I know a trumpet player with perfect pitch. Actually, I know two. They are both fine trumpeters. That being said, one of them was my schoolmate and I still regularly beat him in auditions. I have decent relative pitch. Trombone is mostly about the muscle memory, just like trumpet.
@ACB said in Trumpets Made ONLY by Their Maker:
@administrator fyi Harrelson uses Carol Valves and other foreign components to his horns.
Thank you @ACB , I was not aware. It makes financial sense to do so, but proves the point that less and less companies are "100% homemade." I mean, Toyota uses a BMW engine in their new Supra!
Please post photos and experiences with your custom, Monette trumpets here! And join the Monette club.
Besides Monette, Harrelson, Getzen and Conn-Selmer (and the now defunct Kanstul), I do not know of any American trumpet makers that truly make 100% of components in-house (excluding spit valves, of course).
I advocate a change to the lyrics of the "baseball song" to make it more relevant:
"For it's root, root root for the home team!
If they don't win let's ****ing riot
For it's 1! 2! 3 shots you're dead at the old, ball game!"
Yeah right you heard from the owner of TM. He may as well not exist. At least people here know they don't know that they don't want to know me!
Since Rowuk isn't here yet, I'll post my views. 
I use a 1/3 top, 2/3 bottom approach. I believe this is probably the best approach for most people, however, lots of great players have used other placements. This is something that really comes naturally for most musicians. If I were you, unless you have serious issues in your playing that cannot be resolved with more practice, I wouldn't think much about mouthpiece placement.
It's all archived, somewhere. But yes, I do believe that the site itself is more or less dead. I'll be looking at potentially purchasing the domain, eventually. Now, if anybody actually knew who the owner was...
My teacher in high school was a student of Roger Voisin. Once I listened to Herseth & Voisin himself, I could hear the connection (through Georges Mager). I really like the playing of all three musicians. Very raw, not always perfect (except in the case of Herseth) but incredibly musically aware. One time, I had the opportunity to play for Tom Hooten. He was kind to me, but pointed out that my vibrato would never do in a modern-day orchestral setting. I could tell that the influence of Voisin's sound had worn off on me a bit. Interesting how that happens. I have also known players who listen to so much Chet Baker that they can't make a bright sound to save their life. I am sure there is some theory as to why this all occurs.