Posts made by Dr GO

@Dr-Mark said in Tone Centering for Trumpet (Centering & Tuning) Part III:
...I would also suggest that a trumpet probably isn't very resonant under the sea,..

That depends. Are you referring to the double hi-seas?

@Dr-Mark said in Tone Centering for Trumpet (Centering & Tuning) Part III:

@Dr-GO said in Tone Centering for Trumpet (Centering & Tuning) Part III:

As a moderator, can we make this educational?

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Oh my yes! Allow me to refer you to the original post Part III. It also contains two other sites, parts I & II. My hope is that it helps someone who wants help with improving their sound if they feel it needs improving.
Hope this helps

It helps.

@ROWUK said in Tone Centering for Trumpet (Centering & Tuning) Part III:

Fortunately, fine trumpets do not have knife edge slots so we can manage and still get great tone. Monette talks a lot about pitch center and how we muscle our bodies to correct design faults and other bad habits. I have done a lot of the things that he recommends and can say that the journey involves more than the resonant center of the instrument. We have to reduce body tension in a serious way to really benefit from the resonant center.

Thankd Rowuk for this perspective. This has been my experience as well. Tension reduction and efficiency are key to the performer. And if the performer is on task than the audience will appreciate a high quality performance.

@Dr-Mark said in Tone Centering for Trumpet (Centering & Tuning) Part III:

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My goodness this sure does have a prosecutorial slant to it. I think I'll just stick with what the original post has to offer.
Thanks

As a moderator, can we make this educational? So back to my original question that I would appreciate your answer to try to enlighten my understanding of the concepts you are trying to convey:

Does not one lead to the other? Why would one work so hard to develop good centered tone if not to achieve the goal of delivering a good tonal performance for the audience?

@Dr-Mark said in Tone Centering for Trumpet (Centering & Tuning) Part III:

@Dr-GO
Ok Dr. Mark.... Give me #3

I think you are missing the purpose of the post. Its to help people with developing a good centered tone. Not the subjective topic of what I call a good tone.

Does not one lead to the other? Why would one work so hard to develop good centered tone if not to achieve the goal of delivering a good tonal performance for the audience.

You even said in response to Kehaulani; Hi Kehaulani,
I'm sure we all are introspective at some level, but if the sound quality (the best sound the player and that particular trumpet can make) isn't there then where does that leave the person? Music is very subjective so with that said, for me, a good sound is paramount.

So am I missing the point can you see why that would be?

Ok Dr. Mark.... Give me #3

@Dr-Mark said in Tone Centering for Trumpet (Centering & Tuning) Part III:

@Dr-GO
#2 my daughter

@Dr-Mark said in Tone Centering for Trumpet (Centering & Tuning) Part III:

@Dr-GO said in Tone Centering for Trumpet (Centering & Tuning) Part III:

Dr. Mark, if you could provide me the name of a trumpet player that conveys a good sound to you.

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Absolutely. Music and sound preference is subjective. For my ears, me.

So who would be #2... and I am amazed you did not choose your daughter as first!

@Kehaulani said in Tone Centering for Trumpet (Centering & Tuning) Part III:

@Dr-Mark said in Tone Centering for Trumpet (Centering & Tuning) Part III:

@Kehaulani said in Tone Centering for Trumpet (Centering & Tuning) Part III:

be introspective in evaluating what the notes really mean, technically and musically.

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Hi Kehaulani,
. . . where does that leave the person? Music is very subjective so with that said, for me, a good sound is paramount. The first thing that draws me toward a trumpet player is their sound.

To me, sound is an inherent part of your musicality.

and your individuality. It is your voice!

@Dr-Mark said in Tone Centering for Trumpet (Centering & Tuning) Part III:
...Music is very subjective so with that said, for me, a good sound is paramount. The first thing that draws me toward a trumpet player is their sound.

And so is the audience. As you noted, the fist thing that draws you to a trumpet player is their sound. And that is true of other members of the audience. So a good sound to one individual may not be a good sound to another (hence the subjectivity you so appropriately noted). However with all of this said, it would be of interest to me, Dr. Mark, if you could provide me the name of a trumpet player that conveys a good sound to you.

Let me start since I feel the person making such a request should lead by example. For me a great sound for the trumpet as I like to hear it is represented by Till Bronner. His tone is clear, and yet he can whisper with it to drive the ear of the listener in. Very effective and this is what distinguishes his sound from others.

@Bob-Pixley said in How Do You Give the Audience a Sonic Experience?:

Dynamics. Make the soft sections really soft and the loud parts really LOUD! Contrast is your ally for keeping the music interesting. Of course, playing well is a given, and yes, if you look like you're glad to be there and are having fun, the audience will respond.

I so agree. This is essential. The power of dynamics (especially playing softer) really brings the audiences' ears into understanding the musicality behind the performance.

I do believe the types of metals has some real contribution to the perceived quality of sound. An example is the general impression that the sound quality of the Martin Committee began to falter during the mid-1950's. The US Government in 1952 put restrictions on the lead content of metal alloys. Prior to this, the Committee did have a lead alloy component to there earlier model horns.

@grune said in Does a large bore horn take more air?:

@Dr-GO said in Does a large bore horn take more air?:

@grune said in Does a large bore horn take more air?:

I can produce an amplitude from a small m/p equal to a large m/p. But the resultant tone from that small m/p will be very different from the larger one.

What is your experience?

One must be careful because a small m/p can pinch the sound. Especially as fatigue sets in. I have used a Jettone Studio B for lead playing and in prior experience began to fatigue 2 hours into a gig. However, I had Jason Harrelson make me a Studio B exact rim/cup copy, but he put a larger throat into it with his 5mm assembly. That small change really opened up the performance of that small rim/cup combination. So if you can diminish the resistance behind the mouthpiece, from my experience, you can open up the sound of small cup sizes.

@Dr-Mark said in How Do You Give the Audience a Sonic Experience?:
Finally, when I'm finished, I always take time to talk to the audience that hung around to see me and sign autographs...

For me, I like to hang around to rap with the audience. And to prove the point, this is me at the last gig that demonstrates my function in the band as the "w-rapper" which is always good to get some snickers from the audience!

@grune said in Does a large bore horn take more air?:

Beyond the intrinsic properties, I have found the mouthpiece to be the most critical factor for me, for all aspects... With my horn, particularly, the differences in "colour" are amazing between small and large mouthpieces... Its shank has been honed down to fit into the lead pipe without a gap. I know "gap" is a very contentious issue, but no-gap definitely plays best for horn and me.

I agree completely. But my experience is less with the cup size and more with the backbore. That is what most influences how the mouthpiece delivers the sound wave to the lead pipe. Getting the sound wave to hit at the peak of amplitude as it "hits" the leadpipe is key. This is less a function of cup size, and more a function of the brand of mouthpiece and the make of the trumpet.

@Dr-Mark said in How Do You Give the Audience a Sonic Experience?:
...the only way I leave without greeting everyone is if I have to shoot out of there because I have another show to do which requires a quick rinse off in their restroom and a change of shirts before I get to the next venue.

Dr. Mark on his way to his next Sonic Gig:

@grune said in Does a large bore horn take more air?:

@Niner said in Does a large bore horn take more air?:

Long ago, I sampled a variety of horns of various metals, when Yamaha was breaking into the market. It was a fascinating experience. Yamaha made horns with alloys and pure metals. Cost them a fortune to do. A pure lead metal horn created a nearly pure sine wave on the oscilloscope: too pure, no overtones, the sound was terrible. A pure copper horn was so mellow and soft, it could not be heard against even a clarinet! A pure silver horn was very bright, tending to shrill. The solid metal horns were extremely fragile. Then came the alloys; gold, silver, copper, tin, aluminium, nickel, yellow brass, and others I cannot recall. When all was tried, said and done, the horns that were considered the best for sound, projection, and playability were yellow brass!

Here is rare footage of two horns, one made of silver and one made of copper, found burred with King Tut, with interesting tone variance from metallurgy dating back to about 3,000 years ago:

Trying to understand this, are overtones more a function of lip placement or the qualities of the horn?

Thomas Moore at Department of Physics Rollins College Winter Park, Florida states: "However, brass instruments that are primarily conical still have a flaring bell so the mouthpiece, bell flare, and tubing all must work in concert to keep the overtones harmonically related."

Randy Adams even suggests this relationship in another article he has written: "When we buzz into the trumpet the instrument picks up these vibrations and amplifies them providing its own characteristic tone color. If the information being supplied (airflow and vibration frequency) fits the length and shape of the tubing receiving it, we have achieved what the instrument was designed to produce – a beautiful, resonant, clear sound. Voila! If only it were that simple! But having a better understanding of overtones, resonance and acoustics will give us a clearer picture of what we are looking for in tone quality and a better idea of how to accomplish this physically."
https://banddirectorstalkshop.com/tone-centering-for-trumpet-part-i-overtones/

So I do think Randy Adams in the original post is addressing one side of the overtone function. Matching the lip vibration style to the horn characteristics generates a combined effect on the spectrum of overtone production.

@grune said in Does a large bore horn take more air?:

@Dr-GO

And you still need oxygen, glucose and ATP to "light the flame" provided more naturally, by lips directing the air flow "exciting" the column of air in the horn. Did you notice the lecturer light the torch in air... not in a vacuum. Thanks for posting this video to help support my position.

sonic.
[ˈsänik]
ADJECTIVE
denoting, relating to, or of the nature of sound or sound waves.

For the non-musician the nature of the sound or sound wave may be more tolerated when not providing excessive energy (loudness).

How many times have we musicians been told by an audience member that the music is too loud and to play softer?
THEN
How many times have we musicians been told by an audience member that the music is to soft and to play louder?