Conn-Queror Vocabell Pocket Trumpet
This pocket version of the Conn Connqueror Trumpet With
Vocabell is in some ways the antithesis of its original form, being
that it is short and stubby rather than long and sleek. I chose this
model for this project for its high style Streamline Moderne design
features, including the engraving. The best examples, like this one,
had the Pan Piper engraved on the bell flare. The original trumpet
had been hanging in my shop for about a decade and while mostly
complete, it was damaged badly enough that it was a "parts horn"
and not worth restoring. The valve casings on this model are
shorter than more conventional trumpets and my goal was to make
it as short in length as possible (7 7/8" without the mouthpiece)
without loosing either design features or acoustical performance.
What was lost, however, was any convenient way of holding on to
the trumpet with the left hand. Also, I wasn't able to incorporate
the original lyre mount which was a unique streamline design that
was used only on the Vocabell trumpets and cornets. I did reuse
the unique original bevelled third slide ring by mounting in on a
flange to fit the crook instead of the straight tube. Unfortunately, I
didn't think to take any photographs before starting or during the
work so I've included the original illustration from Conn's
catalogue.
The valve casings and pistons were badly damaged so they were
plated and refit. The process of bending the bell stretched and
thinned the engraving which all but disappeared on the curved
portion. The bell was sent to Elkhart, Indiana for Sherry Huntley
at Artistic Engraving to re-engrave. The balance of the engraving
is original and in excellent shape. To make the instrument even
more compact, I cut the bell rim diameter from the original 4 1/2"
to 4". The original engraved design seems to run off the edge of
the bell and I carefully chose the point where I could cut without
changing the character of the design. I decided to make an adaptor
for cornet mouthpiece in the same design idiom as the mouthpiece
receiver since I was expecting this instrument to end up in the
collection of Nick DeCarlis of PocketCornets.com. Visit this
website for a headspinning array of instruments pictured and order
his book for the last word on them. After mounting the parts and
polishing, it was sent to Elkhart for a third time for masking, bead
blasting and plating including gold inside the bell. This was all
done to a very high level at Anderson Silver Plating. I am very
happy with the results and consider it a success. Nick DeCarlis
reports that it is the loudest playing of his pocket instruments and
that's just what Conn was claiming for the Vocabell trumpets and
cornets in the 1930s.
Click on image for larger view.
Vocabell is in some ways the antithesis of its original form, being
that it is short and stubby rather than long and sleek. I chose this
model for this project for its high style Streamline Moderne design
features, including the engraving. The best examples, like this one,
had the Pan Piper engraved on the bell flare. The original trumpet
had been hanging in my shop for about a decade and while mostly
complete, it was damaged badly enough that it was a "parts horn"
and not worth restoring. The valve casings on this model are
shorter than more conventional trumpets and my goal was to make
it as short in length as possible (7 7/8" without the mouthpiece)
without loosing either design features or acoustical performance.
What was lost, however, was any convenient way of holding on to
the trumpet with the left hand. Also, I wasn't able to incorporate
the original lyre mount which was a unique streamline design that
was used only on the Vocabell trumpets and cornets. I did reuse
the unique original bevelled third slide ring by mounting in on a
flange to fit the crook instead of the straight tube. Unfortunately, I
didn't think to take any photographs before starting or during the
work so I've included the original illustration from Conn's
catalogue.
The valve casings and pistons were badly damaged so they were
plated and refit. The process of bending the bell stretched and
thinned the engraving which all but disappeared on the curved
portion. The bell was sent to Elkhart, Indiana for Sherry Huntley
at Artistic Engraving to re-engrave. The balance of the engraving
is original and in excellent shape. To make the instrument even
more compact, I cut the bell rim diameter from the original 4 1/2"
to 4". The original engraved design seems to run off the edge of
the bell and I carefully chose the point where I could cut without
changing the character of the design. I decided to make an adaptor
for cornet mouthpiece in the same design idiom as the mouthpiece
receiver since I was expecting this instrument to end up in the
collection of Nick DeCarlis of PocketCornets.com. Visit this
website for a headspinning array of instruments pictured and order
his book for the last word on them. After mounting the parts and
polishing, it was sent to Elkhart for a third time for masking, bead
blasting and plating including gold inside the bell. This was all
done to a very high level at Anderson Silver Plating. I am very
happy with the results and consider it a success. Nick DeCarlis
reports that it is the loudest playing of his pocket instruments and
that's just what Conn was claiming for the Vocabell trumpets and
cornets in the 1930s.
Click on image for larger view.