@BigDub said in A little humour:

The were probably reported by someone with a HAM radio!

Is it free?

Is there a link?

@ROWUK said in a new way to learn scales (and a bunch of other stuff in the process):

Scales, modes and triads are a great way to build patterns - although not new, most of us will admit that we do not practice them enough. Certainly worthy of a post in pedagogy.

I wish someone would write all these patterns down.

Jerry Coker's Patterns For Jazz, pattern #79. The book contains many patterns that anyone (not just jazz musicians) can use to learn their way around their instrument.

Mike

Hello Jonathan,
Has this Puje been sold? Still available?
Thanks,
Joel

That now worked for me too!

I was first introduced to Ira on the tune "It Could Only Happen To Me" from his Horizons album. He plays somewhat rubato on trumpet then it goes into a soft straight ahead, medium tempo on tenor sax. A friend was sandbagging me and didn't tell me it was Ira an both trumpet and ax. He played both with equal mastery. Great player who always had a lot to say in his playing.

Use Ultra Pure on all my horns from 1906 Boosey cornet to 2020 Jerome Wiss. Yesterday checked my Selmer Radials that have not been out of case since last Orchestra rehearsal mid March, no problems all free.

Regards, Stuart.

Just say no!

@dupac
So sad. I always liked her Piaf-like voice.

The old Conn “Precision” short shank cornet mouthpieces aren’t anything like modern short shank mouthpieces. They are basically an earlier version of Conn’s “Improved Precision” mouthpieces, and had a slightly different shank taper. Here’s a comparison of mouthpiece lengths. Left to right - newer Conn 4 Improved Precision mouthpiece, old Conn 4 Precision short shank, Wick 4B short shank.

@thirkieldh said in Curry Mouthpieces:

I cannot figure out their specs. I am used to the Bach nomenclature such as 3C, 5C, 7C, etc. When I tried to contact them, I got no response.

The ones I have are from his Standard Series, which use the Bach sizing numbers. Read over this...

I have a Getzen SD that belonged to a personal friend of Louis. There are pictures of him playing it floating around but I can't seem to find them. The last guy to have them passed awhile ago... . I didn't want to intrude on his families grief looking for a picture, then I forgot about it. Would it add to the value of my horn?? Don't care really, it would just be a cool pic to have.

@ROWUK said in V, V barrel and barrel trumpet mouthpieces:

@stumac I think that a "barrel" backbore would be something like the Schmidt Backbore that Schilke uses as well as certain hyperbolic shapes used by Monette.
Those that get excited about backbores need to keep in mind that the rim, cup, throat, leadpipe and bell are also in the system and that any advantage is very much dependent on the synergy.

A good playing mouthpiece with a standard backbore gets a flat upper register when we change the backbore in this way. Some like that because they play tense and that compensates...

I can't imagine changing backbore is a "quick" solution to any problems. Every part of the mouthpiece affects the other parts of the mouthpiece. Like you said -- it's a system and it has to all be in harmony to truly work well.

I liken it to a bike fit. You can raise or lower your seat, but then you need to adjust the fore & aft position, as well as angle, otherwise the whole system becomes compromised. Not sure I totally agree with that statement about the mouthpiece giving Miles Davis his "dark" sound. I'm pretty sure that sound came from his head first & foremost, and then his trumpet secondary.

@Dirk020
Placed the Getzen Renaissance trumpet on ebay with a best buy option.

@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.

OK, so thinking about this a little more....

Mouthpieces are made out of silver-plated brass, gold-plate over silver-plated brass, stainless steel, and plastic (acrylic or Delrin). A small number of craftsmen even make them out of wood.

If you had a reaction to the "more professional mouthpiece" loaned by your instructor, it might be a reaction to silver or brass (if some silver plating is worn off), or maybe even nickel in stainless steel, if the MP is SS (doubtful).

If you had a reaction of the (presumably new) gold plated MP obtained by the school it might conceivably be a reaction to gold, but that would be quite rare. Most metal contact allergies tend to develop slowly over time with prolonged and repeated contact.

If you tested negative for gold allergy, but had an immediate reaction using a new, clean gold-plated mouthpiece, it could be something other than the mouthpiece.

As suggested above by several people, thoroughly clean, disinfect, and flush everything including all horns and all mouthpieces. Then try using BERP BioOil lubricant, if you are not already using it.

Then try the gold-plated MP again.

If that still doesn't work, try one of the ACB acrylic-topped or Delrin-topped mouthpieces mentioned above by flugelgirl.