When looking to find reliable good quality tools with which we can comfortably work with that suit our needs as professional musicians who work within todays large and complex world, instrument designers and makers in general have not made the choice for the individual instrumentalist easy, this is probably because of the large selection of instruments available on the market today. Prices can be very high in relation to the quality and craftsmenship and depending on where we look to for our instrument the complication of choosing can be often greater than we think and confusion can occur as to whether we really understand the complexities of what has gone into creating such an instrument of high quality.
In My 30 years experience as a trumpeter, I have found that concepts such as sound quality are very important as this for me is the basis of all brass playing. A good sound has to be produced as to which the player has to mould his technique. Depending whether players have a good quality instrument or not the sound quality can differ from instrument to instrument as it can from one particular instrument manufacture to another. For the professional musician these differences are crucial in his work as a performer and can be compared to the fine tuning of today's formular one race cars where if one tenth of a second can be gained from fine tuning of the engine then that could result in the diferences between first position and second.
I have also found that the concepts of sound texture and colour differ from continent to continent. American trumpeters tend to go for a more brighter sound than do European trumpeters, the latter being of a more warm and dark texture. I have often thought why! The answer is more simple than it seems.The American manufatured designed instruments are of different specifications in bore size, bell dimentions and leadpipe venturi than that of the European designed instruments.
For many years I have been looking for and challenging instrument designers to produce an instrument with a sound quality and response of blow which best suits my needs. The answer for me was in the work of Peter Pollard of Manchester, UK. By incorporating his almost lifetime experiences as a fellow trumpeter and his experimental investigations as a designer and maker, ambos, in parallel to each other. His concepts and second to none craftsmenship has given the trumpet world great quality, ingeniously designed and great performing instruments to fit the needs of the professional musician of today.
' I have at last found the feel I have been looking for in a great instrument at a good price and I can recommend to any trumpeter being of a beginners level or at professional level, the instruments of Peter Pollard'.
Having had a fascination with metal and woodwork from a very young age, Peter Pollard has become one of the most sought after instrument designers and repairers in the UK. Peter has been working with the country’s top musicians for over 40 years and has a thorough understanding of their needs. Renowned for his experimental nature, he pushes the boundaries of instrument design, using materials not usually associated with the instruments he is building.
Peter learnt his trade by studying acoustics, metal and woodworking whilst working under the watchful eyes of the worlds leading technicians, including Mr Earnest Hall at Forsyth Brothers. He then became the repair manager for Harmony House of Music and subsequently continued his training at Music Aid and Music Lab. In 1980 he formed his own company - Peter Pollard Musical Instrument Ltd & Musicparts UK and co-wrote the Repair Course at Leeds College of Music, approved by BTEC, also becoming the colleges’ external examiner.
On moving back to Canada, he soon came to the attention of Cosmo Music and was asked to help design Jupiter large brass instruments. He then opened Musicparts Canada. Initially with their Canadian operation he designed and built custom instruments. On returning to the UK, he reopened Musicparts UK to build custom instruments and look after all wind instruments for the US & Canadian Military in Europe. For over 3 years he had a contract with Sterling Musical Instruments to make instruments for export and taught a repair course as leader & co-ordinator for MIRA in Norway.
Dawsons Music, Peter became a highly valued member of their team. As their Orchestral Department Manager not only did he design and introduce their top selling ‘Mirage’ range of student brass and woodwind instruments, he also trained all staff on brass instrument knowledge, reviewed the product ranges, developed new products and services having identified new target markets and product opportunities and carried out marketing activities to increase Dawson’s turnover.
Dophin Music was the next company to benefit from Peter’s expertise. They asked him to dramatically increase their Orchestral profits, which he successfully did by initially researching their target market, selecting the most suitable product range and then implementing campaigns including competitions, events, POS materials and other promotional activities.
Peter is a member of the NAPBIRT and the Yamaha Technicians Guild and has regularly been seen at all the worldwide major music shows including NAMM, MIAC and ‘MusicMesse’
Finally Peter has returned to his true love, designing and making brass and woodwind instruments and is currently working on student instruments for JHS and also custom instruments for individual artists. To find out more about the work he’s carrying out follow Peter’s blog on http://pollardtrumpets.wordpress.com/, or find him on facebook!