Following a frustratingly long turn around time for having the lead pipe repair, I got my Miyashiro back last weekend. As I mentioned, I had the lacquer stripped after the repair.
Back home in my studio I sat down and set out to run through my daily routine (Irons Method, Clarke's, running my maj/min/dom7 and blues scales) and after 5 or 10 minutes of getting my chops warm (if not completely ready) I had a realization that I did not expect; I'm working harder to make notes on this than I do on my Committee.
Now, I'm a re-entry player of intermediate skill level, and I'm not enough in tune with my approach to my playing to be aware of how I am changing it to match a given horn. I know that I do, whether it's air support, embouchure, speed and volume of air, or even my posture, but I don't know the details of those details. I know that I can produce pianissimo notes, low in the register, on my Committee with gentle, precise attacks. And even though some of the note transitions (depending on valves used) are sometimes not as effortless as they are on other horns, I know how to manage my air to make them more precise. It was a shock to me that the Yamaha would be harder for me to play than the Committee, but then I felt that way about the Committee when I first got it, following a year of playing the Japanese horn.
I got the Martin out and played some passages back to back on both horns, before returning to the Miyashiro for the rest of my routine. My lead suggested perhaps I had been opening my embouchure up to play the Martin, and that the Yamaha doesn't respond as well to that. I'm not experienced enough to weigh in on that.
I'm not looking for any deep truths or discoveries here. Perhaps the takeaway is simply that within the broad spectrum of trumpet design and playing characteristics, the Committee is probably the one which is the outlier. I don't know that I'd have the same experience if I'd been playing my Benge or Olds for three months and returned to the Yamaha.
We'll see what the coming days and weeks bring.