Of pipe-metal, a relatively quiet and smooth stop which in the better examples develops a slight edge imitating the tounging of the trumpeter. Such examples benefit from good tremulation. Sometimes referred to as a 'Style D trumpet' after the Wurlitzer models they most frequently appeared on.

If brass (and there is no way of telling from the original stopkeys), are louder and with a characteristic timbre induced by the brass bell. Whilst perhaps not totally convincing in an untremulated chorus, they are a distinctive and useful solo stop and ensemble-builder with tremulant.

Loud, assertive chorus reed with plenty of harmonics, capable (untremulated) of putting real fire into a convincing straight chorus. Equally, when combined untremulated with the Tuba, can produce quite explosive interjections and fanfares. Those examples lucky enough to enjoy a deep tremulant also 'come to life' as a lyrical solo stop, almost cello-like in the tenor.

Usually the keenest, most fiery trumpet. Approaching an English Horn in harmonic development and attack, they have a more balanced structure of overtones that allows blend with the ensemble at pitches other than 16'.

Muted Trumpet

Bright reed stop used for both solo and ensemble work. Specified by John Compton and frequently found on smaller instruments, fulfilling a hybrid role between colour and chorus reed, not unlike the incisive role of the orchestral muted brass.

Construction:
Metal; flared resonators with small regulating slot and bell.

Tonality:
Midway between English Horn and Orchestral Oboe in tonality and power. On larger instruments with 'large' Trumpets, stops of this construction would be labelled 'Orchestral Oboe'.

Wurlitzer's closest attempt at a Compton Trumpet, but with a slight nasality.