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J. Jericho

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  1. I like your use of the word "infamous"; I think it's appropriate. By way of illustration, I'll relate a couple of my mouthpiece experiences, keeping in mind that YMMV. Many years ago my teacher insisted that I use a Bach 5C, and I spent a year and a half struggling to overcome difficulty in my attacks. Later, I decided to try a Bach 3C as a result of reading many players' comments about this mouthpiece. Well, with the 3C my attack difficulty disappeared instantly, completely, and permanently. Over time there was no further acclimation time. I then went on a mouthpiece safari, trying perhaps twenty 3C variants, which I tried and gave each a couple of weeks to see if my reaction to them would change, but I always preferred my Bach 3C. I bought an additional 3C to use with another trumpet of mine, and I made an interesting discovery. One day I switched mouthpieces between them. One of them felt like it played just a slight bit better, and I wondered why. Well, I measured them and found that the one that played better had a 26 throat, compared to the standard 27 throat on the other one. I then reamed the 27 throat to a 26, and as a result I could no longer distinguish between the two mouthpieces. In another instance I was having serious intonation problems with a cornet of mine, also using a Bach 3C. I reached out to Mark Curry, and he suggested his 3DC, which I purchased. This time, after I plugged the mouthpiece in, I sounded like I was playing a trash can. I was horrified, but I knew enough to not judge yet. The next day, the intonation problems had improved dramatically, and the sound was what I expected from the cornet, not the trumpet-like sound I had been getting with the Bach 3C. Now, I understand that it has been said that the biggest difference between a trumpet and a cornet besides the appearance (Let's exclude the Conn Connstellation, which in both forms is a long trumpet wrap.), is the approach we take to playing these instruments, so that may have been a factor, but it doesn't explain that the sound and intonation were still undesirable when I retried the 3C. I subsequently stumbled across a Benge 3, and it plays even better than the Curry. Personally, I find that it takes virtually no time for me to adapt to a mouthpiece; the way it plays right away almost always is the way it's going to play from then on. No waiting three months to confirm my evaluation. There are those who find this difficult to accept, because their experience is different, also finding it difficult to accept that this process works differently among players regardless of skill level or experience, as I have stated previously. I'm happy that you've found a mouthpiece that works so well for you, and I hope that it will continue to do so. I think it will.
  2. J. Jericho

    Uprgrade question

    IMO $500 will buy you a shiny, new trumpet, and they're easy to find. Finding a shiny, new trumpet that plays well and won't wear out or fall apart before your eyes takes considerably more money.
  3. J. Jericho

    Uprgrade question

    My best suggestion (and you should consider others as well) is to find an Olds Special, the nickel-silver/brass one with the bronze bell flare. An image can be found here: http://rouses.net/trumpet/olds66/specialtpt.htm . IMO it has no vices, intonation is decent, as is the sound. Olds brass instruments earned a reputation for durability and for excellent valves. Olds also committed to the appearance of their horns; they designed visual appeal into every horn, not a bad thing at all. It has a relatively bright sound, which is fine, but if you want a darker sound, the Olds Special will respond nicely to a deeper mouthpiece. Although some consider this model to be an intermediate-level instrument, there are players who have used it professionally who would dispute this characterization. Be careful to look for one that has not been molested, has a decent finish, and one that has good valve compression. It's not too hard to find one that meets these specifications. Be aware that, although almost all you find will have at least acceptable compression, if you end up with one that doesn't, you'll be looking spending about $450 to make things right. If you find a good one and for some reason this model doesn't fit you or suit you, rest assured that you can recover your investment by reselling it.
  4. I like the Humes & Berg #111. It may look splashy, but it's sturdy, and it plays in tune.
  5. https://www.nemc.com/resources/articles/valve-oil-the-more-you-kno_54
  6. I use frisbees. They're light, flat (which makes them easy to transport), big enough to catch the drips, and easy to clean.
  7. The best suggestion I can come up with is to evaluate a mouthpiece once you have gotten to the point where its performance is predictable. A mouthpiece should enable you to easily produce the timbre you want (within the limits of the player/mouthpiece/instrument combination), crisp articulation, and quick response. However, ultimately the sound created will be your sound, and the differences in mouthpieces will make relatives changes (due to design) in your sound. This is why, for instance, the same trumpet or mouthpiece will sound and feel "dark" to one player and "bright" to another. Some players require considerable time to acclimate, while for others this time can be very short, and one's overall level of ability does not seem to predict how long or short this time frame is; it's a separate, individual skill.
  8. eBay would be a good place to get a feel for its value. Do a search for your model to see what's currently available, then scroll down the menu on the left side of the page until you get to the category "Show only", then click on "Sold Items". This will give you an idea what these trumpets actually have been selling for. Compare the condition to yours to the ones for sale and the ones sold, and you'll have a reasonable idea of how to market your horn.
  9. Is there a way to edit posts after they have been published?
  10. Best wishes to you. I seems like you may have the determination to make it work!
  11. A used cornet can be found that will play better than any new one from India, as the Indian ones have the reputation of being not from the bottom of the barrel, but rather the dirt and scum under the barrel, figuratively speaking. The one that you purchased has the potential to unfairly discourage you from pursuing your interest in playing. You'd be better served by trying something like an Olds Ambassador, a Selmer Bundy, a King 6XX series, or a Conn Director, among others, like student models from Buescher and Holton. These are all time-proven durable and reliable starter horns in a similar price range that enable students to learn the basics and then move on to more sophisticated instruments. In addition, any of these horns can be resold at a price similar to what you paid, whereas some might consider reselling an Indian brass instrument to be as unethical as selling a new one.
  12. J. Jericho

    Blue Juice?

    If Al Cass Fast works for you, why not order some from wwbw.com?
  13. Find another repair shop. I'd want a second opinion at least. Metal fatigue in a trumpet is not unheard of, but it's not common, either.
  14. I prefer triggers. I also like Amado water keys, but lever-style is OK, too. I especially like the trombone water keys used on Olds trumpets; they work very nicely, as they seem to deposit condensation downward, instead of on your clothes and shoes like regular water keys sometimes do. This is one of the reasons I like Amados, BTW. I haven't tried Saturns yet, but I will if I get the chance.
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