I'd say pre-owned carol brass is hard to beat on performance to price ratio. Early Elkhart Bachs (prior to 1975) are usually tremendous horns that can be had at a good price too. Connstellations are great if you can get an Elkhart-made horn for under $900.

@Niner said in Easy Quiz:

@flugelgirl Great. I'd like to see some examples of clear producer distinctiveness.

I think there are a handful of distinctive parts/horns out there that quickly identify the maker.

-BAC’s leadpipe receiver and their main tuning slide “loop” brace.

-Taylor bells and leadpipes

-Basically any small part on a Harrelson (I’ll single out both his bracing and finger rings)

-Schilke’s trim kit parts

That’s just a few off the top of my head.

@Dr-Mark said in What Is A Good Practice Routine?:

What does your routine look like?

Since college, I've divided my routine into 3 sections -- working on the chops, technique, and music. I currently spend about 30 minutes in each area.

Embouchure - long tones, tonguing, lip slurs, etc. , mostly from "Trumpet Solfeggio", sometimes using Clarke or Arbans.

Technique - Scales, patterns, etc., mostly from "Patterns For Jazz".

Music - Memorizing and practicing jazz standards.

Mike

Hi Kehaulani,
Very well said. Not all minds work/process the same way. As for me, I'm the egghead in the room. As for Dr-GO, he's the egghead in the room with a bigger brain and a nicer trumpet (I can't say how pretty his brain is but his horn really is nice looking!)

Hope things are going well. Best of luck.

@Trumpetsplus : They have been on my Shew ever since I received them (txs Ivan for sending them to this side of the Atlantic with a very friendly postage fee). I fiddled a bit with the positioning, they now rest higher between the valves most of the time (= tighter fit). Sloting improved a lot, it's easier to lock the right notes in place.
They simply work. For me. Meaning = nothing wrong with the trumpet, it's me who needs the extra help, most probably going against the more loose/lighter characteristics of the Shew, that are there by design.

Don't mess with eye problems. I worked with one guy who had 3 different surgeries over a period of a year before finally losing the eye.

Last week there was I really helpful exchange of views on the "Difference between Cornet and Trumpet" thread all of a sudden after over 2 years of silence. If that thread had been locked it would likely not have happened as it was resurrected by a new member who likely would not have jumped through the hoops to have it opened up.

Re: You know "those moments"?

Deliberately not replying to any post in particular, one or two of our members may benefit from a little background info on the St Petersburg/Leningrad Philharmonic.

http://guilhermebernstein.com/UR/cambridge_companion_to_the_orchestra_2003.pdf

Scroll down to the relevant section starting page 134.

Other than the during the siege, it seems that members of the orchestra had both the means and opportunities to obtain in principle, any instrument they needed.

@j-jericho said in The difference in timbre caused by using additional valves:

I hear timbre and intonation changes with different valve combinations, but the timbre changes aren't enough to sound like a different horn. I just write the phenomenon off to "nature of the beast".

This matches my experience.

The clearest example might be between F# in first space of the system. Easy enough to alternate between a 2 and a "123+trigger" and get the same note at the same pitch. In this experirement I hear a clear timbre difference. That said, I would not really consider using 123 for making music.

So, add my vote to "yes I can hear it but does it matter".

As for why it happens, Rowuk's summary really says it all -- I'd only add that bit about the number of sharp turns that you mentioned yourself, @Trumpetb:

The change in timbre is based on the cylindrical to tapered proportions as well as the specific partial being played.
Many modern piston trumpets have been homogenised for a generally even tone.

When it comes to cornets, I believe there are differences that affect the timbre more than the number of sharp/smooth turns. Notably the length of the leadpipe taper, before going into the cylindrical valve block, as well as the ratio between the narrowest diameter of the mouthpiece and the bell radius.

Some trumpets, however, are always going to sound "bright" according to their nature, regardless of the player. For example -- I had a H.N. White king Liberty in high school. That thing was a peashooter for sure, and my band director was of the "dark, round sound" persuasion, so he would never let me play it.

Responding to Pixley's post about satin finish used by Conn. Conn wasn't the only one that did the Silver two tone thing. Grand Rapids Band Instruments did the same thing to some of their more deluxe horns...as I'm sure others did as well. The one pictured is one of those really above average playing horns that time forgot....with or without the silver trick.

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Good point... Lots and LOTS of reverb in the mix, along with compression/limiter, so the natural dynamics of the trumpet is gone.

@Rapier232 said in Mute Musings:

@Kehaulani
My Cleartone mute actually says on the label, ‘Corks may need filing’.

Would that be filed under "mute materials" or "trumpet accessories"?

@GeorgeB said in Anyone remember JOHNNY ZELL:

@Kehaulani

Yeah, Miles was in a different league. I was more into the big bands, louis and Dixieland style jazz while I was playing back then, but after I stopped in 1965 I became interested, as a listener, in jazz players like Miles and Chet. And I would say that no one was further away from the Harry James exaggerated vibrato style of playing than Miles.

Actually as a young lad in St. Louis, Miles aspired to the Harry James sound. His earlier teacher scolded Miles for trying to sound like Harry... Miles listened, and the rest is history.

@rowuk
Thanks

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