Posts made by Trumpetb

There are many reasons why this could be happening, but lets assume the instrument should play and you have the right valves for the instrument.

I assume from your post that the air is being blocked somehow so I will address that.

There could be some blockage in for example the ports between the valves.

Let us first try to make sure the valves are in the right chambers.

Remove all the valves.

Now blow into the mouthpipe and see if air freely exits the mouthpipe into the third chamber with no restriction.

If it does place the third valve in its chamber and secure it with valve guide located. Then blow again into the mouthpipe. If the air is blocked then you have a wrong valve or a valve wrongly fitted.

Reseat the valve 180 degrees apart and see if the air now blows through.

If you cannot get the air to blow through then it is probably a wrong valve try the others and see if the air will blow through.

If the air blows through with the third valve fitted then move on to the second.

Fit the second valve and try to blow through, if you cannot blow through then try the valve 180 degrees the other way.

If you can blow through then fit the first valve and try to blow through.

I know it sounds a bit daft but this method should reveal if the air will move through the instrument with no valves pressed, and also will check all ports between valves are clear.

Once the air blows through you can test there is no blockage in the valve slides by blowing through and then as you blow press a valve.

Once you have made sure air passes through the instrument with no valves pressed and with each valve pressed then there is no blockages.

I assume that one of these tests will reveal a blockage somewhere.

If no blockages exists then you should have the valves all correctly fitted and the instrument should then play.

@barliman2001

Thanks for replying I guess we must live with it.

@Dr-GO

Thanks I will be looking at ribbon mics.

I already have audacity, a zoom H2n mic with inbuilt analog / digital interface and a bunch of cables. I need to set up a physical studio with good sound deadening and a bunch more gear.

Im looking to move my home from rented accommodation soon so I will set up in my new place when I am there and then we will see the truth of it.

I have found some sound engineers recommendations on how to set up a studio for trumpet recordings - how to select and place mics to create a full sound stage appropriate to the instrument, so I am well on my way.

I have been called tenacious more than once. I think trumpet players have to be tenacious to make progress.

Being able to hear the sounds we are producing is critically important to correct development, we have two ears and one mouth for a reason.

If there is one thing I have learned it is that audiences love what we do and want to hear us I just need to make the quality as good as I possibly can so I dont let them down.

Respect DR-GO

@Dr-GO

I agree with GeorgeB

All we musicians have is our sound and to be told you sound like Clifford means you must have a great sound and we cannot hope for anything better than this.

Lol Dr

My issue is a huge difference between what I hear when I play and what I hear when a smartphone recording of my playing is played back.

I have decided that audiences must be right and my ears must be right but what bugs me is the many professional trumpet players who have repeatedly tried to convince me that a hand held smartphone produces high quality recordings and whatever you sound like on a smartphone is exactly how you sound in real life.

I can tell you exactly why that is total BS.

The 3 dollar microphone in a smartphone that is hand held cannot possibly record faithfully what a trumpet sounds like in real life but these guys tell me the complete opposite.

I also know the extreme lengths that sound engineers have to go through to have any chance of making good recordings of trumpets

So are these guys blowing through their rear ends as I believe they are or am I completely wrong.

I am working on setting up a home studio in the next few months to resolve this but this really bugs me.

I have no problem gigging and performing by the way so this is not affecting my performances in any way.

Its just these trumpet players who seem completely out of touch with reality and I just dont expect that of fellow brass musicians

Thanks George, my problem however is an unusual one and I admit it confuses me.

I dont usually blow my own trumpet so to speak for fear of being accused of bragging but here goes.

I have been invited (by their members) to play in a premier orchestra, and also in several bands of all kinds and genres.

Countless members of the public tell me I play beautifully, dozens of musicians tell me I play beautifully I have been recorded and filmed many times I have played before politicians.

In so many ways I have approvals and critical acclaim from all. I have had the whole nine yards, but all recordings of me sound very bad and I have never heard any recording that says anything other than beginner.

So far I have had no access to any studio time, all the studios were closed for 2 years during lockdown and right now I dont have the time.

All the recordings of me so far are on mobile phone from several yards away or a simple stick mic on a camera. Having said that one recording was made by a film crew with sound recordist but I have never had the chance to hear the result.

Apart from that one filming session, nobody who understands anything about sound recording has recorded me to date, and I do not have a home practice area.

I am confident that my ears do not deceive me.

So who do I believe, the whole world who tell me I play exceptionally well or the recordings that tell me I play like an untutored beginner.

Can I trust politicians audiences and musicians, or should I trust recordings that say that the whole world is wrong, or can I trust neither.

I have spoken many times to professional trumpet players who claim to be knowledgeable on recordings and they have assured me that a samsung mobile phone or an iphone recording hand held from several yards away will faithfully record a trumpet when I tell them that in my opinion it wont.

I believe that good sound equipment and a knowledgeable sound engineer is needed to faithfully record a trumpet

It is not about being a better player than I think I am it is about who do I trust the entire world or mobile phone recordings. What has thrown me is the experienced trumpet players who all claim that mobile phones make great recording devices and tell me I should trust them.

So why dont bands release tracks recorded on mobile phones I ask myself if all you need is a samsung or an iphone to make the highest quality recordings.

What is your opinion and do you see my issues.

This is not a complaint but an observation of an issue.

Many old threads are getting locked. I have no problem with this locking of ancient threads, it is in my opinion a good idea, but the way it is done is causing an issue due to the way the site software operates.

When locking a thread the moderator quite reasonably and properly adds a comment saying it is locked and why and that is good practice.

The problem is the adding of the comment that the thread was locked bumps the thread right to the top of the list above all recent threads.

The result is several pages of ancient threads right at the top all of which are locked and it looks to the casual observer like there is no activity on the site and no comments are wanted on threads.

So we see over 100 ancient 2019 threads or so all locked and we dont see any active recent threads until page 7 or 8. Check out the lounge to see this

Can the ancient locked threads be moved back to the bottom where they belong and can the threads be prevented from being bumped when locked or the site could quickly become an ocean of unuseable threads.

I am in favour of the locking of the threads it is the result due to the software actions that I am not too keen on

@a-j-trumpet

That is very interesting a j I have tried to find the Burba video based on your post but have only found a german version.

I am keen to understand Burbas mouth cavity method technique and reasoning.

Can you point me to an english version or failing that can you explain Burbas thoughts and approach to mouth cavity its purpose its effect and its application.

I use mouth cavity control myself but I suspect there may be some significant differences between my mouth cavity approach and Burbas mouth cavity approach as these two approaches developed independently of each other and possibly solve quite different problems.

Hi Dr GO

That recording is truly excellent.

I withdraw my offer on the basis that I dont measure up.

I will get back to you in 9,999 hours as you suggest

I took you at your word and as an experiment half valved my cornet and the sound I got out of the bell was a realistic representation of a hippo farting in a john.

I suspect your 10,000 hours may have been far more focussed and productive than my feeble attempts.

You got me on a technicality

@ Dr Go

Do you need a Triangle player????

I recently worked out that if a player has 1 hour free each day for practice in these busy times, if 5 minutes is allowed for warmup and 5 minutes for warmdown, and the player rests as much as they play, then they only have 20 minutes per day of real practice time.

365 x 20 minutes gives 121 hours a year and that means that mastery will take 82 years to reach if it takes 10,000 hours.

I cannot afford to waste time learning this instrument if I will die before I can master it.

Consequently I have decided to move my practice to the Triangle and keep the trumpet for fun.

As I understand it the Triangle has a less steep learning curve.

You are the first to know.

Is it possible for Bix to exist today with the internet and music resources so widely available.

Bix could not read music other than on a rudimentary level.

He was not trained in cornet or any brass instrument

He had to work out how to play and used alternate fingerings because he did not know correct fingerings

This led to a number of things, he developed a unique phrasing and style, and he did not write down his improvs or use licks.

In his last appearance he stood and was unable to play anything his improvs deserted him. If he were a modern player with licks a plenty and a strategy for jazz improv he would not have had a problem but instead would have made it through that performance.

He was replaced in the band because of being unable to play when called upon to do so.

If he were born today he would have access to theory training and software that would have moulded him to use correct technique correct fingering a huge number of licks and jazz phrases plus access to Jamey Abersold.

Would he have any chance of becoming the great man that Bix became in his lifetime.

Possibly, but I doubt it.

Students learn to be as their teacher, Bix had no teacher and was free to develop to his full potential in areas that mattered.

I believe that if he was born today Bix would not be Bix.

I believe that the saying keep a fighter hungry applies, Bix was hungry for Jazz and when he couldnt find what he needed he invented it and we all benefit from that.

Long live Bix, the musician the seeker the inventor the ground breaking Jazz man.

Forever we will be in his debt

This ability to play a single sustained note for 59 minutes is a game changer for me,

I thought I had too few tunes in my set when gigging, I see now that I dont need more tunes I just need longer notes.

Circular breathing opens the door to 30 minute notes for me and a larger paycheck for less effort.

I could make a tune last 24 hours with this approach.

I may pick up the drum sticks and repeat the 2370 beats per minute of that 10 year old who beat the old record, Who needs to learn rhythm when you can kick out almost 3000 beats per minute.

This performance and the 59 minute sustained note are clearly pushing the boundaries of music.

Some say we have lost real music to the sideshow but I say I cant wait until we have the 3 hour sustained note and the 10,000 beats per minute drum solo,

In your dreams Buddy Rich and Miles you guys hadnt got a clue about real music.

My sound is dark rich and fragile

I got it by changing instruments mouthpieces and embouchure incrementally moving in small stages towards the sound I wanted until I got there.

@Dr-GO

I have heard that players of a very high standard have a natural ability to play in tune without needing the third slide adjuster.

Hary James was one such, but this is dependent on the quality of the instrument to allow this.

I know Harry spent a lot of time searching for instruments that would easily play in tune across their entire range in his hands.

Trumpet design is such that I find it hard to believe that even the Committe fine as it is, is in tune perfectly throughout its range. It is a laws of physics and laws of acoustics thing.

While all instruments are equal in this regard, some are more equal than others I think.

I believe that your skill allows you to unconsciously play in tune without realising that you are bringing the natively out of tune notes into tune without using the slide adjuster.

I do concede however that the exceptional qualities of the Committee perhaps makes it easier to achieve this unconscious tunefulness than a more strongly slotting instrument might do.

I believe Kehaulani also has this ability to unconsciously and easily play the Committee in tune without resorting to the slide adjuster. Chet and Miles also had this ability I think.

I have seen a similar thing before in other players of great talent who easily play very low quality tuneless instruments and play them magnificently where the likes of myself would struggle with them.

Forgive my assumptions here.

@GeorgeB

I used to have to read and understand legal documents and legal documents have to be so precise in meaning that they quickly become confusing in their clarity.

English can be very convoluted in meaning and I too suffer when trying to comprehend the meaning behind some of the more complex writing.

We all have our own unique abilities that make us who we are and I would gladly trade some of my pointless abilities to have a deeper understanding of music to the level of yourself and of the other members in here.

Respect to you George

Agreed J.Jericho

Logic questions of this kind typically rely upon being imprecise in the question, leaving it open to interpretation and you have focused upon the central issue, that of the meaning of fathers and the meaning of yours.

Yours and Your's would have two different meanings depending upon your interpretation of the use of the possessive apostrophe in father's and the lack of the apostrophe in yours.

Yours can mean all that we associate with the collective you, Your's however has a more and slightly different meaning of that which belongs to you.

Carrots five dollars, means carrots collectively are the equivalent of five dollars whatever that means, however carrot's five dollars means the five dollars belonging to carrots.

The use or lack of use of the possessive apostrophe can therefore change fundamentally the meaning and sense of a statement.

The common misuse of the possessive apostrophe raises the question here, how is yours intended to be interpreted, and I think you are right to focus upon that given the uncertainty in its general use, as opening the door to more than one meaning to the question.

To me the use of the possessive apostrophe in father's and not in yours, suggests my sons father belongs to your father (your, meaning me, as the subject of the statement) but then goes on to say, What relative of yours.

Abandoning the possessive apostrophe having just used it in father's is saying that the author as the relative (the author) does not belong to you (me).

It therefore reads wrong, and I think intentionally so, so as to set up the very uncertainty of meaning of yours, that you focus upon.

In effect the author is asking what relation am I to you, when I am not related to you at all which of course is in itself illogical, and that very illogicality in the question turns what might be an easily understood statement or question into a teaser.

My reasoning is
the questioner has a son
the father of that son is my fathers only child
my father has only one child
therefore I must be the father of the child
the child is the questioners son
the sex of the questioner is not known
I am a parent of the child and I am male
the questioner is the other parent and cannot be male
the questioner is therefore female and the childs mother
for me to be the father of the child in law then I must be married to the other parent
The questioner must therefore be my wife