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When Ron and I first began to conceptulize the idea of the "Conversion" trumpet back in 1998, we wanted to find a way to bring back "The Sound"-- the color, texture, versatility, projections and the vibrancy that people have been trying to emulate over the past 50 years. Our first inclination was to work with existing instruments, drawing on our combined experience of over 50 years designing, handcrafting and repairing brass instruments and mouthpieces and working with some of the elite muscians who created "The Sound".

single trumpet

The reaction to these "Conversions" exceeded our expectations and over the next seven years we continued to make improvements in the playability and sound quality of the conversions until we reached a point where we realized that our goal could not be reached by recreating but by creating. This process began the launch of the new Laskey-Pinc trumpets.

The conversion trumpet taught Ron and me a number of different things. While people loved the sound of the instrument, many found the conversion to play "stiff".

Some of the comments we received were, "It's amazing (the conversion) when I'm on top of my playing and brutal when I'm not." One musician, whom Ron and I greatly respect, commented, "It's everything I want in a trumpet, but a bit too much of it."

Ron and I began to make adjustments to the original conversion designs. We changed the leadpipe from the original

re-creation to a leadpipe we designed for this project. We designed a new tuning slide, which evolved again after listening to the comments from musicians.


One of the comments people seem to have about the present day "standard" trumpet is that while the sound of the instrument is beautiful and nice in the "mf" volumes, the instrument can become "too bright too quickly".


The Chicago Sound, the New York Sound, the Boston Sound, the Cleveland Sound, the Philadelphia Sound...
What is it?

How is it that the trumpet players in the major cities use basically the same instrument and produce qualities in their sound that make them unique? The Chicago Sound cannot be reproduced in a specific instrument named Chicago, nor can the New York sound be re-created in an instrument named New York. The instrument used has to be flexible in its ability to allow the musician to create the colors, create the dynamics and create the SOUND that is required for the music played.

To this effect, there really is no such thing as a classical trumpet, or a jazz trumpet, or a lead trumpet, or solo trumpet. There should be outstanding trumpets made that allow the classical trumpet player, the jazz trumpet player, the lead player or soloist to do their job and allow them to create the sound and colors they desire and require. An instrument also should allow musicians, from students to seasoned professionals, to make the most of their abilities by not working against them.

After all the adjustments we made to the conversion trumpets over the past years, we needed to address on more item and that was the sound. How do we maintain brilliance and color in the sound? How do we create an instrument that would remain round and pure in the softer volumes, yet maintain brilliance without going raw when played loudly?

We wanted to produce an instrument flexible enough for artists to be able to create the sound they needed when they needed it.


It is not our goal to dictate the sound you should have, but to give you an instrument that is so versatile that the palate of colors will be greater, articulation will be more defined and the texture will be thicker, richer and more interesting. This trumpet will work with you in achieving your goal.

photo by Frank Pinc

Once we made our first prototype C trumpet with a "229" style bell, we knew the answer had to be in the creation of a new bell. We began to measure and study the shapes of different bells that we had in our collection. After a while, we realized that while each bell held to certain characteristics we liked, there was not one bell that had
all the characterstics we were after. We first began to put numbers (dimensions) on a piece of paper, calculating rates of taper and diameters in areas we had learned were of significant importance to the intonation and sound we were trying to create.


When the numbers were on paper, we then entered them into a CAD program and plotted out the curve of the bell and then printed it out on paper. We were then able to look at the curve and decide where changes should be made in specific areas, based on Ron's and my experience. The numbers were then modified in the CAD program and another print was made. After the fifth or sixth modification, Ron and I both knew we had THE bell shape we were after.



Laskey-Pinc currently offers one model of C, and one Bb trumpet with two bell options. All trumpets use a double inside tuning slide (no R style leadpipes), tradtional water keys (no push button type), hand fitted monel valves (yes, we do know how to fit valves considering where both Ron and I began).

The C Trumpets:

Large Bore (.462) with Laskey-Pinc design bell
Brilliant and rich, the ability to play loudly and softly with color seems to be the thing people notice before they see the pitch is as good or better than any trumpet they have played before. During all the play-testing , this one played louder, softer and had a more desired sound than any any other trumpets used in comparison.

The Bb Trumpets
ML Bore (.459)

A trumpet with this bell will remind you of some of the old classic trumpets. While initially bright to many, there is a unique quality to the sound of this bell. Commercial players love the thick brilliance, and with the right mouthpiece, it becomes an outstanding orchestral trumpet as well. In a recording we heard using this trumpet bell, both Ron and I were amazed by how much warmth comes through.

Serial Numbers

On all models, the Laskey-Pinc logo on the bell and the name on the second valve casing are laser engraved. The serial numbers are not sequential but rather number is the date we began creating the instrument. A serial number of 5157 would represent the 157th day of the year 2005--"5" for 2005 and 157 for the 157th day or June 6.

Return Policy

All trumpets will be paid for in full before leaving our shop. From the date you receive the instrument, you have 10 days to decide if you wish to keep it, return it for a full refund (minus the shipping costs) or make an exchange for a different model. Any trumpet returned will be subject to a “check, clean and polish” fee of up to $75.00. This will be in addition to any necessary repairs to the instrument due to neglect of the customer.

PRICE: $3800 in silverplate
In the design of these instruments, the final sound and playing qualities we were seeking were calculated with a silver or gold plating. Therefore, the instrument is offered plated only. There will not be a discount if the instrument is ordered in raw brass.


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