I've done gigs like that. Even played Bitburg, too.
Not only beer but Schnaps or Kirshwasser or Obstler. Dangerous stuff.
My policy was for the band to always stay one drink behind the crowd. That way they stay a little drunker than you. I think it worked. At least that's what I'm told. 
To your second question, Committees don't require the third valve slide. Also, on fast moving notes on standard horns, I just lip the D and Db down, while on more drawn out notes, I might use the slide.
Why are you taking this so seriously? A rule of thumb, I accepted year ago, that every act I didn't like acted, first and foremost, as a mirror to myself. This strikes me as fairly good natured comments.
This is a very nice interpretation.
The first trumpet transcription I heard was by Mendez. More in your face. This Hakan version is very nice and smooth by comparison..
Mendez:
But the narrower this "nailing a note on the head" is, the more different it is when getting into remote keys. A low D may may need compensating for in some keys but no problem in others.
On a far end of the scale, is the Committee, which has "loose" slotting. The advantage to this is that you might lip any note and still keep easily-produced good tone.
The downside of this is that, if you can't produce excellent intonation and turn this to your advantage, your intonation may be squirrely.
@Dr-Mark said in How about a "Random Meaningless Image...let's see them string"?:
@SSmith1226
Steve Jobs & Bill Gates
They've had more of an impact on the human race than a religion.
I would think that statement, while not diminishing their influence, is highly questionable.
A one-of-a-kind giant.
Regarding mortality, I was bemoaning something a good thirty years ago, I said to a friend, "Life isn't fair". She looked at me and said, "Kehaulani. If life was fair, you'd be dead by now. "
Life isn't fair. R.I.P Wayne. You've shown us the way.".
I think they used Ghost Oil.
Boy, I really liked that. I've conducted it a number of times but not like that. On what do they base the shortened notes in the first part and on their dynamics in general? Is that the Age of Enlightenment Orchestra? If not, who? And who is the conductor?
I'll just jump in here so you'll know you're not being ignored. I don't know of any professional trumpets in that price range.
@Niner said in Lead found in brass horn mouthpieces:
Then I was looking at ebay and noticed that I could have gotten some plastic mouthpieces from China for a lot less. Like a boatload of them for lots cheaper. Like 20 of them for less than $12.
You don't always get what you pay for but you almost always don't get what you don't pay for.
Is that Schmuck-Passage in Salzburg? I've got a photo there of the same thing.
BTW, I've got another photo, Salzburg also, for Fu King Chinese Restaurant. The puns went rampant.
Well, you've got a problem. boy. 
I would give a stock answer and tell you play them all and get the one that rings your bell. You might find that, after you've made your choice, you say, "Maybe I should've gotten the , , , "
I can't speak to all, but I got a Bach 190-37. It was ideal. Had a beautiful, rich sound, played well and was meticulously made. I had to trade it for someting lighter. Know that this is not a negative. It is not a heavy horn. I have had two major strokes and am weak on my left side and just decided to get something lighter. And know that I I have never been a Bach product person, so this is really saying something about the horn.
BTAIM, back to my original suggestion. Take the ne you most well respomd to.
I was in a D.C. band that toured the Virgin Islands. They had to rename the place after the band got back.
Does it matter? Fact is, there are trumpets made with cornet characteristics and cornets with trumpet characteristics, Same for mouthpieces. Do you want a characteristic sound, get a horn and ,mouthpiece combination that produces that.
Just from my point of view, I don't miss any of these threads, must not have been important to me. What mostly turns me off are squabbles that wind up focusing on minutia, going nowhere productive or practical as far as I can see. Also, threads that get overly technical and which seem to emhasise the theoretical not how things ctually are. In other words, for the average reader, just too technical. I'm not talking about musical details, BTW.
But I just mainly turn off to these threads and no censorship is needed. To use an analogy, if you overhear a discussion you don't want to participate in, just keep walking by. Sometimes I don't do that and can't keep out of the discussion, myself, but the fact is I can still ignore them. In these cases, censorship should not be necessary.
Well, I'm not quite sure what you want but I'll just contribute this and it's personal. What works for one doesn't always work for another.
In my first generation of trumpet playing I just was average. Played better than a lot at North Texas, not as good as others. Then I concentrated on writing and then on conducting, taking a long hiatus from playing. When I did get back to playing, it was on woodwinds (ww), not trumpet. I eventually came back to brasses.
One psychological thing was a carry-over from ww playing and that is, instead of a bunch of gyrations getting upper octave on WWs, you just moved your thumb. Yeah, you made a little adjustment but compared to what I had previously done on trumpet, it was easy and simple.
So, when I returned to trumpet, I used the same psychological concept. Keep it (octave jumps) easy and just think of flipping a switch, not going through muscled gyrations. That concept of playing easily served me well.
Pedagogically, I went to Jeff Smiley's The Balanced Embouchure and Maggio's book and system. My range went from the former workable range of A above the staff and a possible High C, to a workable E above High C and a playable Double High C.
I don't know if I expressed this well, but the point is playing with the least possible strain.
If rowuk posts here he might disagree with me, but regarding the Circle of Breath explanation, and that it might be too much to process all at once, I would think that some of this information might, in real life, be parsed out over a couple of lessons. Which translates to several weeks. If presented like that it gives more time for it to sink in.
The basis for this concept probably can be given as introduction, but unfolding all of the information may take a little time. And for those needing more clarification, I'll bet a teacher will pace himself.