An excerpt from the music magazine “Sonic” edition 03 2002 May /June
 
 

Bb Flugelhorn “Kromat” with 4 valve.

The package arrived . solidly taped together with a lot of wood wool packaging inside. A short look at the supplier’s label was sufficient.: This was the model 3361G the 4 valve flugelhorn from “Hans Kromat “ in Wilstedt with the very unusual 4 valve construction somewhat like the F plug on a tenor trombone. So quickly I opened the box unpacked the horn & there it was laying before me : yes really very unusual.

From Ansgar Nake

 

One knows what a flugelhorn is : large Bell large dimensions & three calves or perhaps 4. This horn seemed to somewhat different than the usual. Not clumsy, the fourth valve is a rotary valve behind the third valve casing & going in the opposite direction to usual. There are no further items in the package & in the price list I see this horn marked as 3230 Euro. This price is not really open to negotiation. Well better take a detailed look at this one.

From a good background

It takes a long time until someone can build good quality instruments. Apprenticeship, craftsman & then Master craftsman & owning ones own business. Developing & realising  ideas sometimes having to start again fro scratch. Of course listing to the needs & criticism of the musicians & transforming that into the finished product.

Hans Kromat has achieved this since 1976. In Wilstedt near Bremen he has established his workshop for the making & repairing of Brass instruments. But he is not on his own with 2 very competent assistants who have also been working alongside Hans for over ten years. Also some space for the show room is set aside where his instruments as well products from the more commercial manufacturers can be exhibited & tested. It is however obvious that the main business of “Hans Kromat “ is the construction of his own brand of assorted trumpets Trombones & of course flugelhorns. The difference is the detail that goes into the small serial productions of  Kromat instruments with various inexhaustible combinations of Bell s material thickness mouthpipes & you name it which all helps to find the ideal recipe for the production instruments. Making or modifying the instruments to fit the individuals needs & wishes is paramount & genuinely encouraged. Obviously true with our 3361G. Let’s look at that now.

The Instrument

The first impression is enthralling: made entirely from gold brass & nickel ,bronze valve block & nickel on the 4 rotary valve, beautifully crafted forged trigger mechanism. Four tastefully scroll formed water keys. The polishing & lacquering done to  absolute professional perfection.- a perfect example of masterful craftsmanship.

Now in detail: the standard 160mm bell is one piece gold brass. The lead pipe has a nickel garland.This being generally only found on rotary valve instruments. Also the extreme conical taper into the valves must also have a reason. The bore size chosen is small at 10.5 mm. The  bell and bow fit perfectly to the rest of the bore taper. This makes sense, especially for the tone.

Apart from all else the gold brass is important to give that warm dark tenor to the overall sound fairly common practice for flugelhorns (it also guards against red rot). On the 3361G  see gold brass used for all parts even the connection tubing , slides etc. There can never be the slightest chance here of oxidation  On top of this all other parts Bell garland mouthpiece receiver, lead pipe, slides, braces and even water keys are all machined or forged from nickel. This  includes of course the rotary valve all it’s appendages triggers and so forth.

Something special are also the 3 valves which carry the name “Bauerfeind” ( the best known of all German makers of piston valves), The valve internal pistons are made of stainless steel with the much loved cross guides. The function of which is absolutely perfect, fast and silent which is of course expected of an instrument of this class. This is helped by the bronze block having nickel sleeves & I must mention again that between the valves the tubing is gold brass.

Hans Kromat has designed his own valve block & had it produced by “the best in the business”. It fits perfectly into the instrument & will surely give untroubled service until the very last note. All brazing points , perfectly air tight slides, & mini ball bearing connections between trigger mechanisms & perfect lacquer work I hardly need to go on. As far as craftsmanship is concerned a “Very good “ in all respects.

The fourth Valve

The unusual fourth valve mechanism earns a little more detailed information. So here goes.

We all know the “Getzen Eterna” or Courtois 156 with the enormous fourth valve slides. These having  two distinct disadvantages. Due to the too many bends in the tube this causes the instrument to change character when the forth valve is used making it “stuffy” when compared with just the use of 1-3 valves also the extra weight causes the horn to fall forwards out of balance. For many people just not viable being tiring to play causing tension and fatigue. Hans Kromat & his crew addressed the problem from another aspect : a small rotary valve (From the valve makers Meinlschmidt) is built in behind the third valve with the tubing running alongside that of the main tube. The tuning slide sits by the end of the bell pipe & under the second valve. This keeps the instrument in balance and adds only very little total weight. The air flow in this valve is much better & the 3 rd valve slide can be built in the traditional open wrap way affording this valve also optimum flow.(this also helps with intonation & free blowing).

The solid trigger is used with the left hand (first or second finger, not exactly sure)- needed a little getting used to. Ingo Müller who built this horn for his own needs informed me that the trigger can be placed at the wish of each individual to give the maximum comfort.

Do I really need the fourth valve? Those in doubt can order the three valve version to the same specification (and for approx. 900¥ cheaper) all others will learn the advantages quickly: better intonation with 1-3 combination, larger range downwards an absolute must for the Avant-garde. Apparently it is said some have with this instrument managed to master the Bass flugelhorn parts. Anymore questions.

The trigger

Firstly we have a trigger on the first valve slide (as an option you can have one the third). Here  it’s usage also a little awkward and takes getting used to. To operate the trigger you need to place your left thumb onto the trigger plate which lies under the second valve the trigger moves to the side of the valve block attached to the first valve slide. It all sounds a little complex but one gets used to it very quickly. I found the trigger springs generally a little heavy, but that’s easily rectified. I adjusted the springs  and all still worked smoothly and without  hindrance.

Playing the horn

Everybody knows how a Flugelhorn should sound - with this instrument one knows how  a Flugelhorn sounds. It has nothing to with the  sound  of a trumpet, round & sonorous from the bottom ( here is where the 4th  valve really has advantages) up to the top. This instrument is at home in all types of band . In the wind band Big band or jazz combo perhaps it looks a little hi tech but sounds as good as any Bach , Bobby Shew  or other horn. After the mark very good for workmanship I must also give very good for “tone”.

Who can test the qualities of this instrument is less resistance always good and more always bad? What is easy blowing?

The opinions in the different situations were quite diffuse. The player in the amateur brass ensemble who only plays perhaps once a week didn’t find it all too easy the fourth valve trigger was found too awkward & “I wouldn’t use it anyway”. Apparently his “Old Amati is easier to play”. The big band lead player was of a different opinion. The horns weight tended to pull it down a bit but a hard blow no not in the least, maybe “a little more resistance would be required”.

And the classical player? If used to the large bell size of a courtois or Amrein may take a little getting used to. It does work though , the more you play it the more you feel at home with it.. This instrument need positive input to know where it id going. A very easy blow generally means a loss of tone so as we so far have “very good” here I must also give a “good”.

Intonation is easily judged. In all dimensions of dynamic & range absolutely no problem, and with the fourth valve intonation is better that one and three. As to be expected “Very good”

The summary

The “Kromat” flugelhorn 3361G is pretty much top of the class. Perfectly handcrafted, unorthodox construction almost a very good for in the playing test these results speak for themselves. Defects or weaknesses were not to be found, the use of the very best material & highest quality craftmanship a recipe for success.

One sees clearly the work that went into this instrument due to only small series production the `Kromat` instruments are seldom available”off the peg”. The waiting time on new instruments is generally four to six months.

The price of 3230,- Euros is absolutely realistic. Unfortunately the majority of Flugelhorn players will not be able to experience this exceptional instrument.

 

For

+ Perfect workmanship

+ Highest quality material

+ Unorthodox design

+ Exceptional playing policies

 

Against

- Long delivery time.