I am a total believer in putting it on your face and not thinking about it - let it work where it’s naturally meant to work. If we were all the same, than the same formula for placement or equipment would work for everyone. I have seen people destroy themselves by overthinking and changing for no real reason other than to see if “maybe it works better over here”, or trying to get some textbook formula of placement. I have seen students struggle because teachers told them their teeth had to align perfectly before they could play, so the student spent several minutes trying to line up teeth and embouchure every time they tried to play, and all sorts of other foolishness. Unless your embouchure is truly messed up and weird, it’s better not to mess with it, especially over the internet where no one can really see what you’re doing. A couple of lessons to make sure you’re not damaging yourself with a good teacher would be the way to go.

Here’s one I took for work - that’s our mascot, Primo! Head tech made him out of old mutes and woodwind mouthpieces and caps. I’ve started taking yearly holiday photos of him

Range building should be a long term goal, not a short term goal. Musical Directors can hope all they want, but you can only build what you can build, and we’re all different. Don’t hurt yourself to force out some unreliable pitches that aren’t part of your regular daily ability. Build what you can and find a musical way around the rest - your audience will thank you, and so will your chops!

I figured I would add to this discussion by posting a link to my shop’s page - I do fairly regular blog posts there, usually about the more interesting horns that cross my bench. I’ve had a few that belong in this category because even though they might be in perfect shape, they don’t function properly in a modern playing situation. This one is a prime example - perfect and beautiful but not a good player, probably why they didn’t make it for long! It sold easily to a collector, though.
https://www.brassandwinds.com/blogs/news/1921-conn-20a-flugelhorn

I second a lot of what has been said here, but would also add that iReal pro is much better for backing tracks than the others mentioned. You can download a huge library of tracks, and use them in any key you want, unlike Abersolds, which sometimes do standards in weird keys. You can also play them in any style, so when you learn more and want to get creative the options are open. It’s also easy to create tracks to go along with books of licks or scales.
Another thing I would highly recommend is finding a big band to play in if you can. One of the things that really changes between jazz and classical are articulations and cutoffs. Spend some time in a section following a decent lead player and you will get better at both. Check out Craig Fraederich’s books - the theory book sets things up pretty simply for jazz beginners and has playing exercises to go along with the written activities. He also has some free stuff on his website that is excellent.
Biggest thing, listen constantly!! Also, listen to more than just trumpet players

Funny how no one is shaming fat old men in speedos.......
Really, though - what’s the problem with old ladies with tattoos? I intend to be one eventually, and feel zero shame about it.

Technicians tend to keep our info to ourselves because we’ve seen what happens when DIYers work on stuff, and it’s almost never good. It can be hard to guide a good apprentice right in front of you, and even harder to guide anonymous folks on the internet. There’s a reason we go to school and/or apprentice with good techs - it’s a hard trade to learn! Not only do we not want to lose any possible sources of income, but we also want to save you from breaking more than you fix and having a higher repair bill in the end. We also don’t want to be blamed for giving you just enough info to be a danger to your equipment, and then be blamed for it. The same goes for pro players/teachers, although it applies more to lost income. There are many players doing some kind of YouTube free lessons, but you don’t end up with the full benefit of the lesson without feedback from the teacher. Sometimes it’s just enough info to be dangerous as well, depending on the student and the lesson.
I’ve been getting paid to play for 35 years, and as a tech for 3.5 years. Neither pays enough that I live any sort of glamorous life, though having the benefit of a pension from my career in Navy bands has made my repair career a possibility. During COVID, both pro musicians and techs have suffered, many to the point of needing to change careers. Many have not only lost income, but also gigs that would advance their careers. I definitely lost two gigs due to Covid that would have helped me quite a bit! Many techs that lost business have also had to deal with the possibility of being exposed to Covid through customer horns - not an easy living, for sure. Since I work on horns before they go up for sale, I try to send as much business to local techs as I can. If you don’t use them, they may not be there to help when you need them!

I thought you all might enjoy my latest bench post - I do certainly get to work on some fun stuff!
https://www.brassandwinds.com/blogs/news/what-s-on-my-bench-a-1904-conn-connquerer-cornet

It’s fine to say “buy the best”, but then we have many other arguments on what is the best and why. When you get into professional trumpets, you don’t necessarily get into better quality for every dollar spent. You do get to the point of buying one instrument over another because it suits you better. A prime argument is that I could spend $1k more for a Bach or Yamaha than I did for my Adams A1, but they don’t suit me as well. Then we get into the vintage horn argument - is it really a bang for your buck if it’s a pro model and costs you less, but is worn to the point of being unplayable. There is a Connstellation on my bench that I would never think of gigging on, but I could grab any one of those Jupiter 1100s and have a successful gig tomorrow. In 5 years my chances would still be better on that Jupiter than on some of the worn out Bach Strads we’ve had that badly need a valve job, though the Jupiter may not have the same resale value as either of those horns. Are we looking for resale value or playability? Good questions to consider!
I also agree with comments about Manchester Brass and Carolbrass - nice players at their price point.

Finally found that on iPad, if I resize to square the pics will upload!! 1939 King Silver Tone Master cornet, silver finish with gold accents. Love how this one plays!! All it needed was a clean, and even came with original case and case candy.

Bob Findley also did the Gong Show, MASH, and Love Boat, and I believe both Bob and Chuck were on the Rocky movies. They both taught at the jazz camp I went to growing up - the stories they told were awesome!

I recommend a professional cleaning every 1-3 yrs, more often if you don’t clean regularly, but you can get away with less if you do. I give my own daily players a yearly chem or ultrasonic cleaning (depending on age). It’s definitely important that casings are cleaned as well as pistons, especially when using synthetic oils. I have flushed out many a horn with dried up rocks of synthetic oils clinging to the inside of the casings! A good tech is properly trained on the chemicals and equipment they use, and can use them safely. If you have a good tech in your area, trust them to do the job. I say this not to make money for myself or other techs, but because I’ve worked on so many home “fixes” gone wrong. You save money by not creating more work, and get a better-playing horn as well.

@kehaulani he asked for wide wrap horns, so…..

We haven’t had any lately. If I remember correctly,that’s what the Adams A6 is based on,but it’s a much better horn!

@rjkossman go see your local tech. I’m pretty sure Allied makes a part that will work, but they only sell to shops.

Brent Peters at Puje trumpets does

I love my F2 - the Yamahas play like toys in comparison.

@orly61 You should really contact the dealer about these issues. I would suspect that your valves may be dragging because of hand placement - new valves with close tolerances do not like to be hit sideways. Check your pistons for any spots where they have rubbed, and that should tell you where your hand position strays. If your horn has a buzz that it shouldn’t, that is a sure sign of a warranty repair or replacement. That could signify anything from a valve spring to a leak or even a broken bell bead, and should be handled under warranty.

These days advanced degrees are not a given that an applicant will make a premier audition. After college loan repayment programs started, I ended up working with lots of musicians with MA and PHD in the fleet bands. Fleet/ field bands shouldn’t be overlooked - they are still a great career option, and I certainly enjoyed the opportunity to move to different locations and travel more than the premier bands do. For any military band, an audition is required, along with medical screening and background checks. Most musicians end up with a secret clearance because you end up playing ceremonies in spaces that can require it, so a clean background is a must. Upon acceptance, all bands require boot camp except The President’s Own, and all fleet/field bands except Air Force have a required school to pass after boot camp. Contact your closest local bands for more information, and contact a recruiter to set up an audition. If he only plans to join as a musician, he should not sign any paperwork until he passes the audition and is accepted into the music program. Good luck to him!

Yup, that’s a factory finish. During that time period you could get them in silver. I’ve played a few - they feel a bit different than the earlier ones.