(April 1998)

I played the silver horn. Comes with two main tuning slides Flip has custom made to each horn (slides are stamped 1 and 2, both with the horn's serial number on them). #1 is cylindrical (.470 in and out), while #2 is conical (.460 in and .470 out).
Valves were fast and clean, with pro strength springs. Very little bounce on the up side even though the internal pads were neoprene (as were the external pads). Now that your specific questions are answered, my opinionated insight:

Got the horn week ago last Thursday (2 wks ago today). The cylindrical tuning slide was installed when I pulled it out of the case. That evening, I tried playing it with my jazz mouthpiece (Reeves 43). I was devastated. I couldn't control anything. I played this way for about an hour, then put my old Bach 1C in it. Was better, but still nothing to shake a stick at. Was free blowing either way, no doubt about it; tone was good as long as I could "fill" the horn--what a workout. After about 2 hours of playing with the cylindrical slide, I swapped for the conical slide. BIG DIFFERENCE! Was better with either mpc, although more control from the Bach, and still felt just as free-blowing. I decided to play exclusively on the cylindrical and Bach for 4 days hoping to reach some sort of impasse with the Thing.

Four days later, I hadn't been convinced I could ever play it well enough to satisfy me, or anyone who would have to hear me. So I swapped to the conical slide and put the whole thing back in its case while I played my own horns for a couple of days. I was so impressed with my sound and control on my own horns, I was tempted to never go back to the Thing. I realized the workout I had gotten on the Thing had increased my strength and focus, dramatically, only I wouldn't have been able to tell had I not gone back to my equipment. So I decided to give the Thing another try, with the conical slide. (Talked to Flip about it after I gave it back. He said most new Thing players are supposed to start on the conical so as not to be overwhelmed, and that it could take a few months to master the horn. Then gradually work into the cylindrical.)

After 2 days of re-acquaintence with my stuff, I picked up the Thing (w/conical slide), intending to play it forever or until I gave it back, whichever came first. It was, again, a workout, it is so physically demanding. I worked with it until the weekend (this last one), when I had rehearsals and a couple of performances. My intentions were to perform with it. But my intentions were dashed after I remembered, through trial and failure, that mutes had to be reworked to fit in the darn thing (Thing). My playing was better, more focused, by this time. But couldn't put my butt on the line with it because of the mute thing. So I rehearsed and performed with my stuff (stuff = '56 Olds Recording for legit, '53 Olds Studio for jazz).

Bottom line of all this long-winded ranting:
I completely believe the Wild Thing is a better horn than any of mine (would really like to try a lacquered one, or a raw brass if Michael Anderson can convince Flip to have one built). I believe it's worth its price, even if you have to wait for Flip to re-work your mutes (if you don't want to do it yourself). But in my personal situation (NOT the money), I won't have a horn sitting around the house, not getting played for a year or two. Let me explain (if you don't already know--if you do, disregard). I stopped playing in 1973. Picked it back up in 1995 (Jan). So, my chops are only, essentially, three and one-half years old. I've already said playing this horn is a workout for me. Someone with stronger, more focused chops might very well buy it in an gnat's heartbeat. I figure it'll take me a couple more years of chops maturing to deserve a horn the likes of a Wild Thing. Until then, I won't have one sitting in the room, staring at me, haunting me every waking moment, gathering dust, getting lonely for someone to play it. Now that it has taught me more about the strength and focus required, I'll be looking for a Wild Thing, or something equivalent in a couple years (I believe I'm beginning to sound redundant).

What did I leave out? Oh yeah!...
I let a couple better players than me try it out. Although they only played it for a few minutes each, they all said virtually the same things. "Wild!" (expected) "Great valve action." "Nicely balanced instrument." "Gorgeous!" "Free-blowin'" "Feels in between a light and heavy horn." (and the one I feel the most) "Too much horn for me." So I still have a little more growing to do.

Hope this was the next best thing to being there. I try not to be too wordy. But definitely an experience I'm glad I didn't pass up.

VERY IMPORTANT!
I am not trying to discourage anyone from trying one of these amazing instruments. But I highly advise anyone entertaining the thought, to know well their own abilities and strengths. THIS IS A PRO HORN! If these instruments were to have their own personalities, they would be seeking strong, highly focused players. The other side of the coin must be true, too. The strong, highly focused player would be seeking a unique instrument, capable of providing a supreme challenge to the player, daring that player to try to outgrow it. Because I don't believe anyone ever will.

BTW, Flip was very generous with his feelings and understanding with my reasons for not purchasing at this time.

Regards,
Richard