Lifetime quest finally paying off!
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@Sound-Advice said in Lifetime quest finally paying off!:
But this didn't make Roy Stevens wrong. It just made his method INCOMPLETE!!
Thank you!
I agree. Roy Stevens is not wrong. That method may not be right for everyone. I think we cross dangerous lines when we call one person wrong and then tout another method as the ONLY method.
I am a physician that practices internal medicine and pediatrics, and I have a different approach that I use on adults then on children for the same disease process. Why? Because the physiology underlying the process are at different points, and the ability to comply are at different levels. My approach to each specialty is also a melding of my many many clinical mentors I trained under during my many years in medical school and residency.
The experience embouchure performance parallels such an experience very closely. Through maturity, the pediatric patient becomes the adult patient. Through maturity, the novice trumpet player becomes the professional trumpet player. My many many mentors in classical and jazz training also indirectly taught me the basics that allowed me to adapt a more mature method to playing.
And, You're welcome.
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@Sound-Advice said in Lifetime quest finally paying off!:
Or a big difference between the regular facial skin and the "red" of the lip. Indeed quite a number of brass playing systems that teach high notes are either intentionally or subconsciously trying to get us to "pooch" out more inner upper lip flesh into the mouthpiece. Maggio was well know for this. And in the early days of my career Louis Maggio's "monkey lips" pucker brought out my first truly good high notes. High G anyway. It wasn't until some years later that I discovered this to be a "finite" or limited range setting for me.Thank you!
The Maggio "monkey lips" method is less about range acquisition as it is about playing with more muscle efficiency. With the Maggio method, you really end up recruiting more facial muscle to support the orbicularis muscle, the ultimate muscles required for vibrating the tissue creating the sound wave, and has much less to do with how much "red" of the lip is involved. So I see this method less about increasing range but more about increasing endurance. HOWEVER with that said, the more endurance one has, the more support that individual has in improving range.
As Dr. Mark alluded to, it is more about relaxing the muscles that are required to produce range than it is about muscle force. This is what the Maggio method accomplishes. When you have muscle that fatigues less, you do not have to provide increasing pressure with the mouthpiece to try to artificially keep muscle fasciculation. vibrating at a higher rate. HOWEVER if the habit is to still cram the mouthpiece into the lips, you do 2 negative things. You decrease the ability to achieve the same level of vibration frequency making it harder for the lips to perform against increasing force AND you decrease blood flow to the lips, leading to rapid development of fatigue. Double defeat for what ever method, yes even the Maggio method, is used.
AND AGAIN, You're welcome.
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@Dr-Mark said in Lifetime quest finally paying off!:
@Sound-Advice said in Lifetime quest finally paying off!:
However it has long been observed that cats who blow with those forward jaw (and erroneously labelled "upstream") embouchures tend to be at least a little less resonant than the receded jaw playing cats.
Oy! I play with my jaw out to there my upper and lower teeth are even and people say I have a rich, fat sound (unless I'm channeling Miles Davis).
In simple terms;
Do you pucker or say "MMMM"?
Where does your tongue go once you're above high C?
Does your bottom lip go over the bottom teeth (just slightly) when in the upper register?
I'm a high note loggerhead from way back and I really don't have any issues when it comes to range. I've been playing DHC's for decades and if I have a beer or two, I'll spit out a THC (No, not that THC) Triple High C.
My guess? We probably do the same thing but have different ways of explaining how it works.That's a fascinating response. At first I thought that I was done for the day. That my last post took too much out of me. Stick a fork in me cuz I'm done. But you reply brought me out of that fog.
There's no absolutes regarding big sound vs small sound. The "Forward plays smaller, Receded blows bigger" is just a general tendency. Again, not something absolute like "fires need oxygen".
On my new chop setting which will be the one I'll play the remainder of my days I'm doing sort of a Farkas "puckered/smile".
I don't exactly pull my lips left and right but instead ACTIVATE those muscles which would create a smile if I let it. Similarly I slightly push my chops forward a bit to create a softer cushion and to counteract any thinning of my chops possibly caused by the "smile". This at least fits my description of a "puckered smile". In turn its probably not far off from Farkas. Also Severinsen has described this condition at least once. "Pushing forward and pulling back at the same time". I believe is his quote on video somewhere.
Of course Doc is a rare rare case. I mean his chops are soo cool and he's such a determined hard working musician. Kinda a "walking Rembrant".
Now with this puckered smile I then place mouthpiece on my face with lips close together though usually not quite touching. Soon as I make the placement I LOOSEN that "smile" formation. At least loosen that portion of my upper lip that had been part of the "smile". The rim of the m/piece LOCKS out my roll-in. Limiting it to only those muscles remaining outside the rim. This was a VERY IMPORTANT FINDING for me once upon a time. A principle is going on here that I'd like to cover later...
Only that portion of my upper lip that resides inside the cup of the m/piece is the part that stays loose and supple. And it'll remain in this relaxed condition (INSIDE the cup of the m/piece) in all registers. Even when up in the "trippa" notes.
By the way, I've only recently returned to playing this embouchure since last Thanksgiving or so. Previously I'd put it aside. "On the back-burner" for about ten years. Until it recently dawned on me what the missing part was.
I oughta state that ten years ago when I was working in earnest upon this system I had a decent triple C I could actually sustain the pitch on. That and a Double C I could hold for almost 30 seconds. No foolin! So it certainly had potential. However it had one dirty little secret. Maybe I shoulda made you guess what that was except? Well? Okay I'll tell ya.
Despite such magnificent range? I couldn't articulate well. It was as Reinhardt once wrote in his encyclopedia a chop "setting that fell apart after my tongue "moistened the corners" of my chop"...
This time around I've finally solved that problem however too. So allow me to take inventory here,
- Musician/trumpet player, turning 65 at midnight HAPPY BIRTHDAY TO ME!
- Former strong lead trumpet on receded jaw or "downstream" chops. Good to high G for decades.
- Suffered debilitating chop injury Aug 2018 and decided to screw around with alternative embouchures. Finally settling on this Stevens system hybrid that I'd put on the back burner in 2010. This I started in late 2019.
So I roughly have 3 or so months on it this time around. Although my range hasn't quite returned to the Triple C I'm closing in on the note almost day by day. In fact during my first time around (the one ending i n 2010) it took me close to 3 years to start making that triple C happen. Today I'm sometimes able to slide up to F and G/DHC. So that's certainly acceptable progress. Not the quality of Rashan Ross perhaps but gettin there. And frankly F/Double C is plenty. My original goal was just to defeat my high G cut-off. Also I'm convinced that the trippa C is only a matter of time in development.
Now,
About "rolling in".
My new system utilizes a roll in prior to mouthpiece placement. After setting the piece I RELAX that portion of my upper lip resting inside the chops. I don't know if anyone here will relate to what Im about to mention. Yet during this,
"Puckered/smile, Placement, RELAX upper lip inside mouthpiece rim I like to visualize a,
"Bow & Arrow"
Being pulled back prior to setting,
Released when starting The Blow*.Now be advised that I'm not advocating nor using a "smile" system. But rather the activation of at least some muscles you could use in a smile. More importantly I'm also pushing forward with some facial/lip muscles to create a thicker cushion. To prevent exhaustion due to mouthpiece pressure and endurance issues.
Another term I've used to describe this "archer" or "bow & arrow" condition is what I like to call,
"Pre-loading for range". Or "pre-load high notes". By adopting this mouthpiece setting technique I've created fantastic LEVERAGE into the extreme upper register.
Okay I gotta post this unfinished matter. Will check for typos in a bit. Because I fear a computer crash..
This pre-load is part of the "bow and arrow" principle. Or the "Yin/Yang". I have another
"bow & arrow" principle for breathing that works marvelously for lead playing. So by creating this "fulcrum" and loading up the embouchure's capacity to blow high notes I can usually pop out G's and A's over high C with roughly the same effort I once used while blowing notes an octave lower on my former, receded jaw embouchure.By the way, while using the "Pre-Load For Range" I'm simultaneously observing ALL if Stevens-Costello's physical laws. These described in the 1971 oublication known as,
"The Stevens-Costello Triple C Embouchure Technique and Embouchure Self Analysis".
Dig this,
Its a poorly written book. This is not the fault of the editor Dr William Moriarty either. He actually wrote the text but did so under the direction of Roy Stevens. Despite the poorly sequenced chapters and at least a few contradictions between Costello and Stevens texts?
This book is damned close to the holy grail. Again, it failed for many people inc myself Originally that is. However I decided that the reason why I couldn't make it work was due to the natural STIFFNESS in the texture of much of my upper lip flesh. This I've apparently fixed by constructing a mouthpiece with a much larger inner rim dimension.
And I'm an honest man. I freely admit that I haven't perfected this. Then again please realize that Ive only been practicing this method since last Thanksgiving. Now, how many rank beginners do you know who can easily play A/high C? Also, you can tell from my technique that if not a pro quality type? That I have a professional tone. My fingers are fairly quick. And I can improvise.
At present I'm sort of both a manufactured "Frankenstein". "Building a new trumpet player off the dying/dead corpse of the old one". Frankly speaking my former receded jaw embouchure failed because I just used too much arm pressure for way too many years.
As per roll in? I think someone wanted to know if I roll in or pooch huh?
Okay as I described above most of my rolling and pooching out occurs prior to "The Blow". Afterwards I control the pitch or register through changing my jaw position. Essentially MILDLY closing my teeth to ascend. Lowering BUT NOT RECEDING to descend.
As is typical of Stevens-Costello I do not utilize any raising or lowering of my tongue for register changes. I'm thinking those common "tongue arch" or "Tongue Controlled Embouchure" are more applicable to "puckered out" or "rolled out" chop settings. This I know because I have fooled around with puckered OUT chop settings. And during these experiments I did notice that a mild manipulation of my upper lip could make a high note speak easier. However I've since finding a path that finally begins to really work? Well I've thrown out other methods.
Incidentally here's one additional nugget that I believe is probably universally true.
When we "roll-in" to ascend? We're probably rolling in ONLY our lower lip. While most books that encourage a roll in describe this motion as including a roll-in of both lips? I assure you here that to roll in the upper lip "on the fly" so to speak will always result in choking off the tone.
Try it if you insist. While I do actually roll in my upper lip a bit? This is all done PRIOR TO SETTING THE MOUTHPIECE. Afterwards only my lower will roll in. It's really the only one that can when you think about it. At least while you're still blowing the trumpet.
And since I've been on the Stevens System I use very little roll in of the lower lip either. This us because the doggone chop system is already "loaded fer bear" when it comes to high notes. Only taking a slight firmness in the mouth corners and the mildest of teeth/jaw closure to ascend into the extreme upper reaches.
Chris LaBarbera once told me that some of these "upstream" (his word not mine) types have chops so efficient that blowing a double C is about the sane lip energy as the rest of us use playing G/staff. That just by increasing the air pressure and with a mild push from the gut they can play three octave intervals about as easy as most of us play Mary Had a Little Lamb.
Dr GO,
Thank you for your response. I'll get back to you tomorrow. As now? I really am burnt out. Appreciate everyone here! You've all been so nice. Esp since I'm so new to the forum.
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@Sound-Advice said in Lifetime quest finally paying off!:
Dr GO,
Thank you for your response. I'll get back to you tomorrow. As now? I really am burnt out. Appreciate everyone here! You've all been so nice. Esp since I'm so new to the forum.
Looking forward to it. We ALL learn from each others' input and that is what I truly love about this forum. Great to have you on board as such a positive learning force!
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@Dr-GO said in Lifetime quest finally paying off!:
@Sound-Advice said in Lifetime quest finally paying off!:
...the elasticity of the vibrating point on their upper lip isn't conducive to working well in a forward jaw position ON EXISTING STOCK TRUMPET MOUTHPIECES!
Sound advice... could you elaborate on this comment... and reflect on what mouthpiece adaptations may assist in vibratory performance.
Doc,
Okay it just dawned on me that I didn't fully answer your questions. Nor even touch upon the mouthpiece adaptation I found both necessary and pivotal. Yes the mouthpiece adaptation was absolutely necessary. That and it is an extreme design albeit one with at least a first impression that bears an unappealing characteristic.
The mouthpiece has a huge inner rim dimension. Approaching an inner rim diameter of around 7/8ths an inch. Or roughly 0.875. Whereas standard m/piece averages around 0.625 to 0.650.
While some people might think that this looks too weird to use. Or funny looking it really doesn't appear much different than a regular mouthpiece. This because the rim contour is quite narrow.
Despite the great size of the inner rim diameter I found it very easy to blow high notes on.
More later.
(later).How I approached this system.
After the embouchure injury of 2018 my entire upper register was gone. This happened on my receded jaw chops. The one that I'd originally learned the Maggio system on back when i was just a pup.
The Stevens system takes everyone like a beginner. Whatever way you used to play? Well i think that in most cases you can forget everything you used to do. Basically the embouchure change is often as foreign as learning to write with your weaker hand. However this is the condition we all started in when we were kids.
Our chops were virgin. A fallow field. Everything felt tricky. So it may seem with Stevens.
However most who try Stevens will squeak high Gs and double Cs their first day to a week.. If they get good guidance. This is what I did. A chronology starting from just this past Thanksgiving Nov, 19.
Day 1. Formed a rolled in "lip clamp" that utilized air pockets under my lower lip abd above the upper. Did these on largely dry lip conditions. Point here was to get a piece of notes between High C to High G or higher better yet. Just squeak the damned things. A piece of the note.
(since I used to experiment with this system in 2010 it wasn't a complete mystery. And yet I'd still lost most of my embouchure technique. Whereas in '09 & '10 I could hold Es and Fs over double C until running out of air? The ten years off had removed my whole ability to even sustain one of those extreme pitches for a mere split second.. . Let alone nail the darn thing like I used to...)
Day 2. I worked that small squeak of a high G down to a small piece o f high C. Then after practicing but ten mins i called it a day. As a new embouchure needs lots and lots of rest. Then in the afternoon I went to work on my lathe and cut a mouthpiece with the described 0.825 inner rim dimension. Presently I construct the cups of these with "solid epoxy" purchased from places like Lowes. It's both a strong adhesive (when bonding to the raw brass of a mouthpiece) but easy to shape & sand after it hardens.
Through small errors in my craftsmanship I made one piece with a slightly deeper cup on one side. However I found this beneficial. Since I was only experimenting I flattened the opposite outer rim opposite of this smell "divot" The flat bottom of this rim made it easy to locate the top part of the piece. Also my lower lip kinda prefers this straight line.
The whole rim has a very thin contour. Although since inner diameter is so big the thin rim dies not cut but instead helps to grab onto high notes.
Week 2: Worked that squeaky thin high G down G/staff. Important! Used breath attacks only!! A new embouchure is often far too weak to take the powerful jolt of the tongue. We don't worry about playing wet or dry lips. Using which is easier.
Okay Doc I'll elaborate more per your request.
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I am sorry if I spoil the party, but I'm quite sure our new member Sound Advice is the same person as Lionel on TH, obviously looking for a new platform.
His negative speaking of trumpet players in general, often straight insults, coupled with a very unhealthy obsession with extreme high register playing made his endless posts there stodgy and unreadable. Read for yourself his pages-long posts on TH, of course all placed in the High Range Development compartment. But there is more, IMO his posts are straight dangerous for developing players with doubts about their playing cause his "sound advices" are completely, let's say, 'personal'. May be I am now in conflict with some rules here but I am completely honest and this post is meant as a serious warning. BTW I am quite sure that mr. Lionel is doing the most harm to himself. He experimented, drivin' by his obsession, to a level he could not play at all anymore. My post is an appeal not to folllow any of his recommendations and I don't think it's wise to answer his posts at all, leads to nothing. -
@Sound-Advice
It sounds like you're using basically the same method I was using when I was in high school (and still use today). Granted, this "setting" is (for me) when I'm doing stratospheric work. When I'm doing Bach or Paganini, my lips are formed as if I'm saying "M" and I do not roll in any part of my lip at all.
Yes, articulation is tough in the stratosphere. I've learned that "air control" is paramount here. The harder I blow, the less I can articulate. With that said, using LESS AIR in the extreme registers is necessary for me if I wish to tongue anything up there.
All I can say is keep up the wonderful work and remember to stay musical. High notes for the sake of high notes ( and I'm just as if not more guilty than most) is an exercise and not musical. I call it the Angry Teapot exercises. Opinions are like assholes, everybody's got one and it usually stinks. Here's mine; I would suggest that being able to play all twelve major scales two octaves in a musical manner will cover 99.5% of whatever music comes down the pike (unless you get stuck playing Bergeron's parts on Phat charts). In closing, thank you for your explanation. It was really neat reading how you stuck with something and didn't let it defeat you and what you've learned.
Thanks for sharing -
Hi FranklinD,
Separating the valuable from the worthless or for those that are biblical, separating the wheat from the chaff is the name of the game. I'd like to have a nickel for every time someone advocated a "way" of doing something that was nonsense. Would I recommend this methodology to a developing trumpet player? No.
But if someone came to me and said, "How do you play in the upper register?" I would direct them to one of Jon Ruff's videos about range development. If a picture tells a thousand words, then a video should tell even more. Thanks for the advice and hopefully you'll watch Jon's video. He's great at explaining things. First he'll talk about some aspect of playing and then show how its done on the trumpet. A lot of what Jon does in the upper register is basically the same method I use in the upper register.
Here's a link to Jon's video;
Youtube Video -
This is also a part of The Balanced Embouchure, called "Roll In".
My question is, in the Steven's system, does one use this Roll-In embouchure for all tessituras or does one use it only for high notes?
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@Kehaulani said in Lifetime quest finally paying off!:
This is also a part of The Balanced Embouchure, called "Roll In".
My question is, In the Steven's system, does one use this Roll-In embouchure for all tessituras or does one use it only for high notes?
I have a mild disagreement with the roll-in procedure associated with Stevens Kehaulani. But this is true of all books directing the usage of a roll-in.
It's my judgement that all rolling in done with the upper lip must be done prior to starting the air. Because if one tries to roll in the upper lip "on the fly" so to speak?
The tone diminishes substantially. In fact it'll often cut out at the moment the upper lip tries to roll in! I've tried this many times yet never been able to sustain a quality tone.
Yet the lower lip does and can roll-in on the fly! That said? I don't use much lower lip roll in on the Stevens embouchure. Because it's becoming so doggone efficient that using much of a lower lip inversion tends to be excessive.
Basically I just push more air pressure and firm my mouth corners and up we go!. This works to about high D to E flat/high C (not concert pitches but for the B flat horn btw).
Above high D? I keep mouth corners as firm as they were and JUST SLIGHTLY CLOSE TEETH by my jaw movement. Was only yesterday that I noticed this. My teeth were following the Stevens system directives perfectly. Staying open about 1/4 inch apart until lifting the pitch to high D.
This was a most liberating moment yesterday. It just then dawned on me that without a doubt I was certainly catching on to the system. That everything Stevens-Costello ever said finally made sense.
But as per exactly how much roll in the book prescribes? Give me abt a week to answer that query. As i had to order a new copy of Roy's book from Colin Music just yesterday.
Roy Roman describes a roll-in in his Stevens system videos. Only he uses the term "invert the lips". And he makes the same mistake that I think plenty of others do by suggesting that "both lips must roll-in" while the air is already blowing.
Indeed I'm certain that only the lower lip can perform that inversion after the sound has been begun.
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@Sound-Advice said in Lifetime quest finally paying off!:
Roy Roman describes a roll-in in his Stevens system videos. Only he uses the term "invert the lips". And he makes the same mistake that I think plenty of others do by suggesting that "both lips must roll-in" while the air is already blowing.In The Balanced Embouchure, which method Jeff Smiley has had a lot of success and whose Rolled-In position, I think, is inspired by Stevens et. al., he uses both lips to roll-in while the air is already blowing.
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@FranklinD
I'm going break one of my rules and respond to a fairly obvious troll post. To the gallery, this post of Franklin's is what's called a"Concern troll post". Let's call his type a C/T for short.
The C/T fakes concern for the well being of the world but his true goal is to demonize the individual whom he's having a hissy fit with. From his words which I'll only do him the honor of reading once I've decided that he fits the definition of the "concern troll" like he wrote the book on it.
As if I had the influence to poison the well of discourse here? He flatters me. I couldn't possibly have so much power.
And as for a "dangerous obsession for high notes"? This is a term I've heard applied over the decades at various times. Almost always delivered by someone who either doesn't like high notes played on the trumpet OR someone who's never played a solid F/high C in his life.
And other than taking Franklin to task here (which I must assume several others have likely done before in response to his negativity) I have never posted any rude, derogatory or mean statements about another musician in my life. And even in this particular post I believe that my words while perhaps firm or maybe even a bit stern are certainly not inappropriate. Nor personal etc.
What we're seeing from the old boy here is called "projection". He attempts to cleanse his own being by wiping his own dirt off on me.
Hey folks,
Feel free to accept or reject ANY idea of mine. Take what you want and leave the rest. Or leave all of it. Just like a taco with too much "savage jalapeno sauce" poured over on it". But like I said, if I were a gambling man I would bet money that this poor guy has never played a decent lead trumpet part in his life. To this I think that we can blame at least in part the evolutionary or conventional approach to learning trumpet.
In the evolutionary approach the student is taught the lower and easier tones first. He and even his teacher not understanding that the student's individual progress will likely result in a severely limited range. Why? Because his chops will resemble what Bill Moriarty would call and compare to a poorly assembled clarinet mouthpiece, ligature and reed.
Some trumpet students will succeed with the evolutionary approach. Yet this is due largely to the way they bring their mouth, jaw and lips into the process. They will unknowingly follow a correct application of physical law.
More likely however will be that the young trumpet player will fall into the rut of a limited embouchure setting. As most do including even myself up until just this past year.
Now it does take more concentration for the student to learn the Stevens embouchure. No doubt about it. And perhaps some shouldn't try it although I'm not sure exactly here. As if we trace my own progress we find a person with functionally dead chops late just this past year. Yet from just some patient work over the past four months the Stevens method has allowed me fantastic progress. From little squeaks to an apparent 3 & 1/2 octave range and growing rapidly day after day.
Is a lousy four months such a huge sacrifice? And what about a comparable person using the Evolutionary method of long tones, low notes and it's emphasis on articulation. Would this person be any more advanced in his technique than I'd be iver the same four month period?
Perhaps he'd be a little better at articulation. Because Roy Stevens used to discourage excessive tonguing on his beginners. Due to the young embouchure not being strong enough to retain it's structure. And what is the likely downside of the evolutionary approach?
A lifetime of mediocre range. I have no problem with trumpets who have no desire to play in the upper register. Obviously I know many of them. As I'm sure that you do too. After all Herb Alpert outsold the Beatles in 1966. At least in record sales inside the USA. He never ventured much above high C.
Yet Herb also lost his chops circa about 1970. I heard that he went to study with Carmine Caruso for a spell. Didn't or couldn't play for a considerable period of time. And Herb didn't burn his chops out playing high notes either. Because he couldn't play them.
So the risk of harming oneself exists much more in playing the Evolutionary system than it does Stevens. It a method where only the minimal amount of mouthpiece contact pressure is ever applied in practice.
But after all is said and done? I probably should have just ignored our Concern Troll. As I'm sure everyone else here does too. Franklin I feel no animosity towards you at all. In fact?
I feel very sorry for you. Cheer up buddy. Join a church. Or take an exercise class. Get a better perspective on the world than the sad one you display.
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@Sound-Advice said in Lifetime quest finally paying off!:
I have never posted any rude, derogatory or mean statements about another musician in my life.
Wow! that is nothing like me. Musicians tend to piss me off quicker than most categories of people.
I've had musicians say "That's hate music" when I listen to Marylin Manson,
I've had musicians call me a freak because I can play in the upper register.
I've had musicians tell me to use a "bigger mouthpiece"
I've had musicians I've hired show up for a show drunk, or wearing flipflops to a fancy gig.
I've had musicians say that what I'm listening to isn't music.
I've had musicians say "I don't like Country Music"
I've had musicians say that music theory is to music as sausage is to food. I like sausage, but I don't want to see how it's made.
I've had musicians call something an improv solo when all they did was to read and play the transcribed solo of someone famous.
I've fired an elephant's bodyweight in musicians who would show up unprepared for a show or wouldn't play stuff the way I told them to.
I've used every derogatory term, slur, and or cuss word to describe, admonish, embarrass, belittle, or simply insult the army of asshole lackluster musicians (and or their Mothers) who feel their knowledge is God given.
Yep, musicians tend to piss me off faster than most groups. -
@Dr-Mark said in Lifetime quest finally paying off!:
Yep, musicians tend to piss me off faster than most groups.
In pediatrics, we have a saying... Better to be pissed off, then pissed on.
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At the risk of ruining my record, I have been practicing pediatrics now for 39 years and have yet to be hit by the golden stream of a male infant... however, my nurse is rooming a 2 month old for a well visit as I type this... wish me luck!
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@Sound-Advice sez; Just like a taco with too much "savage jalapeno sauce" poured over on it".
I'm a pepperhead. It doesn't get "savage" until you get to at least Scotch Bonnet peppers. After years of consuming those peppers, a person might be ready to eat the peppers I eat everyday at least twice a day, Carolina Reapers. I eat them fresh when one pops up on my plant or more usual, dried and crushed which is always on the table which I put on salads or soups. Yum!
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Sound Advice - do you "know" Franklin, where he's coming from and his posting background?
@Dr-Mark said in Lifetime quest finally paying off!:
I've had musicians say "That's hate music" when I listen to Marylin Manson,Dr-Mark - I though Marylin Manson and music was an oxymoron.
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@Kehaulani said in Lifetime quest finally paying off!:
Dr-Mark - I though Marylin Manson and music was an oxymoron.
Listening without prejudice isn't for the weak.
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Wow. You sure don't know me. Here's one of my favourite groups.
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@Dr-Mark said in Lifetime quest finally paying off!:
@Sound-Advice said in Lifetime quest finally paying off!:
I have never posted any rude, derogatory or mean statements about another musician in my life.
Wow! that is nothing like me. Musicians tend to piss me off quicker than most categories of people.
I've had musicians say "That's hate music" when I listen to Marylin Manson,
I've had musicians call me a freak because I can play in the upper register.
I've had musicians tell me to use a "bigger mouthpiece"
I've had musicians I've hired show up for a show drunk, or wearing flipflops to a fancy gig.
I've had musicians say that what I'm listening to isn't music.
I've had musicians say "I don't like Country Music"
I've had musicians say that music theory is to music as sausage is to food. I like sausage, but I don't want to see how it's made.
I've had musicians call something an improv solo when all they did was to read and play the transcribed solo of someone famous.
I've fired an elephant's bodyweight in musicians who would show up unprepared for a show or wouldn't play stuff the way I told them to.
I've used every derogatory term, slur, and or cuss word to describe, admonish, embarrass, belittle, or simply insult the army of asshole lackluster musicians (and or their Mothers) who feel their knowledge is God given.
Yep, musicians tend to piss me off faster than most groups.Mark, MD.
Glad we've got some doctors on the forum.The key word referenced in my statement is "never POSTED" any derogatory, hurtful remark etc. With the described qualifier my words are basically true. I don't blast someone while online.
But back when I was on the road? Now that's another story. Hell some of the guys would have vicious arguments right on stage. With audience present. Once in a while I'd refuse to turn the other cheek. Our own drummer who talked back to my wife. Told her the "shut up"... Dec 1977 just before Christmas gig.
Popped the stupid guy in the eye. Not such an unusual response. Except that I was driving all of us thru the Pocono mtns at the time. Strangest feeling. Sure scared the other riders half to death. We were ALMOST on the black ice at the time.
Being to my right, and since I'm right handed I just backhanded the old boy a number of times. Right in his nose wham bamm bamm bam BAM
Think I broke his glasses. But his was the absolute DUMBEST action I've ever seen someone do before. Hint:"Ya just don't insult a man's wife while in his presence".
The condition leaves the married man no other option except to tag the offender a good one. Had I just resolved the matter amicably? I'd have never heard the end of it from my wife.
