Best posts made by flugelgirl

@ButchA they are great for parades - it’s exactly what they’re meant for, and sizes run pretty true so they’re comfortable and easy to play. I used one for quite a while in the Navy in extreme cold weather playing and marching. I eventually switched over to an ACB acrylic top on brass backbore that matched my usual mpcs, and they do project better, but you will be just fine on a Kelly. I spoke to the folks that make them at NAMM this year - super nice people, making a product they use themselves. I’ve gifted them to friends and students - one friend’s little kids had all but destroyed her favorite mouthpiece and she was about to start playing in a community band again. I got her one in purple, and no matter how many times her kids got it, there wasn’t a scratch on it!

We got a bunch of B&S and Schertzer last year and they’ve all been wonderful! We still have a limited amount of B&S left - Challenger II Bb and C, and Exquisite Eb. They’ve all been perfect right out of the box.

I’m not much of a gardener, but I usually do a few veggies and herbs. Here’s a nice Big Bertha pepper I have right now

Dan Oberloh in Seattle, who I apprenticed with, also does a lot of valve jobs with plenty shipped from overseas. You could contact him as well.

When the bubble was first introduced, it was a regular Harmon that was pushed into shape and made individually for each player, to be in tune for them. I didn’t know this until playing with a guy about 10yrs ago who had one that had been done for him when he was growing up. Interesting to see how to take an idea and grow it into a product.

@shifty Could be - boss buys a lot of stuff! My next bench post is a special one, better than a Connstellation! Should be up tomorrow or Monday

I have an 8A - fun horn to play, and sounds great with a short shank deep mpc.

My situation as a tech is different than most as the majority of the stuff I work on belongs to the shop and has not been sold yet. However, we do occasionally do some return and repair for customer care issues. In these cases I always speak up if there is a chance I won’t be able to make it look as nice as it did before. I will also send the more complicated things that might be outside my current ability to the head tech. If this shop has more than one tech you may need to discuss with management. If he’s a shop owner, dispute it but find someone better. As far as what you can get with the dispute, it will probably depend on your state’s laws, and what your tech is willing to admit to. If you don’t have dated photos of what it looked like before, you might not get much. My personal gear is insured under its own policy, which includes repair costs. You may want to look at this option in the future.

A bunch of makers, including Wedge, ACB, Reeves, Warburton, Stork, probably Curry and maybe others I’ve missed will do mouthpiece consults. It helps take the guesswork out of what to try next. A lesson with a local pro may also help, rather than trying to figure it out all on your own.

I wouldn’t really go for a vintage C if you want something reliable unless you’re certain it’s in good condition. Many of them do not really have great intonation, and were built with a different sound concept in mind than what’s currently acceptable for an orchestral setting. However, I play a vintage Schilke, it plays quite well in tune, but I use it more for church services and brass quintet than anything else. My last C was a French Besson Classic and they are quite good for any situation- built by Kanstul and can be picked up at a fair price. Good one to look for - I only sold mine because it didn’t suit me as well as my Schilke does. We have plenty of Yamaha in stock, and my favorites are the Chicago and the NY with Malone bell. PM if you’re interested in one of them and I can tell you my personal favorites in stock as I play test them all. When testing, I check for intonation, resonance, and general ease of play, and if the horn meets that criteria and I could gig comfortably with it tomorrow, I recommend it first to customers.
www.brassandwinds.com

@Niner Yup, and all the brass cross my bench before they sell

Here’s the only thing I’ve done lately to pimp any of my horns - pearls on my C5L were worn out, so I had my buddy Brent (PUJE trumpets) replace them with stones. They turned out nice, and are much better than the worn, uneven surface of the old pearls! He offered to sell me the inlays, but I have enough projects and he’s all set up for it. I’d already put it off long enough!
I tend to buy horns I already like and switch them out when I don’t. I’ve play tested enough to realize that you can play horns from different manufacturers with the same features and they will be completely different. With some manufacturers multiple horns of the same model feel completely different! I’ve also realized that horns are tools, and as players we grow and change. What worked for you 10yrs ago may be holding you back today, and there’s no shame in switching to something that suits your needs better.

I love my Torpedo cases - I have several singles plus a triple I use for my flugel. I find the pockets on them can hold plenty of extras, but I use a separate bag for mutes. My mutes are expensive, and I don’t like to pack them so tightly together, as is needed for the supplied mute bag. The cases aren’t cheap, but they are very protective and hold up very well. My oldest one is 11yrs old and shows very little wear, though it has traveled extensively!

You see this sometimes with band directors who are woodwind players and only know two common brands. Sometimes a student can get by with something else if they show it to the band director first so they see it’s not junk. These days more teachers want to see a kid with a horn with both 1st saddle and 3rd slide, but most who are restrictive about brands are just trying to keep the kids from starting on junk horns.

@Tobylou8 It is super tiny! That was a Bach 184 it was next to.

My favorite of the lower cost pics is the Jupiter - find one and you won’t regret it. They play waaayyyy above their price point, and are better than any Getzen or Selmer I’ve played. Another nice one that may be easier to find in the European market is the Fides - played one at NAMM last year and it was quite a nice player.

Generally, short or long shank will change intonation on a horn, depending on which shank it was built for. While it’s possible to use a long shank on some horns meant for a short, it’s not optimal. Horns built for a long shank will not accept a short. In general, most cornets built before 1950 take a short shank, with a few exceptions. Not sure about the condensation in yours, but if they accept a short shank, they probably should be using one. As far as car products on horns, it may not be wise to be breathing that in.... I know I wouldn’t! I would worry less about what it’s doing to the horn than what it might be doing to you.

My Puje has a Carol valve block and plays very well. It’s also rare that I see a problem with a Jupiter valve block, unless the oil on it is too thick. The tolerances on new Jupiter are pretty tight. I actually keep a Jupiter intermediate under my bench for practice when I don’t bring a horn to work - it’s no replacement for my Adams, but it does play very well! Jupiter 1100 series are more of a stripped down pro model than a dressed-up student, and do quite well as a lower priced model.

I know the first one is a Getzen Super Deluxe - I have one. I also have a Getzen Super Deluxe 90 that will be selling through the shop soon, in really great shape if anyone has any interest. I’m making room in my colllection for other things - had my fun with this one and now I’m done with it.

@Vulgano-Brother I agree. Where once their picc was the best lower cost option, it is not today. There are other options that are much better at the same price point or lower.