Sound & Performance
Comparing a Macaluso to a Besson
The Macaluso B-Flat Trumpet is easier to play, perfectly tuned across 3+ octaves, eliminates lip fatigue, and delivers unmatched tone clarity — backed by acoustic data and double-blind play tests. Every existing trumpet design is a variation of a flawed 19th-century instrument modeled off the Besson. With the Macaluso trumpet, the movement between partials is crisp, and there is no need for any manipulation.
“The superior acoustic design of the Macaluso trumpet makes it much easier to play and more accurate than any other trumpet that I have ever played. It simply performed at a much higher level in every style and setting.” ~ Trumpet expert, musician, and producer Ron Glynn
Hear the Difference
Who is Macaluso
Charles Macaluso is the founder and inventor behind the Macaluso Trumpet. After retiring as COO and Board Member of Fortune 500 manufacturer Goulds Pumps, he applied decades of engineering and leadership experience to a lifelong passion: the perfect trumpet.
Macaluso taught himself brass wind acoustic theory, authored technical publications, and collaborated with elite musicians like Wayne Bergeron to design and prototype what is the world’s most acoustically accurate B-flat trumpet. That’s the foundation of our company, rooted in engineering excellence and a relentless passion for playing perfect music with ease.
Join us on the Journey
Currently seeking strategic investors and partners to help bring this innovation to market. Let’s talk if you’re passionate about the B-flat trumpet, music, technology, or disruptive manufacturing.
- Filed U.S. Utility Patent (May 2025)
- Attractive global professional trumpet market
- Pre-orders available
- Pre-seed and Seed Investment Opportunity
Who We Serve – Real Musicians
Testimonials
After playing the research prototype of the Macaluso Trumpet in a demanding three-hour contemporary music concert performance without having previously played the trumpet, and comparing the instrument to his Bach Stradivarius model 43 trumpet, John Pendenza said:
“At first, I was lipping many notes, and I was fighting the horn. Notes that I normally lip didn’t need my help. I finally stopped fighting the outstanding pitch accuracy of the horn. Playing became amazingly easy, and I didn’t use any lipping or alternative fingerings. The horn has very solid slots and the notes are well-centered, yet I could bend notes without a problem. The horn has an exceptional response to every articulation in every register. I had no problem making the notes speak. The sound was very pure, rich, and full of harmonics. The horn projected very well, and the upper register was bright at full dynamic volume. I was less fatigued than expected, and I recovered sufficiently to play double Cs and Ds the following afternoon.”