this regard. It is shorter than most CORNETS (only 12 3/4 inches long which is great for DIXIELAND one-handed effects over the bell) and it has 3 of these unusual NODAL BENDING SHEPARDS CROOKS for a very dark rich SOUND. There is an extremely well known AMERICAN ARTIST TRUMPETER that has recorded a whole Orchestral CD on this CORNET. We are not allowed to quote his name or CD on a public list like this but if you give us a call we would be happy to give you this information so you can hear this incredible CORNET/ARTIST PLAYER combination.

With the growth of BRASS BANDS today along with DIXIELAND, the discovery of the SOUND and CHARACTERISTICS of the CORNET is truly enjoying a real RENAISSANCE. Give Kanstul Music a call to experience for yourself the beautiful sound of the KANSTUL 1530 SIGNATURE CORNET. With our TRY BEFORE YOU BUY and LIFETIME WARRANTY you can be assured of 100% satisfaction.

To The Brass Band/Dixieland Music,

Jack Kanstul

Ever heard the saying,” Good Things come in Small Packages?” Nothing could be truer when it comes to the KANSTUL 905 POCKET TRUMPET. Weighing in at just 2 lbs. 9 1/2 in. it has to be the smallest instrument my father makes. But don’t let it’s small size fool you, it is not a toy but a Professional Quality HAND-MADE TRUMPET like all KANSTUL BRASSWINDS. But how does it get that Quality Kanstul Sound when other pocket trumpets do not? And who plays them?

To answer the first question it comes down to one word - ARTISTRY. No one knows this TAPERED TUBE business like my father, Zigmant Kanstul. When you make something this small you have to know how to WRAP THE PACKAGE very carefully or it is going to play OFF KEY and not BLOW FREELY. This is when you can tell the artist/craftsman knows his craft. When he can take something down to this size and still make it play right.

So who plays something like this? Is it just a Novelty? Actually many players who travel and want a Quality Kanstul Trumpet that’s easy to carry do. Also it makes for great showmanship on stage. People really stand up and take notice. It has been used by Dixieland, Jazz and Commercial Recording Artists. And like all KANSTUL TRUMPETS it plays great!

So don’t be afraid to be the first player in your neck of the woods to OWN YOUR OWN Kanstul Pocket Trumpet. And you don’t have to put this one in your POCKET, as it comes with it’s own beautiful Gladstone Case with the Kanstul Logo on it and YOUR CHOICE of any Kanstul ONE-PIECE MOUTHPIECE. Or get REALLY WILD and MAKE IT YOUR KANSTUL. I’ve put together some HOT combinations for my customers. With my exclusive Lifetime Warranty you can’t go wrong getting YOUR KANSTUL from Jack Kanstul.

To The “Really Wild” Music,

Jack Kanstul

FACIEBAT ANNO - Latin for “Manufactured In The Year Of.”  This unique marking appeared on the bell of a Classic Trumpet born in The City - NEW YORK. To all who love the TRUMPET and collect Vintage Trumpets the search for this Classic continues. Many wonder why it played so well and if it could possibly be crafted again. Enter the ARTISTRY of the craftsman - Zigmant Kanstul - and THE NEW KANSTUL 1537 TRUMPET was born.

One reason it played so different is because of it’s LIGHTWEIGHT nature. KANSTUL has been able to duplicate that process and give to the Trumpet World again that Classic Sound. With probably  the worlds most Versatile Bell - 37 - and matched with a Dead On - 25 - Mouthpipe, added to a Perfectly Balanced Bore - .460 - and all the Beautiful Detail you would expect in a CLASSIC, you have a horn born from yesteryear - THE NEW 1537 KANSTUL TRUMPET.

Players from NEW YORK CITY to LOS ANGELES are now enjoying the Classic Sound of the 1537 KANSTUL TRUMPET. Here are some of their comments: “Feels like a real 37, not like the new ones. Has a bigger sound. You can play lead on it or any music.” “Very nice horn, solid tone, nice slotting, beautiful low register. Good intonation as well.” “Blows freely. Good intonation in upper register. Nice sound quality.” European players as well are enjoying the unique sound of the 1537 KANSTUL TRUMPET.

Kanstul Music offers this incredible trumpet on our unique program called TRY BEFORE YOU BUY. This allows the musician to hear and feel the difference for themselves. The 1537 KANSTUL TRUMPET  comes with a quality case and YOUR CHOICE of any KANSTUL ONE-PIECE MOUTHPIECE. Or you can personalize it even more with our custom program - MAKE IT YOUR KANSTUL. The choice is yours.

To The Music

Jack Kanstul

Whether it’s LES BENEDICT on his Kanstul 1606 Jazz Model Tenor Trombone or GEORGE ROBERTS on his Kanstul 1670 Bass Trombone the recording studios are alive with The Sound Of Kanstul. Both are legendary players in the LA studios and both love their KANSTUL TROMBONES.

The LA Jazz Scene magazine said of Les, “A very gifted trombonist who can play in many different styles.” Wheter it’s from Bob Florence to Don Ellis or Henry Mancini to Prince, the list of recording sessions that Les has recorded on reads like a who’s who. Conrad Herwig in his book, Fond Memories of Frank Rosolino, writes, “Les Benedict….has taught me most of what I know about playing the trombone.” To learn more about LES BENEDICT go to his website at www.les-benedict.com

MEET MR. ROBERTS. George Roberts “Mr. Bass Trombone” virtually single-handedly “wrote the book” on playing the commercial Bass Trombone, bringing it from it’s last, low trombone status to the forefront as a solo instrument. George has been a True Legend in the LA studio scene for over 50 years. From Frank to Sarah to Judy to Nat or the likes of Henry Mancini or Nelson Riddle you’ve heard the unmistakable sound of GEORGE ROBERTS “Mr. Bass Trombone”.

At the recent 2008 NAMM show in Anaheim I was speaking with George at the Kanstul Booth. He has known my father for over 50 years, since the F.E. OLDS days. He refers fondly of my father as The Master. Of course he’s speaking of my father’s ability to craft the finest of instruments. As we were discussing recent events in the Music Industry I said, “You know George, nothing resonates like a Kanstul.” He said, ” You’re right. That’s the difference. Your father really knows how to make a horn sing.”  Whether it’s a piccolo trumpet or tuba, nothing truly resonates like a Kanstul.

Here at Kanstul Music we offer our unique program of TRY BEFORE YOU BUY. It allows you the opportunity to play test a Kanstul to hear and feel for yourself the difference. I’m sure you will agree with George and all the other World Renowned brass players who have made Kanstul their Horn Of Choice.

To The Music,

Jack Kanstul

DRUM & BUGLE CORPS. The name say’s it all. However much has changed in that arena over the years. What is the difference between a BUGLE and a TRUMPET? Some would say it means the same thing. However, while a TRUMPET is more Cylindrical in nature a BUGLE is closer to the CORNET family being more Conical in nature. Does that make a difference in the Sound?  And why was a BUGLE originally pitched in the KEY OF G? To answer both of these questions we need to examine the military use of the BUGLE.

The purpose of the BUGLE for military use was to wake up the troops and for signaling of different calls for daily routine and in battle. Obviously they wanted these signals to be heard out in an Open Field. The BUGLES more Conical nature helped to spread the sound rather then the TRUMPETS Cylindrical more piercing sound. Also, placing it in a LOWER KEY like G, which is a minor third lower than Bb, helped in this regard making it LOUDER!!!    ENTER THE DRUM & BUGLE CORPS.

The modern day DRUM & BUGLE CORPS has come a long way from the humble beginings of the no valve BUGLE. In order to make music and not just calls valves needed to be added. The first valve added was horizontal. This lowered the instrument one whole step and added another series of overtones to be played, thus more notes. Then came the horizontal rotor. It was refered to has an F# rotor or allowing the BUGLE to be lowered one half step from the KEY OF G which it was pitched in. You might think of it has having the first two valves on your trumpet. Valve number one and valve number two(the rotor). Now with the different valve combinations you had 4 different sets of overtone series. All that was left was to add the third valve for all seven overtone series and a complete chromatic scale. Now you had all the makings of being able to play any musical piece.  Of course, as all this was going on, the DRUM & BUGLE CORPS was adding more instrumentation such as Baritone, French Horn, Contra Bass, which was also allowing for more music to be made. But keeping it all in the UNIQUE KEY OF G, which again is a minor third lower than Bb and therefore—LOUDER!!!

ENTER MARCHING BRASS. As the development of the modern DRUM & BUGLE CORPS was happening another development was happening right along side of it. BELL FRONT marching band instruments pitched in the band key’s of Bb and F. These were originally created by my father, Zigmant Kanstul at the F.E. OLDS & SON BAND INSTRUMENT COMPANY. Little did my father realize at the time the major effect his creation would have on the DRUM & BUGLE CORPS movement.

KANSTUL MUSICAL INSTRUMENTS offers the most complete line of CUSTOM MARCHING BRASS in the World. And KANSTUL MUSIC offers this line exclusively to the MARCHING BAND COMMUNITY. Give me, Jack Kanstul, a call for knowledgable answers to your questions. I was raised in the activity and can help you in your selection of the right instrumentation. We offer Financing and Timely Delivery of all Kanstul Instruments.

To The Music,

Jack Kanstul

Few things can be termed “Legendary” in their time. The Kanstul 1525 Signature Copperbell Flugelhorn is one. With it’s pure Copperbell and unmistakable sound, it is simply pure joy to play. Comments to describe it have been,” The most incredible instrument I have ever played! Unbelievable!” –To–”The instrument plays itself.” These are actual comments from some World Renowned brass players. It is the one I play on our introduction video on YouTube and my website.

Many players have asked, “What makes it play so incredibly?” That can be summed up in one word–ARTISTRY. That is the artistry-craftsmanship of my father, Zigmant Kanstul. To understand this more clearly you need to appreciate the difficulties of making a brass instrument, especially a more conical instrument like the flugelhorn. What makes a brass instrument unique is it’s taper. Unlike a Flute or Clarinet a brass instrument’s taper changes dramatically from beginning to end. The sound is bouncing down this taper so changes are happening. Unless you know how to “tame the taper” you will have trouble with the beast. That’s where the ARTISTRY comes in. I have personally witnessed my father work on this. Without giving away any family secrets, let’s just say it was fascinating to watch a real artist/craftsman at work.

Some players have asked if the copperbell makes a difference. I would have to say emphatically, YES. But that is not why the Kanstul 1525 Signature Flugelhorn sounds the way it does. Because if you put a brass bell on the horn it still get’s that unmistakable sound, just not with the properties that copper gives(that will be for a discussion at another time). It has mainly to do with ARTISTRY.

ARTISTRY is defined in the dictionary as: artistic workmanship, effect, or quality. That is a good definition of my father and Kanstul Instruments, especially the Signature 1525 Copperbell Flugelhorn. I encourage you to give me a call and discover for yourself the pure joy of the Kanstul flugelhorn. Nobody stands behind the instrument the way we do. With our exclusive Lifetime Warranty and Try Before You Buy you are ensured of 100% satisfaction.

To The Music,

Jack Kanstul