This is a photo I took at a Community Band Concert.

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@BigDub
Went looking for a dog, to buy.
No shedding. One of those “Doodles”, you know?
There was Labradoodle, a Sheepdoodle, a Schnoodle, an Aussiedoodle,
Goldendodle, and a few more.
How much?
They said the price, and I said, “ these are mixed breeds, isn’t that a bit pricey?”
Well, they said, we have a Cockadoodle for $14.00
“Oh, now that sounds more like it”

Now that we’ve had him for a week, we are not very popular in the neighborhood. IMG_3305.jpeg

@BigDub Hey, I’m having the same problem! Thanks for sharing. I found some useful suggestions here.

@Vulgano-Brother I am not sure what you mean by a "rounded crook". Can you elaborate?

@john-e Listening and asking. I started my career in NYC in 1979. It may have been a different time, but here is how it worked for me.

A coworker had a friend that played piano and was getting a group together. I started rehearsing with the group (only horn player, piano, bass, drum, female vocalist). Bought my first Real Book from the Piano Player, from which we played. Played a few charity gigs with that band, up to that point. So started improving on listening and playing with that ensemble. The singer had a friend however, name was Claudio Roditti. Just so happened at the time, Claudio (and Arturo Sandoval) was at the time playing with Dizzy Gillespie.

I called Claudio, he scheduled me for lessons, and the rest as they say was history. He taught me though having me write out solo transcriptions from well known artists, to learn them in every key, and through this, Claudio said, I would develop my jazz voice. So to assist in the process, I chose to transcribe ONLY sax solos, as I didn't want to sound like just another trumpet player. It paid off well. I had a fresh sound by using sax phrasing on trumpet.

All the while, I went back to my original quartet (actually became a sextet with an added alto and vibraphonist) and became the house band for weekends at a club called Carol's Town Pub on the corner of 53rd and Lexington. That is how I broke into the music scene in NYC.

So my recommendation is go out, actively listen to local bands, talk to performers ask them for lessons or leads. and let serendipity take you to where you can go, as if it can do it anywhere, it can truly do it in NYC.

Solista is made by George Rawlin in Atlanta. He has since retired and living in Athens, GA, I think. But he was a terrific trumpet player and made a very good trumpets and flugelhorns. I have a Solista C Trumpet with which I'm very pleased. His websites are no longer active, but you can find a number of YouTube videos on him and Solista.

@ConnDirectorFan I asked the seller and he answered, that it is some NOS, most probably from the late production, this was the reason about the higher pricing as well, it is an official shop. BTW, there are some of the NOS Amati ATR 6xx for sale visible.
https://aukro.cz/mistrovska-trubka-amati-atr-606s-model-laco-deczi-nehrana-7066532481

I haven’t yet shown this one. A bit of a departure from my country type landscapes. I wanted to try a busy city scene. This is a street in Lisbon, Portugal.IMG_3282.png

@J-Jericho
Sometimes, it seems like I can barely play one at once…lol

@Shifty said in Brasswind Research:

@barliman2001
They are on the web: https://brasswindresearch.com/

Thanks Shifty. After going to your link I checked the "About" page and found this:
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After reading this, I felt like such an idiot. Robert Love plays in a big band, 2 chairs down from me. I rehearse with him tomorrow night. I knew Robert made mouthpieces but did not know Brasswind was his company. He is an amazingly nice person. This is a truly good man to work with.

@Dale-Proctor My guess is that it's an early Elkhart mouthpiece, which is identical to the preceding Mt. Vernon version. I wonder why it was so noticeably changed after that.

@Jolter said in Conn & more engineering spec sheet free-for-all:

@ConnDirectorFan That's very cool, has anything more happened to this initiative?

Since there are a lot of duplicates photos, I assume some manual checking and removing of redundancies could be useful, as would categorizing/systemizing the scans further.

In short, yes, though unfortunately not in a meaningful way. Part of it is my ineptitude, part of it is general coordination difficulty, but it will slowly proceed!

I wish it could have more happening! Just like the collection, it's a mess of fits and starts.
Currently I'm waiting on getting larger size prints - the client/owner dropped off a stack of B/C/D-size prints at a local print shop, who claimed they could scan them. Turns out they did absolutely nothing, while I put together an easel of sorts to photograph them. We're all busy otherwise, so coordination has been difficult.

Sorting would definitely be useful. The original objective was "digitize everything so it's not just these fragile sheets", so meaningful organization took a back-seat. Other prints have artifacts due to the scanner [like the wretched RGB-banding when scanning black when in color mode, etc.] so I scanned them in different modes.
Due to the naming convention, often several unique sheets have identical filenames [!!!] since I copied the folder structure of the physical crates themselves...errors and all. When scanning, the new directory caused the app to reset the file name.

Because the client/materials-owner wanted tuba and trombone parts primarily, I basically started entering model numbers into Google Drive, then grabbing the results and downloading. Then terms like "tuba", etc.

I suppose a detailed combing with a script, or even a tool like Agent Ransack or Tenorshare to find true duplicates would be in order. I scanned some items multiple times to ensure everything was captured [due to the consumer-grade flatbed scanner], and would potentially want to stitch them into a single sheet-file.

We wanted to use these to create 3D models of each part in modern software, and this could theoretically be automated given the specs and general shape.

@TrueToneGoldWash On my collection of Bueschers - a #12 with Bb to A rotor valve, a #9 and a 243 - that they work best with cheapo Arnold & Sons Bach clones if you shorten the shank by about 4 millimetres and take off the outside silver plate on the shank - or use an Arnold & Sons cornet mouthpiece with a suitably altered converter. And Arnold & Sons mouthpieces (sometimes marketed as Stoelzel) are reliable clones of good Bach mouthpieces, at ridiculously low prices...

https://www.thomann.de/gb/mouthpieces_for_trumpets.html?manufacturer[]=Arnolds %26 Sons&gk=BLBMBT&sp=solr&category[]=BLBMBT&cme=true&filter=true

https://www.thomann.de/gb/mouthpieces_for_cornets.html?manufacturer[]=Arnolds %26 Sons&gk=BLBMBK&sp=solr&category[]=BLBMBK&cme=true&filter=true

Unaltered Arnold & Sons mouthpieces work very well wth all my other horns... Courtois Balanced, Olds Recording, Gaudet C, Courtois D...

I would substitute Vincent Bach's Hungarian Melodies for one of the above (I have one in particular in mind).

Here's a very nice performance:

In case you want to play along, try this: