Posts made by barliman2001

Seems not to have reached the intended target audience. Locked.

As there have been no replies for three years, I am closing this thread.

The price asked for is a bit very steep for it, though.

@j-jericho A similar thing is hanging in London's renowned Tate Gallery... a biiig red square, with a narrow black border titled "Adam". I think you can guess at how the next picture, "Eve", looks...
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
wait for it
.
.
.
.
.
.
.
.
.
no, it's not a red circle
.
.
.
.
.
.
.
.
.
yes!
It's a black square, with a red border!! Who would have thought of that!

@administrator If you are happy with the 3c, stick to it. If you want to play around, get yourself a Stomvi Combination System (two stems, seen different cups, one rim; but you can order additional rims, different cups, different stems... https://stomvi.com/en/products/mouthpieces/mouthpieces-trumpet/classic/1210-combi-system-trumpet-kit

I've been using it for more than ten years now - apart from my Bach 1C Megatone for Big Band - and several friends have taken to it as well. It's about as pricey as an AR, but much more flexible.

And if you want to play around on a mouthpiece safari first, go for the Arnolds & Sons range, sometimes marketed as Stoelzel. They are reliable copies of Bach favourites at incredibly low prices...

https://www.thomann.de/gb/search_GK_blbmbt_BF_arnolds-sons.html?shp=eyJjb3VudHJ5IjoiZ2IiLCJjdXJyZW5jeSI6NCwibGFuZ3VhZ2UiOjJ9&reload=1&oa=ala&gk=BLBMBT&cme=false&manufacturer[]=Arnolds %26 Sons&bn=Arnolds %26 Sons&filter=true

Morbus N+1... (N being the number of trumpets you already have). There is one sure sign of having contracted this disease and being in the incurable stage: When you consider skipping meals to finance another trumpet, that is certainly one too many.

@barliman2001 Just found out that the name of the band was "The Wonderful Woodpeckers".

@jamiejazz The man's name was Michael McGoona, and he was a professional dealer in military medals and decorations besides owning a furniture store in Navan, Co. Meath. Nothing much about him on the web. I the 1960s, he had a big band that was invited to the Hamburg Star Club and there he was presented with a small warm-up group from Liverpool. His orchestra was the main act...

@j-jericho Can only concur with your description. Could not have done better myself (probably would have done far worse!).

@administrator Unfortunately, I don't know what happened... I last saw him in 2009, and he was 87 then...

@administrator Don't forget the Studio. One heck of a horn, very suitable as an allround horn (had one for many years, until I exchanged it for a Recording). Main difference? Recording is a "balanced" model, whereas the Studio has more conventional proportions but is abnormally long. The Studio needs more breath control; I was always on the watch-out. If you do that, it's almost unbeatable sound-wise. If you want a slightly more relaxed approach, the Recording is the better choice.

@administrator As to "a basement chock full of trumpets"... I once knew a guy in Ireland who collected Martin Committees... had the house full of them. When I met him (some fifteen years ago), the count stood at 565 (yes, indeed, five hundred and sixty five Committees), all of them unplayed, still in the original cellophane wrapping, with factory papers and everything. He could not even play (clarinet guy)...

@administrator IMHO, you should go for something that will really represent you as a musical individual. I've got nothing against Yammies; but I am repulsed by their predictable, reliable sameness. Many people like that; but for me, it just means that you are predictable and not an individual. That is why I have given up on new horns altogether. There was a time when I had a full set of Stomvis (Bb, C, D/Eb, picc) and really liked them; but then, I happened upon a 1940s Buescher Aristocrat, with the result that I now play the Buescher, and an old Courtois for a D, and a 1970s Besson for an Eb, and the Stomvis had to go on. With these old horns, I always got the feeling that somehow I am continuing tradition, that somehow those guys who played these hooters before me are still alive in their horns...
As to getting yourself an instrument - you can't go wrong with, say, an Olds Recording or Studio (have both - can be used anywhere.) Or you can go for a 1980s Selmer or Courtois... the possibilities are endless. Get yourself a cheap solid horn first to get back into shape - Olds Ambassador, or a 4000 series Yammie, or a Stomvi Forte, or an intermediate Getzen - and then work up until you are back to being able to say which horn you now want and what is suitable for you. IME, as soon as you are ready for it, the right horn will find you. It's not the other way round.

@administrator I have no idea myself.

@administrator They are related in that Adam Rapa had a hand in some of the designs and is endorsing them. That may not be in their favour - I just don't like Adam Rapa (for personal reasons: I was once entered in one of his master classes, and he ended it one day short, before I was even due to attend... did not get a single cent back because of a clause in the contract saying that if the master class needed to be shortened for artistic reasons, that was the risk of the participant. I do understand why his wife of the time, singer Elisabeth Vik, divorced him shortly afterwards).

This question is one that hits me very directly as it is connected to my permanent condition as an Autistic... We in the Autistic Spectrum tend very much to overemphasize our shortcomings and belittle our capabilities - it's just one of the expressions of how our brain is functioning. I don't say that only we experience this; but most of us are more prone to thinking we are not good enough than Neurotypicals. I'm looking at my own example: I finished my Leaving certificate with best marks, being third in a class of 129; I completed undergraduate university in record time with an MA in history as third of a class of 355. I then completed my PhD in record time - less than a year - coming second in a class of 88. And yet I always sought after becoming better still because being second was already a cause for depression - I was simply unable to put my achievements in relation to what others managed to do. Even when I reached the absolute pinnacle of my chosen profession and was awarded a Professorship in Trinity College, Dublin, Ireland, I was not content. I could not strive for more, but there was that nagging thought I was not good enough... it ended with a divorce and deep depression; several years of therapy which did not help me at all because the therapists did not recognize the root of the problem, i.e. my Autism (and please forget everything about Rain Man and similar movies: There are such people about, but they are at most one % of the Spectrum). Only when one clever psychiatrist, at the goading of my wife, took the trouble of testing me for Autism did I suddenly receive the master key to everything that had ever happened in my life, and to my own mind. Since then, I have found the key to compromise and happiness; and now, I am not driven any more to try and reach unattainable goals, but am content to be what I am, and - in music - to be a good player within my own comfort zone. I still try to do as well as I can; but I now accept my own limitations while still trying to improve. And I am happy that way.

Hope you could make some sense out of this.

And here's another, with a special scene from 4:40...

This is what happens if a group of superb dancers just have fun with a good band...

@kehaulani Thank you for clarifying. I was sure that some kind of misunderstanding had occurred.

@kehaulani Please refrain from using wording that might be deemed pejorative... ("suited to your skills and needs..."). Oversight?