Posts made by flugelgirl

@Niner you shouldn’t feel sad about supporting Kelly first. Family owned business and super nice people who actually make something playable that they use themselves. I met them at NAMM and they were great!

Generally most mouthpieces are silver plated brass. While plenty of players have allergic reactions to nickel or even silver or gold, I have yet to hear of an actual case of lead poisoning from a mouthpiece. I’ve also seen plenty of people play on unplated mouthpieces with no ill effects, though my face would be a giant rash. I wouldn’t waste much time worrying about it - I ‘m pretty sure they could catch worse stuff from dirty attic horns or public bathrooms. I would worry more about the grandkids getting their vaccinations and eating their vegetables than from lead poisoning from your mouthpiece that has not yet affected you after years of playing.

@Dr-Mark part of the reason I say this is because I worked with a student whose regular teacher had hosed him all up by telling him his teeth had to be perfectly aligned and his mouthpiece perfectly in the middle before he could play. He spent so much time trying to get set to play, and his sound was horrible! Got him into a pickup the horn breathe, play, put it down and repeat exercise, and and by that afternoon his world had changed. I hope he never went back to that teacher!
Another player I went to college with decided to experiment with his mouthpiece placement over the summer for no apparent reason and ruined his playing for about 3 years. A big shame - he was an amazing player before that!
Sure, some people need help, but 99% of them need more help with air than embouchure.

@Dr-Mark sounds like the brace needs to be bent to fit the tubing - if the tubing is pushed to the brace instead of the brace fit to the tubing the pressure can pull them apart again. It also sounds like you may need to find a better tech, but that depends on your other experience with this tech, I guess.

They were built with input from mariachi players. I think the Bach was built for a specific player whose name escapes me - the Yamaha just specifies input from players of that genre. They don’t play anything alike - the Yamaha is closer to a lead horn, the Bach is quite versatile.

As far as picc is concerned, you simply can’t approach it like a Bb. It is it’s own unique animal, and if you don’t treat it that way you won’t make progress. How many times have you seen a player who is fantastic on Bb pick up a picc for the first time and barely be able to get out a few notes? I’ve seen that a lot! When I started playing picc I spent about a year fooling with it on my own before I got serious and studied with a good teacher. That’s when I started to make real progress.

@J-Jericho good question - not really sure, but safe to say that bell flare and throat size do make a difference in the way a horn plays on any brass instrument.

Trombone bells also vary tons from one brand/model to another - not nearly as standard as in the trumpet world. I’ve been making my own bucket mutes for a while, and have found that I can make one universal size that will fit just about any trumpet. I’ve just started designing one for trombone, and am working on patterns for two sizes that will fit any bell, but it’s an awful lot harder! My trombone friends may have to wait a bit longer for their mutes.

Sound concept is important, but you won’t reach the sound in your head without changing technique from one horn to the next. Cornet is an odd beast, though - sound will really vary greatly depending on brand/model/wrap, and mouthpiece used. I find less variation in flugel, though some take a lot more work to match my particular sound concept. Since my flugel sound gets me gigs, I use the combination that makes it easiest for me to achieve that sound.

Yes -air control is key. Overblow a flugel and not only will you be sharp, but you’ll also lose the characteristic sound. Same with cornet, and intonation is very different to control than trumpet. Just because it has 3 valves and is in Bb doesn’t mean you can approach it the same way.

I really think this depends solely on condition. A vintage student horn may be worn out or have had enough previous damage to make it unreliable. A newer model may have the same issues if used. I bought my niece a mint condition Olds Ambassador when she started, and it’s a very good player. It’s in near perfect condition right down to the lacquer. However, an Ambassador I worked on recently was just horribly worn, and not a good player at all. Same thing with pro models - condition makes a huge difference in the playability of the horn with few exceptions.
I’ve been recommending the Jupiter intermediate models to a lot of our customers because they play extremely well, and buying new or demo means you don’t have to worry about damage or wear.

In WA you have the option to either get a regular or expanded license- the expanded license enables you to cross the border by land or sea, and requires the same type of security check as a passport. If your state has this option it may be a good time to get it. We didn’t have to choose a specific office to get it, I think all of them offer it in our area.

John’s a pretty awesome guy and a good player. I played with him several times during joint concerts when he was Air Force and I was Navy.

@Dr-Mark I never really had that disconnect when the horn was in my hands - always happened when I sat in a classroom taking notes without it. When teaching Jazz theory to students, I’ve found that it helps them understand if you say “Here’s a chord, now arpegiate it. Play the scales associated with it, see why they work.” It also helps to show them the patters, but make them make up their own improv from the patterns. Helps get rid of that “play your exercises on the bandstand” thing when you promote creativity in lessons.

I wouldn’t say all trumpets look the same now - Bach’s still look like Bach’s, Schilkes also have their own specific look, and the two Adams Bbs I play are quite distinctive. We could easily play this game with modern horns.

I find that theory study makes the most sense when you immediately play what you have just learned. Analysis of improv solos is also helpful to understand the relationship of the theory behind what you hear, especially if you transcribe and analyze your own solos. One of my college teachers had me do a lot of that, and it really helps me to understand what I want to play and make what I hear in my head become reality.

LOL - guess I haven’t had my King Master out in a bit! I’ll have to remedy that

I’m surprised JoshLandress isn’t on this list yet - besides being a great tech he sells a lot of nice horns. He’s a super nice person, too! I’ve bought horns from him,sold with him, and was a repair client when I was on the East Coast. I’ll throw in another vote for Trent Austin as well, who is one of my favorite people, and i’ve Had good experience with Dillon Music as well. There’s still some nice small business choices out there!

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.

Just tried the search - type in trumpet mouthpiece in the “search this store” box, and then choose auction in the buying options. Then they all pop up!