@kehaulani said in James Morrison Trumpet Tutorial Series:
In my case, I can play higher by playing softer. It's harder to play the same high note at blastissimo.
I do not find this to be the case for me. Playing the high note at higher volume actually allows me to relax my embouchure over playing softy. Less resistance leads to easier production of the sound.
@vulgano-brother said in How many is too many?:
@dr-go I used to have eleven trumpets. Now I'm down to seven. Needed to sell four to afford the prescriptions you wrote me under a bridge away from cameras.
Well worth it.
But you see, now you are cured, AND maintained on the appropriate meds. Mike on the other hand... He requires ongoing therapy... but its getting harder to find bridges without camera surveillance.
@vulgano-brother said in AR Resonance Mouthpieces:
@barliman2001 said in [AR Resonance Mouthpieces]
A fun project is to match the popping frequency of the backbore to the cup, filing off the end of the shank until they match--then machine a Morse taper to the appropriate end diameter.
Adds zing to the response.
I agree to the above, but you can do this as well with the Harrelson Gap Kit.
@georgeb said in How many is too many?:
@dr-go said in How many is too many?:
@tmd said in How many is too many?:
How many is too many? I'm guessing more than 16.
Mike
As a medical professional I may suggest perhaps you need medical help.
Yes, and you can pay Doc so many horns per visit.
George
Mike
What he said. Just got to find an ICD-10 code to cover it!
@tmd said in How many is too many?:
How many is too many? I'm guessing more than 16.
Mike
As a medical professional I may suggest perhaps you need medical help. 
Here are some better images comparing the front and back ends of the Jet-tone Studio B and Harrelson copy:
Backbore end
Cup End
@shepherds_crook said in AR Resonance Mouthpieces:
@dr-go oh no! You purchased a gold mouthpiece … I can think of a million better ways to spend my money
That gold mouthpiece did not cost me a dime.
Jason threw the gold mouthpiece in for the original price I paid for the trumpet 4 years prior to receiving delivery of the horn. Yes, as you remember it took Jason 4 years to deliver on this horn. In Jason's defense, I purchased it at a time between which he had a stroke and then moved his business from Minnesota to Colorado. But his professionalism and business sense did provide me with a better horn, leadpipe and mouthpiece to fit on that leadpipe.
Hear are pictures of the cup comparisons of the Harrelson copy (on left) and the Jet-tone Studio B (on right)
@newell-post said in AR Resonance Mouthpieces:
...... Jet-Tone. Yeah, I know the current ones are reproductions and some people are obsessed with the originals...
I will go on record as being one of the individuals recognizing the performance advantage I had of my vintage Jet-tone, but that was an impression not based on the inferiority of the newer Jet-tone but more on the revelation perspective of "let the buyer beware" perspective.
I had an original Studio B and was told by a music store owner that the "Al Hirt" model was an exact copy. It wasn't. The newer Al Hirt model I still have feels comfortable, but it does not have the range enhancement match of the original Studio B (that was actually given to me by Maynard Ferguson). I only got the newer replacement when I thought I lost my Studio B, panicked as I had a lead gig to play soon after realizing I could not find the Studio B. Fortunately, I soon found the original Studio B so all was well for that gig.
Now let me jump ahead about a decade, when I had Jasson Harrelson make me a 5 mm Studio B copy. It was prefect in every way, from the feel to the ease of high range performance. ONE DIFFERENCE and to the advantage. The 5 mm allowed me to play with the backbore as Jason's 5 mm mouthpieces are modular composites. I found his version reproduced a true Jet-tone copy on the front end with a new backbore creation that provided an performance endurance to the original Studio B. The problem I had with the Studio B was after about an hour of playing, I would start bottoming out as fatigue set in. With the Harreslon copy and the larger backbore, I have yet had the problem with bottoming out over time.
@shepherds_crook said in How many is too many?:
N+1 has caused much personal tension for years. I went through a heavy season of acquiring more horns and really enjoyed that experience... but finally got to a point when I realized that certain ones weren’t getting played often enough and I felt I’d hit the ‘too many’ threshold. Instead of N+1, I would go N-1 or 2, and then +1 again. The tension is when I want to keep them all ... but reason ultimately helps me through that dilemma. 3 trumpets, 1 pocket and 1 Flugel is the current situation. I added the pocket and a DaCarbo in the past year. Not sorry about either ... but that may change.
PS: I have one of his +1's. I have one of Sounds7's +1's. I have one of ANA Mendez's +1's. So does that make me a humanitarian? ...or gullible?
Several years ago, I commissioned Wayne (BigDub) to paint this portrait of my dog Emily.
I am so rewarded by his excellent work, as now, this portrait serves as providing the fondest memory of this lovely spirit, as I had to put Emily down today do to progressive deterioration from a stoke she had last April. This picture is how I remember her. Wayne truly caught her personality in her eyes. Thank you Wayne!
@administrator said in I have decided on a Superhorn!!:
I have made a decision. I found a horn on TrumpetHerald marketplace that I would consider a rather rare & valuable trumpet. It is an Olds Super Recording, ~1941, completely restored by Charlie Melk.
Da ja vu all over again. My Olds Super Recording was restored by Charlie Melk. I do love the horn. Wait to you see how easy this horn is to play. It will spoil you in making you feel you have to work harder on other horns (unless of course the other horn would be a Harrelson).
@administrator said in Differences between Olds models:
Specifically, if you can tell me the difference between "Recording" and "Super Recording" models. Thank you!
These are very different 
trumpets from one another. The Super Recording is light, has a lot of vibratory action that makes it brighter and more accurate for slotting over the Recording. It is much easier and kinder on endurance when playing in the high range.
The Recording is darker and heavier and plays with more resistance over the Super Recording. It is less forgiving and challenges more with slotting. Actually it is more of a slotting challenge than the Ambassador. But it is versatile, more so than the others and toggles flawlessly between a classical or jazz venue, as the performer, when learning to master this instrument can deliver a crisp classical run but to also pump out a dark, flowing ballad. For that last function, I prefer the Recording over the Super Recording.
There are so many fine tunes for flugelhorn. Many of which are ballads (like the sample offered above), but I am finding more and more Brazilian bossa novas are perfect for flugelhorn.
There is no "One size fits all " answer for this topic, and good sound recommendations are dependent upon the entry level of the performer.
What ever method or routine is chosen, woodsheding is a must.
I have a very prolific saying that puts things into perspective. "If practice makes perfect, but nobody is perfect, why practice?"
So before I give out the answer to this question, I would love to hear others' answers.
@chelpres said in An Unusual Chet Baker Artifact?:
@dr-go I thought your avatar had a "ring" to it.
Yes. My TM avatar was my original design for a "Music in Medicine" symposium I helped develop for a medical school lecture series.
Then I used that design to send to Jason Harrelson to insert as a brace in my tuning slide of my Summit. The avatar version I use here on TB is a picture of that plated insert Jason put into my tuning slide.
@jamiejazz said in An Unusual Chet Baker Artifact?:
@dr-go Lol!
You know, this just encourages him. So many thanks!!!
