Yeah, our experience at the concert was gnarly.

WRT the new LA, my lead is more interested in it that I am for obvious reasons. I’m pretty happy with my Miyashiro, or I was until I sent it off to have the lead pipe replaced (red rot). It’s been three months now and my Committee has become my daily ax, so it will be interesting to see how I feel about my Yamaha. I did play Dan’s Miyashiro after he got the valves aligned by the guys at Bob Reeves and it was impressive. The modern horns are just more efficient and accurate, even if they lack that Committee sound that is apparently impossible to replicate perfectly.

-tj

@flugelgirl said in NAMM 2020:

@tjveloce seems a couple of our posts disappeared with the update! Anyhow, Yamaha concert last year was kind of lame, so a couple of coworkers and I skipped it and went to Disneyland. We had a blast! Heard a much better band there than we’d heard at the Conn-Selmer party Wednesday night 😁.
As for the new LA, got to hold it in my hands but not play it - I have a feeling it will be a great horn. Just a touch of added weight and that new valve block will bring a few nice changes, I suspect, even though the old one plays very well.
As far as the Adams A9 vs A4, you might have really liked the large bore A9. I love the A4, but had one on a trial for a couple of weeks and found it to be far too heavy for me. It hurt my hands and back, and didn’t project well enough for my needs. It was wonderful to play changes on, though! In any case, I like the A4LT much better. Lighter valve block, heavier bell, and can do anything for me except play lead. My A1 can do it all, but I miss the tonal colors I get from the A4LT for soloing, and the majority of the sub gigs I do require improv and relief lead. I think this new A1 is going to bridge that gap - seems to be everything I have in both other horns! I’ll find out in April.....

@tjveloce

Following a frustratingly long turn around time for having the lead pipe repair, I got my Miyashiro back last weekend. As I mentioned, I had the lacquer stripped after the repair.

IMG_5129.jpg

Back home in my studio I sat down and set out to run through my daily routine (Irons Method, Clarke's, running my maj/min/dom7 and blues scales) and after 5 or 10 minutes of getting my chops warm (if not completely ready) I had a realization that I did not expect; I'm working harder to make notes on this than I do on my Committee.

Now, I'm a re-entry player of intermediate skill level, and I'm not enough in tune with my approach to my playing to be aware of how I am changing it to match a given horn. I know that I do, whether it's air support, embouchure, speed and volume of air, or even my posture, but I don't know the details of those details. I know that I can produce pianissimo notes, low in the register, on my Committee with gentle, precise attacks. And even though some of the note transitions (depending on valves used) are sometimes not as effortless as they are on other horns, I know how to manage my air to make them more precise. It was a shock to me that the Yamaha would be harder for me to play than the Committee, but then I felt that way about the Committee when I first got it, following a year of playing the Japanese horn.

I got the Martin out and played some passages back to back on both horns, before returning to the Miyashiro for the rest of my routine. My lead suggested perhaps I had been opening my embouchure up to play the Martin, and that the Yamaha doesn't respond as well to that. I'm not experienced enough to weigh in on that.

I'm not looking for any deep truths or discoveries here. Perhaps the takeaway is simply that within the broad spectrum of trumpet design and playing characteristics, the Committee is probably the one which is the outlier. I don't know that I'd have the same experience if I'd been playing my Benge or Olds for three months and returned to the Yamaha.

We'll see what the coming days and weeks bring.

-tj

@Dr-GO said in Blessing Super Artist Trumpet:

I am actually very interested in that leather couch!

It is very comfortable and has two lounge chairs built in. It is not vintage, but is well balanced. If you ever come to Florida, I will let you try it out. We can play trumpet duets utilizing both lounge chairs.

@bobmiller1969
The same invitation is open to you to try the Mt. Vernon Bach.

@Dr-GO said in New to my collection:

Interesting bell rim. Likely a significant influence on the tone.

The Selmer K-Mod had the same.

@barliman2001 said in What is this?:

@Kehaulani That's more or less a new take on that old Nazi German joke... a guy goes to his town hall and tells the civil servant he wants to change his name. "Well, let's hear your name to see whether a change is permissible." - "Adolf Shittyfuck" - "Oh yes, I can understand you don't want that name changed. But our Führer has made such a change possible. What would you like your new name to be?" - "Albert Shittyfuck".

Hmm. I first heard it in an Air Force band back in the 60s.

@Kehaulani

@Kehaulani said in Change in paradigm?:

When I started reading this thread and it clumped trumpet technology/sound in a 50 year grouping, my mindset was as if I was reading about something historical, antique, distant past. Then I realized that last 50 year clump wasn't in the historic, distant past. It was within my lifetime! 😨

I most certainly agree! I started playing in 1966 over 50 years ago.

Unfortunately, we only have audio documentation for the last 100 years or so. The instruments in museums and in the hands of very gifted players however are showing the 50 year turnover on style/construction/technical possibilities. I do not have instruments from every epoque, but I have natural trumpets from the Rennaissance, early baroque, late baroque and classical periods. I have valved instruments from around 1880 to very modern Monette. Even the approach to playing these instruments is different.

@Dr-GO can hardly wait!

@Trumpetsplus Very cool! Thanks for posting.

I have one, if it hasn't gotten lost in the moving shuffle. It is a fine player, and I like the blow.

A bit egg headed, but this helps put things in perspective:

https://www.researchgate.net/publication/228987025_Bridging_instrument_control_aspects_of_brass_instruments_with_physics-based_parameters

I feel very sorry for the person that überhaupt (to use a German word) considers buying this horn

@Dirk020 said in The One:

The 1991 Getzen Eterna 900 LB that crossed my path one year ago made me sell most of my other horns...

Oops! The 1980 Getzen Eterna 900 ML that crossed my path one month ago makes me think selling the LB one...

Many thanks for the research. I didn't buy the trumpet for resale - just looking for a decent instrument to hack around at home. I had some trouble with the Nirschl 3C and 3E mouthpieces so I picked up a Bach 7C mouthpiece which I used to use 100 years ago as a student and it made a big difference in sound and range. If I give up the trumpet again I'll bring it into my local school band department and donate it to a worthy young student. Meant to up load the picture of the bell so here it is.

s-l1600b.jpg

@IrishTrumpeter
The wah-wah and the growl are great fun but can sound horrible when done wrong. Walton's description of how to do it properly is pretty much how I was taught to do it by a pro player back in the early fifties. The growl, when done alone, can be a really nice touch to a particular piece of music, too.
Sounds like you are having fun. Good for you.

@Gendreauj
Sold the Getzen Renaissance trumpet on ebay. Luckily I had two late bidders. Very happy with the bids.
My Denis Wick Heavytop silver-plated trumpet mouthpieces are sold.
Waiting on the Jupiter 520 M cornet to sell.

@et2martini
Your welcome. That is what we are here for.