Topics created by tjveloce

Lovely!
I do have one in stock at Ernie Williamson Music - we are one of the largest Lotus dealers...

erniewilliamson.com

@dale-proctor Thank you for the information. I’ll look for a period correct saddle and have my horn tech install one.

-tj

Who Dey having these horns are lucky ones.

Oh yeah, I don’t want to go down that philosophical rat hole, because it leads to all kinds of conundrums, such as “is ‘my sound’ the sound that naturally comes out of my horn, or is it the sound that I want to have come out of my horn after years of playing other people’s music the sound of which I’ve either agreed or disagreed with, then tossed the disagreeable characteristics out and kept the agreeable components, thus inculcating someone else’s sound but tempered and tinged with the elements of my own equipment, age, physiognomy and perspective….damn my brain hurts now.

-tj

@dr-go said in In search of “my horn.”:

Interesting perspective that "my horn" is really someone else's horn that the listener tends to admire. That was what roped me into the Getzen 4-valve Etena. Was a real fan of Rick Braun, and at the time I was in the market for a flugelhorn, that is the horn I chose and he is the reason why. However, I sound like me on it, not like Rick Braun, and I am OK with that.

@administrator said in King Silvertone Cornet:

I think they're quite attractive. I would like to have one.

This one is available for purchase. It’s in the San Francisco Bay Area (Santa Cruz) and I’m going to help the owner find a suitable home for it. I went and saw the horn in person today, played it a little, and got the history. I’ll post the report shortly. In the mean time, if you’re interested, contact me privately.

I have no interest in the horn nor a financial stake in it. I can only say that despite not knowing much about cornets or this particular model, it is in the parlance of the vintage car world, a “Barn Find.”

-tj

Man, I was at a jazz festival years ago and stayed at the same hotel as a lot of the performers. Late on Saturday night, a jam session erupted in the lobby, and went on for hours. Brian Lynch was one of the group, and I sat down there right in front and drank it all in till about 3 in the morning. That guy was phenomenal !

@kehaulani said in What’s your “sound” and how do you get it?:

So my sound is just as good as I can make it on any given day.

And there is nothing wrong with that...
George

@tjveloce no booth - we go as buyers. It’s when we negotiate the big deals 😉

@J-Jericho

Best reply ever.

-tj

@tjveloce

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.

IMG_5129.jpg

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.

-tj

@tjveloce said in Blessing Artist gifted to me:

@BigDub said in Blessing Artist gifted to me:

@tjveloce said in Blessing Artist gifted to me:

@BigDub said in Blessing Artist gifted to me:

I think the case was made by the Hopeless company if I am not mistaken. Or, it’s a Conn Artist's case. Not sure.

Really? Hopeless? That was a brand? Or are you pulling my leg?

-tj

It was a "Hopeless Case". Humor. Pulling your leg, yes.
"Con Artist", that is not a case either..........

Man....I'm dense today. I blame lack of sleep!

-tj
At least you have an excuse. For some it’s a constant. My heart goes out to them........

Logan is great!

Haven't heard of the other one, I'll check him out. Thanks for the tip!