@barliman2001

I recognise a few familiar names here.

...and what would christmas be without a sprinkling of Leroy Anderson

All the best to you all from sunny Lagos!

@administrator

Pretty impressive intonation I thought .......

..... and then I heard David Bruce explain what's really going on here.

Wow!

@trumpetb said in Difference between trumpet and cornet:

Simplicity and beauty is very important in nature, with the DNA double helix for example, before Watson and Crick the explanations offered of the structure of DNA were all excessively complex and convoluted in their attempt to explain a complex system. Watson and Cricks double helix was both simple and beautiful.

Is it a coincidence you chose this example?

As @Trumpetsplus correctly states, the pressure wave seeks the shortest path available to it.

But not necessarily so the air. If you could watch the airflow through a tuning slide section from upstream, the right hand half would be rotating clockwise and the left anticlockwise (rather like two 'D's facing each other).

Our very own double helix.

@moshe said in "Star Trek Next Generation":

Captain Jean-Luc Picard had a French name but a British accent,
and 500 years in the future there still was no cure for baldness?

Morris / moshe

Curiously, over 2,000 years ago, he was Roman, had a full head of hair, and spoke Latin with an impeccable English accent.

Youtube Video – [44:05..]

By coincidence, I've been rewatching this series after 40-odd years. It also stars Patrick Stewart's great friend Brian Blessed (as Augustus) who likewise had to ditch his broad Yorkshire accent to get acting work with the BBC in particular.

I raised my family only a little down Leeds road from where Patrick Stewart was brought up, and many saturdays my son would report seeing 'Captain Jean-Luc' in the stands watching Huddersfield Town.

Would have loved to see him say

"Ayup, Geordi! Mek it 'appen!"

It's all a compromise.

If you've a lot of serious above staff forte+ stuff to deal with in a normal performance, you pick the piece to best survive the gig and keep the conductor off your back.

If you haven't, you amuse yourself by scaring the 'bones with a Wick 1.

@trumpetb said in Valve Springs:

Fixing the spring by making it stronger almost without exception means stretching it.

Making a spring stronger by stretching it is proven by anecdotal evidence, empirical evidence, and is also explained by the correct application of Hooke's Law.

A stretched spring is no stronger in its overall travel but because it is longer it becomes effectively stronger at the small changes of length at the extreme compression end of its travel which is where we typically use it.

I think you've got away with murder on this thread.

If you feel you need to increase the preload on a valve spring (which is what you're actually doing) then wouldn't it be better to insert a spacer to increase spring compression a little rather than destroy the mechanical integrity of the spring by stressing it beyond its elastic limit?

Just a thought from an actual engineer.

Thanks, Guys.

As Barliman says, things have become a little hectic over here, but I hope to drop in from time to time and provide some more 'unique input'!

While I'm here, Mrs Seth and I are in Kuala Lumpur next month visiting family, and I was wondering if Schlub Brass Works was still going in Singapore. The web site is a little ambiguous ...

... and Mrs Seth hasn;t had any new jewellery for a while.

Pure crystallised independence of spirit!

Is it really 56 years ago? (Anyone remember Rowdy Yates?)

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.

@rowuk said in Dry instrument vs Wet instrument:

Moisture! The speed of sound in moist air is different than in dry and in the microcosmos of the trumpet, that is a big deal. Intonation and targets change.
Granted, if one has minimal chops, other issues may mask the effect.
A „moist“ instrument is different than just running water through it first (although that does help some).

This is such a fundamental thing for me that I will not risk playing a gig on a dry trumpet (even although it is only dry for the first 10 minutes or so). When testing trumpets, the first 10 minutes do not count.

This. Sort of.

On a microscopic level the inner surface of a brass pipe is quite rough and it will not reflect pressure waves, especially the higher frequencies, straight and true. You could say the speed of sound is 'reduced', but more in the sense of being sent on numerous detours. This will tend to push the sound towards dull and lifeless.
A bit of moisture on the other hand will tend to fill in the valleys and present a much smoother surface, truer wave reflections and richer sound.

@administrator said in You know "those moments"?:

Wait, I amend my statement. It's Maxim (Dmitri's son) conducting and Dmitri Jr. (Maxim's son) at the piano. Both released on Chandos.

I'll look out for it. Thanks for the heads up.

@administrator said in You know "those moments"?:

I played the 10th in college. That was a very difficult and intense piece of music to perform.

I've listened to most of the symphonies. I would say my favorites are 4,7 & 13.

Of all the music Shostakovich wrote, my absolute favorite piece is Piano Concerto No. 2, especially Mvt. II. Very sublime.

Jealous you got to play that one. However our Shostakovich was the Festive Overture and that was great fun to play.
Certainly agree with you about the 4th - the finale is breathtaking.
And a family member got me the Christina Ortiz recording of the Piano Concertos for my 16th birthday (I think). That's also something special.

@administrator said in You know "those moments"?:

Wow, so different but I like it. Thank you. I know there is a book about the symphony, I think I am going to look it up and purchase it.

I grew up with the 1953 recording. It's vitality and in particular, Mravinsky's willingness to let the Leningrad brass play on the absolute ragged edge are a big part of what make it a benchmark for me.
I guess the book is Volkov's 'Testimony'. There was so much controversy about it's authenticity I decided not to read it preferring to let the music speak for itself. I think both come to much the same conclusions.
How well do you know the other symphonies? As you liked the passage you posted, you might also enjoy the 10th. Listen to the Mravinsky version first as he worked very closely with the composer.

@administrator

Compare and contrast the interpretation by those who actually lived through the nightmare.

Youtube Video – [15:18..]

To me the performances are as different as chalk and cheese.

@trumpetb said in Valve Springs:

Do you really not know about plastic deformation do you really not know about stress hardening of a spring when it enters the plastic range.

I will explain it.

No, I've never heard of 'stress hardening' until this thread.

I've heard of 'work hardening' (which is very occasionally referred to as 'strain hardening') but 'stress hardening' is a new one to me.

What you describe sounds very much like you actually mean 'work hardening'.

Quote from Wikipedia

For metal objects designed to flex, such as springs, specialized alloys are usually employed in order to avoid work hardening (a result of plastic deformation) and metal fatigue, with specific heat treatments required to obtain the necessary characteristics.

Now look, I'd intended to edit the provocative tone out of the first draught of my earlier post but nodded off during the process, and then it was too late. So I apologise for understandable offence taken.

But you do make rather a target of yourself.

@trumpetb said in Valve Springs:

Fixing the spring by making it stronger almost without exception means stretching it.

Making a spring stronger by stretching it is proven by anecdotal evidence, empirical evidence, and is also explained by the correct application of Hooke's Law.

A stretched spring is no stronger in its overall travel but because it is longer it becomes effectively stronger at the small changes of length at the extreme compression end of its travel which is where we typically use it.

I think you've got away with murder on this thread.

If you feel you need to increase the preload on a valve spring (which is what you're actually doing) then wouldn't it be better to insert a spacer to increase spring compression a little rather than destroy the mechanical integrity of the spring by stressing it beyond its elastic limit?

Just a thought from an actual engineer.

@trumpetb said in Difference between trumpet and cornet:

Simplicity and beauty is very important in nature, with the DNA double helix for example, before Watson and Crick the explanations offered of the structure of DNA were all excessively complex and convoluted in their attempt to explain a complex system. Watson and Cricks double helix was both simple and beautiful.

Is it a coincidence you chose this example?

As @Trumpetsplus correctly states, the pressure wave seeks the shortest path available to it.

But not necessarily so the air. If you could watch the airflow through a tuning slide section from upstream, the right hand half would be rotating clockwise and the left anticlockwise (rather like two 'D's facing each other).

Our very own double helix.

It just now occurred to me that Edwin Astley and John Barry created very similar sounds (at least the way I hear their arrangements). I wonder if there were musicians who played in both men's orchestras....

Got to remember that the top flight of British trumpeters are almost exclusively classically trained with probably a majority from a BBB cornet background. So they aren't generally limited to a particular musical style (as maybe more the case in the US) and would be expected to play whatever is put in front of them in whatever style was appropriate for the music.

So any similarity between the Edwin Astley and John Barry sounds really tells you very little about who's actually blowing the instruments.

Having said that, your Bond sessions link mentioned 3 of the 4 I did. I recognise a couple of other names there, but also remember that it's clear that all these guys knew one another. If one session was short-handed, anybody in town at the time could have got the call to fill in.

One notable name that's not been mentioned so far is Kenny Baker who could well be a distinct possibility. Again, technically near faultless due to his BBB background and probably best known as the real 'voice' of Kay Kendall in Genevieve.

Youtube Video