@ROWUK said in LOGGING-IN PROBLEMS:

I can log in with my MacMini, but no longer with my iPad. I have changed the password, reinstalled Safari, rebooted - it simply does not work. I have found no google info on similar issues.

I get the log in screen, enter user ROWUK and password, it just sits there.

I suspect some hidden credential that does not allow multiple devices. Probably a setting for the admin somewhere.

Since changing my password this Am as a test, I am now able to log in again and am logged in on 2 different machines concurrently.

Well, changing my password does indeed seem to do the trick.

Question is, what if you get locked out - create a new account all the time? Doesn't seem like a good approach.

I wonder if this situation has any connection to how much shorter the list of those posting these days is relative to the list of registered users . . . .

I started having the same problem a few months ago. This machine is "remembered" - can't log in from any other. A wrong entry is instantly responded to, but a correct set of credentials triggers a file download function instead of logging me in - and the downloaded file looks like a credential (not good from a security standpoint). Once my login on this PC expires, I will be locked out.

This may have something to do with the lack of posts.

This is very odd. I have never heard of anyone having a reaction to a fully gold plated piece - is something else perhaps contaminating it?

As for plastic, I have seen quite a few examples and the cheap ones tend to be just that. However, I was quite surprised (especially given that the plastic trumpet it came with was absolute garbage), but I found the piece that came with an Allora Aere to be surprisingly decent. The whole horn is about $120 new (not worth it) and used/broken they sell for $25-$50 as spare parts on EBay.

@administrator said in Vinzenz Schrottenbach:

@OldSchoolEuph said in Vinzenz Schrottenbach:

@Dale-Proctor Yes, but the US entry into the war, generally thought to have been heavily influenced by a political marketing campaign highlighting the Lusitania, was not until April 1917. The ship was struck near shore by a single torpedo intended to cripple it. The massive loss of life was a result of loose coal dust not being properly cleaned-up in the bunkers which after being thrown into the air by the shock wave, detonated. This was used by American hawks to cast the German/Austrian side in a very negative light - quite effectively as we see by the actions of 1917.

[TANGENT]
The Germans had declared unrestricted submarine warfare against the USA at that point in time. The modern narrative is to frame the nation's entry into the war as a political move, something with which I have come to disagree. There are lots of fantastic lectures about the subject available on YouTube.

It is a very complex matter - though I would contend that political actions (such as governance itself) are inherently political.

The US at that time was deeply divided on many fronts - Bach's own Austro-Hungarian Empire was not much different. The world was debating extremes of capitalist and socialist concepts, moderates often finding no room just as today, driven by the socio-cultural impact of the industrial revolution. Rural populations were migrating to urban centers, which were expanding rapidly in an uncontrolled manner and the "wholesome" way of life of past generations was beset with all of the chaos, crime, congestion, and new social dynamics of that transition. In the US, the Jeffersonian concept of America (agrarian-subsistence, village-based, pacifist and isolationist society) had collided head-on with industrial reality when the US defeated one of the Great Powers (Spain) by blowing one of the world's top 3 navies out of the water while only sustaining a single casualty to a heart attack on the US side in a matter of hours (Manila Bay) in 1898. That event shook not just Jeffersonian America, but all of Europe - which suddenly had a new threat to contend with. It is a major driver behind why Bach had to serve a second tour on his military service, which had not been typical since the Franco-Prussian war ended. (WWI was his 3rd tour of military service - just on a different side).

It is worth mentioning here that the transformation of the American self-image from a Jeffersonian one to a world power also factors significantly in the emergence of the uniquely American long cornet at this time. I have written about this before, so I'll just some it up as "a bigger more powerful horn (and star voice of popular music, thus embodiment of the national cultural image) for a bigger more powerful nation".

The clash between urban and rural, industrial and agrarian, globalist and Jeffersonian manifested not just in the emergence of labor unions that altered forever how instruments are made (and the standard of living of an entire socio-economic strata), but in a clash between imperialist hawks and a strong neo-Jeffersonian isolationist/pacifist movement. The demographics of this clash were weighted significantly (though far from exclusively) male on the hawk side and female on the isolationist. As women could not vote at that time, the true conflict of desires in the country was not always evident in its political realities. This disenfranchisement and disconnect gave fuel to so-called "women's issues" like suffrage, temperance and the disastrous prohibition experiment in the US, and following WWI (which had women been able to vote the US likely would never have entered), an even stronger pacifist/isolationist movement that hamstrung Roosevelt's efforts to aid Britain and prepare the US military for the inevitable.

Bach's experiences in the middle of this must have been remarkable - seeing the same social dynamics playing out on opposite sides of the conflict, coping with the ultimately inescapable nature of it for him personally, and so on. One must wonder what impact on his approach to life that "no escape" experience may have had - certainly it probably emboldened him to persevere against terrible business odds during the depression - and probably helped foster his "whatever it takes" attitudes.

[Super-tangent] Actually, the Germanic nations had declared unrestricted warfare against shipping servicing/supplying the allied powers. Any nation, not just the US, was targeted thusly if it continued to engage in commerce with those powers. That view of "against the USA" is just another reflection of the globalist (inherently self-important) view that arose in the US in urban opposition to Jeffersonian ideals.

@Dale-Proctor Yes, but the US entry into the war, generally thought to have been heavily influenced by a political marketing campaign highlighting the Lusitania, was not until April 1917. The ship was struck near shore by a single torpedo intended to cripple it. The massive loss of life was a result of loose coal dust not being properly cleaned-up in the bunkers which after being thrown into the air by the shock wave, detonated. This was used by American hawks to cast the German/Austrian side in a very negative light - quite effectively as we see by the actions of 1917.

Wow, what a moment in history.

That shows Bach on tour in England in 1914 holding the Besson cornet he arrived in the US with (and which subsequently disappeared from the Bach plant after being acquired and handed over to the company). This is moments before the onset of WWI would force Bach to choose between being arrested as an enemy combatant (he was an Austrian Navy reservist), or fleeing to the US on the Lusitania a couple years before its sinking would bring the US into that war and draft Bach into an Army in combat with the military in which he had, and technically should have been, serving. He won the assistant principal trumpet slot in Boston auditioning on that horn in his hands - says a lot about his skills.

@flugelgirl said in Recommendations for used silverplated professional trumpet:

B&S is another to consider - quite well made, but don’t generally go for high prices in the American market.
As far as Jupiter XO valves, go, though - I have seen zero issues. We regularly get them new, show demo, and very used, and though I have seen plenty of plating wear primarily from those that have been in the hands of sweaty kids, I have yet to see valve problems from the heavily used. I see hundreds per year now in all conditions, so a pretty good cross section.

I have definitely seen Jupiter monel valves with major issues - porosity to be specific. I posted a detailed analysis of what was going on with photos back on TM - unfortunately gone now. I still have the horn from that and both the failed and the replacement set of pistons that were sent no questions asked (service rep sounded like it was a common issue). I have seen a couple of others over the intervening years as well - though Jupiter backed away from monel, so it has dropped off.

I am stunned to see such low values on Courtois Evos and some others. Courtois was the oldest trumpet maker in existence before Buffet (Meinl) wiped them out and made the name a trombone stencil in order to clear the way for their B&S brand (that would never have been able to compete in the pro market otherwise in Europe). Be it defining the Victorian era cornet with their Arbuckle design, or some of the first top-notch C trumpets, the mid-century Leblanc horns like the Sonics, all the way to the Evolution series, Courtois consistently built top tier horns (and a full line most of the time all the way down to entry level - often for others to stencil). These prices are a fantastic bargain.

Wow, if remarkably benign, typical, and non-controversial threads need to be locked as a routine practice, that's a sad commentary on this forum.