Lori Wingo

Bangor, Maine

Lori’s First WT Bb Trumpet Testimonial!

Dear Flip,

Well, I have owned this instrument almost one month now, and I have certainly put my Wild Thing through its paces. From a dance band gig with many of the old charts, to the Tchaikovsky Fourth Symphony, to the lead book of “A Chorus Line.” I have deliberately tried to find any weakness or flaw in this instrument and have been unable to do so. In fact, the only flaws that turned up were those that I had developed in my own technique over the years, trying to “control” my old Bach Strad 72. I was shocked to discover the battle I had been having with my old horn to get the kind of sound I wanted!

I have further been amazed by comments from both fellow musicians AND listeners, who approach me after a gig and want to know what kind of horn I am playing because THEY have noticed the difference in sound production, resonance, and pitch consistency. What a joy it is to own a horn you don’t have to fight with in any register. I put my mouthpiece in, blow, and out comes pure, centered sound.

So, I’d like to add my name to the list of happy WT owners! Flip, you have made performance a thousand times more enjoyable for me by making a trumpet that eliminates all the quirks found in other horns that would cause me to “adjust this” or “anticipate that.”

Now, to start saving my money for a ‘C’ Wild Thing..!

Lori Wingo

UPDATE: Lori’s Flip Oakes C Trumpet Testimonial

From: “Lori Wingo” Lori_Wingo@umit.maine.edu
Subject: My testimonial…at last!

Flip –

Feel free to use all, some, or none of my “fan letter.”

It’s taken a while to get my “pennies” together after purchasing my Bb WT in the fall of 2001, but I am pleased to say that I am now the proud owner of a Flip Oakes C trumpet in silver. When I first contacted Flip in early March, I was actually pretty ticked off at him because his Bb WT had spoiled me in its slotting and responsiveness…something that just wasn’t happening with my Bach 239GH/25R. My frustration reached its crisis point when I was preparing for the Mahler 1st Symphony.

Those trumpeters familiar with the piece know how merciless those fanfares can be when immediate response and intonation are CRUCIAL. I made it through the concert, but I soon came to the realization that my Bach was not cutting it for me, so I gave Flip a call. Within a few days, I had a Oakes C trumpet in my hands and compared it to the Bach.

The first noticeable difference was the ease in response (especially after I added one of Flip’s short shank C1.5 pieces to the equation). But perhaps the biggest change noted was the intonation. Any player who works regularly on a C trumpet knows the tuning quirks on high Eb, E, A, etc. To my amazement, these notes locked in on the tuner MUCH more easily without having to do the “alternate fingering polka,” or adjusting slides ad nauseum.

Blending with your section is another major hurdle that classical trumpet players often encounter, but again, Flip was very helpful in suggesting ways to darken/warm the sound with the weighted valve caps included with his horn. The principal trumpet of my orchestra(currently a Bach player) and I played for several other musicians and they all agreed the “blend” was very good. The trombonist who listened even quipped that my horn sounded more like a Bach than a Bach, so that reinforced my belief that Flip makes horns that can match whatever “sound” is needed for the occasion.

I have used this horn for about two months now and have been extremely pleased with the results- from the flourishes in Resphigi’s “Pines of Rome” to several solo/chamber group gigs, I have been well satisfied with my Oakes C trumpet.

In my recommendation of this horn, I would be remiss if I did not include the customer service department of Flip Oakes Horns- which is Flip himself. Through numerous emails and phone calls, Flip made certain I was happy with the investment I was making in this instrument and was willing to work with me to close the deal satisfactorily. This man takes great pride in the instruments he crafts and this shows in the sound and craftsmanship of these horns.

I know established classical trumpet players are leery of anything that doesn’t have Bach, Yamaha (or occasionally Monette) stamped on the bell, but I encourage anyone who uses a C trumpet for chamber or orchestral work to give this horn a try. If you let “brand name prejudice” get in your way of trying out this instrument, it is definitely YOUR LOSS! Before discovering these horns, I was a Bach fan all the way, but Flip’s horns have given me a definite attitude adjustment toward the sound I want my trumpet to make…consistently!

Once again, THANK YOU Flip for creating a horn that is a pleasure to play.

Lori C. Wingo, M.Ed.

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