CLICK ON THE PICTURE TO ORDER

(or order through your own local CONN-SELMER dealer)

Christian Lindberg Mouthpieces

Christian Lindberg designed his mouthpieces between 1989 and 1998. For nine years he was experimenting with a completely new idea about how a mouthpiece should be built:
Important for Lindberg was to get an even register all over the instrument, and this could ONLY be ashieved with an even outside shape! This was all tested by Lindberg in blind tests together with his father in law Bela Tarrodi between 1989 and 1991.

Once the outer shape was set, the next challenge was the flexibility. Lindberg felt that mouthpieces in general had too thick rim, which locked the muscles and prevented him from changing registers in a satisfactory way. After testing (1991-93) he noticed that a thinner rim  were radically improving flexibility, and found an ideal shape, not so thin that it hurst the lip, but thin enough to give the flexibility that he needed.

Big mouthpieces has become such a fashion, that you today sometimes hear great professional trombonists having problems with endurance and high playing. Even in such a relatively simple tune such as Ravel´s Bolero, principal trombonists gets into trouble. When Bolero was written, the mouthpieces in general had a much smaller outside rim, which made it so much easier in the high register! Now, at that time we could also hear pretty nasty low notes on the trombone...a result from too small mouthpieces....Lindberg found the way(93-96): Having a thinner rim and a deeper cup, one can ashieve both brilliant high register and full pedal E-flats!

Finally, something that had bothered Lindberg for years was the fact that so many trombone players have problems with attacks in the soft register. After years of testing back and forwards, Lindberg noticed that a sharper inner rim helped the lip to find the accurate place for contact! The result: Safer attacks(Listen to Lindberg´s recording of Weber Romance!!)

Finally, the great thing about a CL mouthpiece is that you can alter between the sizes!! The rims are almost identical, which makes it possible to switch easily between such great differences as the 2 CL and the 15 CL(Listen to Lindberg´s recording of Pictures at an Exhibition!!!!).

Lindberg mouthpieces are made in 6 sizes, Three for medium bore trombones(Conn 36H or Conn100H) and three large bore trombones(CONN 88H):

• 2CL: Large(second trombone in symphony orchestra)
• 4CL: Large(first trombone in symphony orchestra or soloplaying(for strong lips!)
• 5CL: Lighter(first trombone or lighter solo playing(David Concerto))
• 10CL Medium bore, for classical chamber musicians and jazz players
• 13CL For jazz players with lighter sound
• 15CL For Alto Trombone(CONN 36H)

To order click on the picture

(or order through your own local CONN-SELMER dealer)

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CONN88HCL WITH CL2000 ROTOR SYSTEM

THE Christian Lindberg Trombone!!

For SIX whole years Christian Lindberg and the magnificent woodwind and brass instrument builder Bela Tarrodi(his father -in law) strived to invent the ultimat rotor system for trombone! Three ideas were scratched out(94-96, 96-97 and 97-99) before Bela found the ulitmate solution(in old fashion style of inventors the idea came to him at 3 o´clock in the morning!!) that has been a revolution for trombone players around the world. The system, as all great systems, is fairly simple, but gives the most open sound possible, but yet by far  the shortest and fastest trigger transition in the business( from Bb to F) :

The Rotor´s design has the folloiwing advantages to other rotors:

• When the rotor is not activated, the air flow is not obstructed by the rotor. The air flow passes through without restriction. 
• When the rotor is activated the airflow  passes through with as little restriction as possible, which makes it much more open than other trombones valves.
• The rotor only needs to travel 45 degrees to fully activate making it  more than 40 per cent faster than conventional rotors.
• Because of the shorte travel time of the rotor, there is virtually no compression of air. This has eliminated the Pop/Flop effect caused by standard rotors.

This rotos system is patented and comes exclusively on the CONN88H Lindberg model. It is manufactured by the Steinway-owned company CONN-SELMER, and are made in five different models:

• The CONN88HCLSGX(goldplated sterling silver bell)
• The CONN88HS(sterling silver bell)
• The CONN88HY(yellow brass bell)
• The CONN88HR(rose brass bell)
• The CONN88HT(thin rose brass bell)

CLICK ONE OF THE BELOW LINKS TO ORDER A LINDBERG TROMBONE:

CONN/SELMER      WOODBRASS   MUSICGEAR4U

    HICKEYSMUSIC       THOMANN       INSTRUMENTPRO     

 (or order through your own local CONN-SELMER dealer)

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The CONN36H Alto Trombone 

This is a jewel in the trombone family! Designed by Christian Lindberg in collaboration with the CONN company, this model is built on the old Alto trombone made by CONN in before world war two. The valve was added on suggestion from Lindberg, and makes the instrument both more solid in sound and easier for lip trills. It has also opened new horizons for composers, who are no longer restriced to the high register when writing for this instrument.

CLICK ONE OF THE BELOW LINKS TO ORDER THE LINDBERG ALTO:

CONN/SELMER(ALTO)      WOODBRASS(ALTO)   MUSICGEAR4U(ALTO)

  MUSICALINSTRUMENTS    HICKEYSMUSIC       BRASSWIND   

(or order through your own local CONN-SELMER dealer) 

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Christian Lindberg Resistance Balancer

Have you ever felt that for a certain passage you need a bit more resistance? Or a bit less? Have you ever felt too "brassy" in a church accoustic, and wish you could get the sound smoother, or darker? Well, Christian Lindberg has invented something that will make it possible to alter the sound in a remarkable way:

With Christian Lindberg Resistance Balancer you can alter your sound and resistance in seconds, by easily wrap it around your bell!! There are three different sizes wich alter the sound in different ways:

• Light is just slightly darkening the sound, and makes a slightly improved resistance. This can be used for instance in a passage together with a french horn, or if you need to playsomething very soft, or blend in with a woodwind section.

• Medium will take away some of the hard edge of the sound and when playing staccatos it will make you project more in the attacks. It will also give enough resisitance so that you will minimize the risk of breaking up in loud dynamics.

• Heavy is excellent for heavy orchestra playing, like Mahler symphonies. You can alter here between putting the metal pieces in for extremely loud passages, and taking them out in softer dynamics.All three balancer, as you will notice, will produce each an individual sound, and without altering your playing technique you will be able to vary your sound in many many ways, which naturally will make you a more versatile player!!!

To order click on the picture below:

(or order through your own local CONN-SELMER dealer)

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