Perhaps it is my bad in describing a mouthpiece change transforming an instrument.
I accept that the reality is that the instrument stays the same it is the tones and articulation emerging from the bell that is transformed.
Many are the times that players have said they went on a trumpet safari and changed instruments to find a positive change to their tone and were satisfied that they found their ideal instrument. Then over several weeks or months their tones changed back to their original tones that the old instrument had delivered to them before the safari.
Then the safari began again.
The same is true of mouthpiece safaris. The player changes mouthpiece, player is happy with change, tones shift back and safari begins again.
It is often said that the players own sound eventually emerges with the new equipment.
This is I believe an example of the players embouchure and the players tonal concept changing the tones that emerge from the bell and this is a transformative act.
If this happens naturally without our intending it to happen, why can we not learn to control this and intentionally transform the tones that emerge from the bell by the conscous control of our tonal concept and our embouchure.
Dizzy sounded like DIzzy not because that was how the trumpet made him sound it was because that was the result of his tonal concept and his embouchure.
The same is true of Miles of Chet and of Harry James of Wynton and of any player you care to mention.
I cannot get a Louis Armstrong trumpet and a Louis mouthpiece and expect to sound like Louis.
I can however play like a mariachi or a jazz player or a blues payer or a symphonic player.
We are in control of the instrument or the instrument is in control of us.
I am no great player there are many more finer players in here than I will ever be and I firmly believe that anything I can do you can do better. You just have to believe it.