Brian, the 43 may be smaller, but it doesn't feel smaller. The 43 sound shape is a bit wider, too, which can contribute to a perceived less resistant feeling. I was comparing an LT43 to a standard 37. I know, not exactly apples to apples, but standard 43s (with the 25 pipe) have felt similar (to me).
Your mouthpiece and playing style match the 43 well then. Not all bells marked 37 are 37 though. I have one 37 that you would think is a 43 if you didn't see the marking.
A real loss for the trumpet community. My thoughts go out to his family in this loss.
I met him personally after a lesson with Claudio Roditi. Claudio took me to his studio at the conclusion of one of our lessons, after we discussed mouthpieces influences on sounding of the trumpet. Jerome hand lathed a custom mouthpiece for my Olds Recording on the spot. He first identified a cup that worked best for me, had me play my horn, then took it to his lathe to work on the back bore. He did this 5 times going back and forth between my horn and his lathe. He did not charge me a dime for his expertise or his time!
@Kehaulani Ok... see what you mean now. But the worst is on the valve body. Maybe a plastic valve guard and then a flip music marching band folder with a plastic outside pressed against it in a case? Or....not. 🕵 example.jpg
Nice comparison Trent. My experience with the tuning bell Schilkes is fine up to mezzoforte after which the transition to loud is much less controllable than bells with braces. The brilliance just takes off - which is fine for big band jazz or combo work, but in a classical setting becomes a liability. Countless tests with sound posts did not solve my problem.
I liked the original B1 bell and the Kanstul Benge copy best. It had the right combination of core and halo for my ears. The other three were very good but not as balanced in tone/core. I have a student with a tuning bell Schilke B1, B6 and a modified C. The B1 and C trumpets have the best balance and playing duets has sum and difference tones bouncing all over the practice room.
For my tuning Bell Bach 229H, I developed a brace for tuning slide bells. That gave me the response advantage of a brace and the intonation advantage of the tuning bell.
If I owned that horn, it would also be a keeper. It is so much different than everything else and thus broadens the palette of colors that I could offer.
For even while we were with you, we used to give you this order: if anyone is not willing to work, then he is not to eat, either.
This is not speaking of those that are not able to work. It speaks of those who are too lazy to work, which is where communism leads to because there is no incentive to work other than the minimum in order to stay out of trouble.
Actually, there is a problem with this. Many are willing to work but companies are punished (on the stock market) for investing in employees. Is the large group of automobile workers that got laid off at fault for bad mangement decisions resulting in bad sales? Is "new technology" killing traditional jobs?
What killed the instrument building companies in the states? What killed Kodak? What killed PanAm? Is it REALLY offshore manufacturing? Are the employees at fault when so many jobs are lost and nothing fills the gap? I think that we need to look more closely in the mirror and resist being manipulated by those seeking to divide.
Saw the facebook entry. Lose the heavy caps and replace the leadpipe and receiver and the horn would be well on its way to at least being in tune. This problem pops up even with professional trumpets. Monke rotary Bb and C trumpets occasionally had the same issue. The G on my natural trumpet is "naturally a bit high". Not quite this much, but it does require attention on a regular basis.
The top line F is sharp on my Bach 184 cornet. I always have to trigger the 1st valve slide a little to get it in tune. How sharp it is varies with the mouthpiece I'm using. The top line F on my Bach 43 trumpet is spot-on in tune, though.