Something very interesting in that film, and think it's lost on a lot of viewers, is that the director used a very subtle device. Some of the film is B&W and some in colour. It represents two different time frames, the B&W is the past, the colour is the present.

Like practically all biopics, that film takes poetic license. Yet, I believe, it's true in substance.

@barliman2001

I'll check that out.
George

I cannot answer for anyones spiritual wellbeing or the possibility of their joining or having joined the choir immortal.

Or indeed having had their spirits lifted by beverages however intoxicating.

All I can perhaps hope is that those who have lived in the former existence on the former TM site might have been reborn to a better existence in here.

@georgeb Thanks, George. I am glad that once you passed through the worst of our grieving, you were able to get back into music - and it is remarkable how much joy it gives back to us. I'm 72 and thrilled to be starting on the violin and also on the opportunity to play with others (not so easy with flugelhorn, which is kind an outlier instrument - even my local community band would only take trumpet, not flugel). I love hearing your story and it helps to inspire me as I embark on this fiddling. My brother will be my first teacher and has already helped me to start. Thank goodness for music and music making. Blessings, Annie

I start my warm up with low note buzzing by removing the tuning slide and blowing low notes using breath attacks. Using a larger mp during this initial exercise can also be helpful. Replace tuning slide and play Clark #1 very slowly - equivalent to long tones.

Another Ole and Lena story. ( Norwegian Humor )

Lena was in court for shoplifting.
She was accused of taking a can of peaches.
“ How many peaches were in that can you took? “ said the judge.
“Oh, I would say, two.” Said Lena.
The judge declared she would have to spend one day in jail for each peach in the can she took.
Lena stood, head down, and took her medicine.

Then……..
Ole cleared his throat, and asked if he could say something.
Yes? Said the judge.
Well, Ole said, in the interest of justice, I need to mention that my wife here also took a can of peas, too.

In learning to play the trumpet, we can learn from AI techniques - just not as quickly.
What does AI do? It takes the established base of facts (entered by whoever is "responsible" - the facts can be limited in scope or very broad depending on who is feeding the database)and calculates on the base of documented success with those facts, what steps offer fastest results.
This is what also happens with a good student teacher relationship - with perhaps not as broad of an experience base. The teachers "large" experience base is applied to the student.

The problem is the relationship between the student and AI or student and teacher. At the end of the day, the student must understand and be motivated by the "facts" presented - regardless of where they are from.

In my world, no one ever "taught" talent, or even patience. The patient and talented person that had the good luck of having a qualified, patient and motivating tutor had higher odds. I do not believe that the odds change when the tutor is AI. Only access to the qualified part is possibly enabled. Perhaps the technical aspects could be sorted more quickly with AI. That could possibly lead to more motivation, but equally possible could replace "musical" with "technically spectacular". We see this happening in many areas of art like latin or standard dancing for instance. Live bands do not play during the competition - everything is choreographed to a CD recording.

Nice! I played that with a couple other trumpet players at an outdoor community concert band concert about 40 years ago. The other guys weren’t really good double-tonguers, so I played the solo version while they played the 2nd and 3rd trio parts.

@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.

@kehaulani said in I started a Youtube channel...:

Man, a little help up front would be nice.
Who'a the soprano?

Thank you, Shifty.

I'll add a more detailed description later.

@administrator

I don't have Facebook but was able to watch it. Amazing work.
George

@kehaulani said in Artist on BOARD:

Look at a Monet and simultaneously listen to Prelude to the Afternoon of a Faun and you can intuit it.

I almost never paint without music ( my own very diverse ) playlist playing in the background. Not loud at all, just enough so I can hear it.
It would feel awkward to paint in silence.
Interesting about your instructor, too, Kehaulani. I think you mentioned it before, and I thought the same thing.

As Bix, and all artists, are, in part, a product of their time and culture, I would have to say "no." Not that there aren't people as talented; just that the combination that produced "Bix" is simply not possible today. Just my thoughts.

@tjcombo
Congratulations on your excellent medical, physical, as well as musical recovery. It sounds like you hit the Trifecta!!!

CE2AA0BF-7891-4570-81E5-77EFD3D0EAD8.jpeg

I am speaking of the playing back of recordings only.

If a note is played on let us say a trombone and the slide is lengthened the pitch falls but there is no tempo as such it is a single note.

If this pitch is played within a piece of music then there are notes preceding and notes following the note in question.

Now we have tempo and pitch together.

If we record this music consisting of pitch and tempo and we speed up the playback of the recording then the pitch rises, they are locked together by the recording medium.

If we slow the playback the pitch falls, again they are locked together.

We can of course in a live performance slow the tempo while keeping the pitches correct, but the thread was only concerned with playing back on a computer, a recording of a performance and the pitch changed while the tempo of the recording was unchanged.

With a cd or a tape recording or a pressed LP, if you alter the tempo you alter the pitch.

Computers can however take a recording with a tempo and pitches and slow the tempo while keeping the pitch constant, or change the pitch without altering the tempo.

I therefore have said pitch and tempo in the real world are locked together but in the computer world they are not locked together.

Or do you perhaps know of a way of changing the speed of a gramaphone or of a tape machine without altering the pitches. I have never seen that I would be very interested in learning of it.

I think that everyone that makes "improvisation" a requirement to be a great trumpeter does not understand what "greatness" truly is!

There are many "strengths" that qualify for greatness. I do not think that Bud Herseth was a lesser trumpeter just because he did not perform combo gigs. I do not think that Miles is greater just because he improvises.

Greatness in my world comes from exceptional performance, preferably over a long time. Exceptional performance very much can be "only" being the solo trumpet in a symphony orchestra - a leader musically and dynamically (Bud Herseth, Bill Vacchiano as two examples). Exceptional performance can also be what Maynard did - keeping a live band afloat in the most difficult of times and inspiring generations of musicians that played in his band. Exceptional performance can be Pops - creating the base for many musical things taken for granted today. Exceptional performance can be Bachs own Gottfried Reiche - who inspired Bach to create some of the most awesome trumpet parts ever written.

I very much do agree that there are many fine but mediocre performances due to the lack of understanding the genre. The Metropolitan Opera Orchestra recently released a Gabrieli recording that is an example of such playing. Great players missing the point - and proving that there are modern groups of musicians that offer the same or less than the Philadelphia/Cleveland/Chicago recording from the 1960s.

I can very much appreciate what "non improvisors" have to make them great. I can also appreciate those dedicated to period style and performance practices (in Jazz, Commercial or classical genres). I do not understand the need to limit the term "great" to artificial requirements submitted by those not anywhere near greatness.

@barliman2001 I love Olds and I know many others do love them, Red Nichols played an Olds Super I believe for much of his career.

I read some time ago that Uan Rasey who I respect immensely was offered a Recording by the factory but refused it and asked for an LA Ambassador, but he was refused that possibly because it was the lowest priced instrument in the range, he eventually ended up with a compromise instrument they made up especially for him.

I believe the issue was that he didnt like the offset valve block on the Recording preferring a normal straight valve block and I suspect he simply found no issues with the quality of the Ambassador valve block.

I seem to recall it being stated that they built a Recording with an Ambassador valve block just for him. I cant swear to that but I like the story.

It has been claimed that the original Ambassador and the Mendez were on a par but the Mendez had more expensive parts plus triggers, they were both built around the same time under Foster Reynolds.

The LA Ambassador is a player.

It has been said that the philosophy at Olds was no compromises were allowed and all instruments were to be built to the same high standards.

Certainly that appears true of the LA period instruments.