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J. Jericho

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  1. 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.
  2. 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.
  3. Is there a way to edit posts after they have been published?
  4. Best wishes to you. I seems like you may have the determination to make it work!
  5. 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.
  6. J. Jericho

    Blue Juice?

    If Al Cass Fast works for you, why not order some from wwbw.com?
  7. 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.
  8. 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.
  9. J. Jericho

    Olds Recording

    I played one a long time ago, and I owned one for a short period of time more recently. Olds always valued the appearance of all their instruments, and the Recording's looks are seductive. They sound pretty much any way you want them to sound. They're flexible and responsive. You want bright? Play it bright. You want dark and smoky? Play it dark and smoky. You can bend notes when you want. They enable you to play the way you want. The forward design of the valve block is unusual, but not unique; The Selmer Paris Balanced Trumpet had the same configuration. As for projection, they'll do just fine, but I would think that a heavier trumpet might project better, depending upon a host of other design considerations. Most people that own them love them, and I can understand that they are a good match for many players. They are tremendous horns.
  10. J. Jericho

    Bach 72*

    It wouldn't hurt for you to review Schilke and Bach websites, plus the Kanstul Mouthpiece Comparator, for info on these mouthpieces, as the 12A4A, 5C, and 3C are all very different.
  11. J. Jericho

    Bach 72*

    Carter, which mouthpiece are you using now? Is it the same one you used before? Have you been playing since you stopped using the 72*, or did you stop for a while and resume playing recently? Are you hearing your trumpet in the same space/surroundings as before? Are you playing it the same way as you used to? Are there problems with your technique of which you are not aware? The 72* has a brighter sound than a standard weight 72, plus it sounds darker behind the horn than it does in front of it. The 72* is a very versatile, flexible horn; you can create a variety of sounds, from full and dark to sizzling. If I wanted a less "thin" sound, I'd try a slightly deeper mouthpiece, BUT this would be after I exhausted all other possibilities. A different mouthpiece at the entrance to the trumpet will not solve problems, weaknesses, techniques, nor deficiencies behind the horn. FWIW - When I first had my 72*, I was using a Bach 5C, and my teacher at the time and I tried to get me to overcome a difficulty I was having with attacks; I never could get them clean enough. I must have spent over a year and a half trying to get my attacks perfect. At the time, I kept hearing that many players were getting good results with a 3C and its variants, so I tried one... problem solved instantly and permanently! It obviously fit my embouchure better than the 5C did. YMMV.
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