Posts made by ROWUK

@barliman2001 Thank you, but I want to be sure that everyone understands that I did not demand anything. I am more interested in the "root cause" of things. Maybe there is a good reason that I have not seen.
My thoughts are that on a site like this with limited active members, anything that reduces accessibility changes the way that we treat threads - further reducing eagerness to post.
I have seen other forums that occasionally bump threads to the top to get more "action". This is exactly the opposite.
I would be happy to know what the community thinks. Maybe I am just too old and grumpy.

@bob-pixley The Eb Ambassador A11E trumpet is in the 1978 pricelist:
http://rouses.net/trumpet/olds78/olds78price2.htm

The D slide was an additional $25.

I suspect that this was intended for marching band. I do remember some marching charts like El Cumbanchero with Eb parts.

The intonation issues are "solvable".

@barliman2001 I guess, I just disagree in principle with locking down non-abusive threads - regardless of age. I see no logic or necessity (your argumentation of cluttering simply does not apply in my view), but I guess I have never really felt "at home" here - at least not enough to start actively posting. I find this behavior of locking down unique to you and not standard at any other forums that I am a member of.

This issue is not enough to make me stop visiting, but it certainly was enough reason to address the issue. As I said, it is just one of the things here that I find unnecessarily "annoying".

Kehaulani, perhaps it does not matter but I felt a need to address what I feel is an admin looking for work instead of a valuable forum feature. I do understand that this was never policy. I know that Elmar is not doing this with malicious intent, but I have the impression that this is not something that anyone ever asked for.

I really do not spend much time here (there are various reasons), but when I do, I sometimes find very annoying things.

Today: Multiple threads were locked down "for obvious reasons" - but no obvious reasons were anywhere to be found. Could it be that the threads are cleansed and then locked down? If they are censured, what does the lock accomplish? If there is no indication as to why, how does the casual user even make sense of what goes and what does not. What is the motivation on locking threads down? Is there a policy governing this?

As I had an administrative function at TrumpetMaster, there was regularly an "urge" to lock down a thread not going anywhere. We (I) only did when the posting got really ugly. The ugly words were replaced with a clear note as to why. Sometimes the member got a vacation. Keeping threads open kept them alive. A bump after a year or two brought forgotten subjects back to life - even if the original poster was long gone.

I would appreciate a real reason when threads are locked down. I never appreciate completely deleting anyones posts - or intentions. Unsuitable language is easy enough to smooth out and publicly document.

I am not expecting or demanding an answer. I would consider a detailed why in the respective threads to be "courteous".

"Too many" is a term for ones opinion of someone elses collection.

There are performers that play various venues and need various horns, there are players with one venue but like to use various horns, there are collectors with a purpose and collectors without purpose. Then there are those with more money than common sense.

Add to that our own relationship and we see that number of horns is a very dynamic thing. What works this year can be different even after a month or two.

My collection (now 20 trumpets) has always been "right sized". I always had a performance reason (mostly for historically informed playing ensembles) to buy the next instrument, and today I am only missing one instrument - a rotary valved C-trumpet of my own design (not TARV). The covid pandemic got in the way of that one and I have learned some stuff in the mean time that changed the game.

Here is "another" collection. If you have an issue with 4 letter words, don't click this link. Miles was, well, Miles.

https://www.goodreads.com/author/quotes/54761.Miles_Davis

@curlydoc Wyntons classical recordings are relatively old. I remember the Hummel on a Schilke Eb and the Picc stuff also on a Schilke.
I think that if he were to make a current recording, he probably would get a made to purpose horn from Dave Monette.

@furcifer we do not, or did not disagree.
As far as getting market share, there are a lot of factors involved - many having nothing to do with quality.
I still maintain that a "vintage" trumpet is not necessarily a good choice for someone in high school - unless someone can responsibly confirm intonation, valve condition and playability beforehand.

My first instrument was a 1911 Holton Long Cornet that I inherited from my grandfather in the late '60s. He used spit and water instead of valve oil and the condition of the valves certainly were a "problem". I was lucky and had a trumpet playing music teacher that worked with my parents to get me another horn in excellent playing condition. It was like pulling the cork out! Now 50+ years later, I am still performing professionally (with other horns). With the playing handicap of the old horn, who knows what I would be doing today.

The human state is a huge shoebox full of single entities. The process for learning is to emulate first and then through the coordination of things collected in the shoebox, we get a result.
I would offer that the "beginning" jazz trumpeter with a "classical" mindset needs building blocks and structure to get started. Scales and chords should be memorized. Then Aebersol is much less daunting.

The next step is to fill that shoebox with melodies - memorized. Any of the fakebooks are great for standards! They also provide snippets of structure that help us keep from getting lost

@barliman2001 My take is that the body talks to us - and we make decisions based on what we heard and understood. Soft, slow, easy repetitions, long tones without articulation in the beginning - just exhale into the horn and let come what comes. Do this for a couple of days. If your body does not complain, add articulation. Avoid anything with compression.

@barliman2001 I certainly agree with keeping politics out. The line quickly becomes fuzzy and the opinions are affected by global warming. There is a lot that the "average westerner" or "easterner" does not know and the online"pick your subject matter" experts now have swung over to "eastern Europe" politics - where they have equal brainlessness.
I can only recommend NOT using asocial media as a primary source to build an opinion. Try some real research in history first.

Offering an arrangement for free that applies to a current world "event"/"situation" is admirable in my eyes. Musicians have always supported peace and understanding - unless you were the lead trumpet in the Buddy Rich Big Band...

That all being said, we will be welcoming a refugee family in our home shortly. Civilians deserve the right of pursuit of happiness and bullets make that tough. I hope that they like trumpet instead...

@administrator Not if we wait 20-30 seconds after letting the balloon deflate.

If you blow up simple party balloons for 10 minutes a day, your lung capacity increases dramatically. Blow them up slowly (20-30 seconds) as large as possible with one breath, release the air, wait 20-30 seconds, repeat. DO NOT TRY TO DECREASE THE TIME THAT YOU USE TO FILL UP. The goal is a bigger balloon, not more repetitions! Stop if you feel dizziness coming on. We train good habits by NOT APPLYING FORCE.

The next step for advanced practitioners is then to blow up hot water bottles.

@dr-go The floor as a stand creates the greatest distance and strain for the back. Only recommended in combination with Yoga.

@mike-ansberry I am not sure that the Getzen will ever be one of those "rare finds" that command top dollar. If the hook is professionally attached, all traces can be removed during a restoration. I would go for it!

If the pictures really represented the horn, a buyer backing out is pretty lame. I think that it is a buyers market for a 2B and the condition (including the valves) would have to be exceptional to get much more than $300. Without knowing what other issues the horn has, I would suspect that investing will not match the returns.

@furcifer I am not sure that Bach Snob is really a valid generalization. Most of the trumpeters that I know and have known, play what they play and certainly NEVER picked their horn for snobbish reasons. There is a reason that Bach is popular - it simply sounds good. Great core and blend. Easy to play (well most of the Bb are) and their reputation is built on that sound. There was a time when almost nothing else was found in the major symphony orchestras. Players that trained the current generation of top teachers - many of which have switched to Yamaha. Fast forward 30 years and we now see that Yamaha in fact has taken the lead - in student, intermediate and pro trumpets. Schilke has jumped on the same bandwagon - with the HD model. The B&S Challenger series also shares a similar core sound.

My point was that a vintage trumpet is not necessarily a good choice for someone in high school and that a generally accepted "standard" type instrument is a better base instrument. Certainly Bach has withstood the test of time (including hard times) - can we say that about the defunct Martin corporation? What happened to Holton, Buescher, Conn and Olds? Where are Selmer Trumpets today? They did not die because of snobbery.

I am a professional in Europe where Bach is generally not the instrument of choice. My main piston axe is a Monette Raja C trumpet, my second most used piston axe is a Bach C trumpet that I bought in 1975. I play far more rotary and valveless instruments however. Still, in the best interest of a student, we do need to consider things, even if we ourselves have the freedom to do other things.

My advice would be to FORGET VINTAGE TRUMPETS at your stage of development. Generally, we need a primary instrument that blends well, is in tune and has an easy blow. Vintage trumpets mostly sound different, might not even be optimally in tune (many were built for a lower pitch than common for today) and could even be an issue for getting into ensembles. In addition, old trumpets are exactly that - old and unless they have been fully restored, you may have mechanical issues.

You will do yourself a great favor by saving up and getting one of the more "standard" models: Yamaha 6xxx, B&S Challenger, Jupiter, Bach 180, Getzen 900. You will be rewarded with an instrument that will not be in the way later in your "career". The problem is that players get passed over because of their instruments not "blending" - without anyone telling them. I have a Bach C trumpet for ensembles that "prefer" that standard sound - even although it is not my favorite instrument. I would rather keep the gig instead of "proving a point" where only I lose.

That being said, once you have a solid every day "go to" instrument, additional horns can increase the available colors. If you are into jazz, there is more room for "individuality" after you have found your own voice

@vulgano-brother Intonation issues can have hundreds of reasons (like the parts simply not working together). In the modification of my Bach 229 CL, I found a lot of things.

1. the position of the bell braces "lock" the various slots in, The G and C in the staff seem to be most affected by the bell brace closest to the mouthpiece. Strong slots will make the instrument harder to play. I suggest trying to move that brace closer to the valve block (or just removing it for testing).
2. I use a heavier bottom valve cap on valve 3. That stabilized a lot of things
3. the receiver/mouthpiece gap did not change the intonation, but it did improve my feeling of being connected to the horn. My artisan had a mouthpiece shank shaped tool and he inserted and tapped with a hammer. I suspect that this compressed the brass slightly and let the mouthpiece be inserted more deeply and firmly.
4. Round tuning slides never worked for me. I tried ovate, D shapes and round ones with the D shape having the most "core", the "ovate" having the most colors, and round neither.
5. I also discovered that at least with the Bach, it was beneficial for intonation to have a slightly smaller bore where the bell meets the valve block. I accomplished this by making a tuning bell. The braces are permanently attached to the bell, and use adjustable slides on the leadpipe (like with adjustable 3rd slide finger rings)

Looking at your horn, I get the impression that the round tuning slide is cylindrical. That makes the leadpipe VERY short. On the short horns, I think that a tapered tuning slide could be beneficial. Even better would probably be to use a cornet as the base for a D trumpet. The Eb cornets that I have played generally have better intonation than the Eb trumpets.

I suspect that although the instrument is well put together, the R&D to balance everything out is missing. My Selmer Radial2° D/Eb only has the 4th space E and Eb way too low. I have had the horn since 1975 and just have never gotten around to doing anything with it. I will one day.